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Abbate, Carolyn, 27, 52, 53 Abrams, M. H., the Mirror and the Lamp Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information INDEX Abbate, Carolyn, 27, 52, 53 Altman, Robert, A Wedding, 195 Abrams, M. H., The Mirror and the Andre´, Johann, 48 Lamp, 116, 154, 161 Andreini, Virginia, 221 Abstract Expressionism, 191 Anne, queen of Britain, 231 Accademia degli Incogniti, 227 Anti-theatricality, 2, 7, 158, 176, 196–218 Adams, John, 78, 80, 99 Apollinaire, Guillaume, Les Mamelles de A Flowering Tree, 78 Tire´sias, 217 Doctor Atomic, 78, 110 Ariosto, Ludovico, 114, 159 El Nin˜o, 78 Orlando furioso, 166, 230 Hallelujah Junction, 78 Aristotle, Poetics, 37, 67, 136, 138 Nixon in China, 78, 110, 191 Armstrong, Billie Joe, 96 The Death of Klinghoffer, 78, 216 Auber, Daniel, 244 Addison, Joseph, 2, 228–32 Auden, W. H., 109, 178, 209, 210 Adorno, Theodor, 54, 65, 69, 252 Auerbach, Erich, Mimesis, 65, 66, 71 as composer, 234 Auric, Georges, 95 Beethoven: The Philosophy of Music, 69 Austen, Jane, 63, 73 Berg: Der Meister des kleinsten U¨ bergangs, 69 Bach, Johann Sebastian, 143, 270 “Bourgeois Opera,” 67–69, 170 Passions, 61, 120 disparagement of opera, 31, 58, 73, Well-Tempered Clavier, 128 77, 169 Bacon, Sir Francis, 250 “Fantasia sopra Carmen,” 69 Bakhtin, Mikhail, 54, 71–72, 73, 74, 75, 272 Introduction to the Sociology of Music, 58 Balanchine, George, 110 “Lyric and Society,” 44 Divertimento No. 15, 132 “Sakrales Fragment: U¨ ber Baldini, Gabriele, 36 Scho¨nbergs Moses und Aron,” 69 Balzac, Honore´ de, 65 Adorno, Theodor (with Max Bardare, Emanuele, 37 Horkheimer), Dialectic of the Barish, Jonas, The Antitheatrical Enlightenment, 68 Prejudice, 196, 197, 199, 206 Alberti, Leon Battista, On Painting, 143 Barthes, Roland, 107, 272 Albright, Daniel, 192, 217 Bartok, Bela, Bluebeard’s Castle, 128 Alden, David, 85, 106 Basevi, Abramo, 36 Almahide (pasticcio), 231 Baucarde´, Carlo, 11 298 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information Index 299 Baudelaire, Charles relations with Helene Berg, 255, 256 “Correspondances,” 167, 247 Three Pieces for Orchestra, 127 “Les Phares,” 167 Wozzeck, 69, 188, 190, 193, 195, 250, “Richard Wagner et Tannha¨user a` 253–57, 265;Adornoon,68; Paris,” 167, 243, 246–47 as example of “hard modernism,” “Salon of 1846,” 167 187; Messiaen’s admiration for, 212; Bauman, Thomas, 47, 48–51 its theatricality, 205; structure of, 189 Baumgarten, Alexander, Aesthetica, Berg, Helene, 255–56 146–47, 160 Berger, Karol, 223 Bavarian State Opera (Munich), 85 Bergman, Ingmar, Virgin Spring, 81 Bayreuth festival, 57, 61, 107, 113, 135, Berlin, Isaiah, 34, 239 204, 252 Berlin Staatsoper, 105 Beckett, Samuel, 196, 197, 201 Berlioz, Hector, 45, 174, 245–46 Beecham, Sir Thomas, 89–90 Fantastic Symphony, 164 Beethoven, Ludwig van, 21, 135, 143, Harold in Italy, 163 146, 156, 161, 174, 253, 261 King Lear Overture, 164 Eroica Symphony, 138, 168 La Damnation de Faust, 103 Fidelio, 69, 79, 137, 168, 254, 261 Les Troyens, 243, 245 Fifth Symphony, 38, 162 Rob Roy Overture, 164 Pastoral Symphony, 164 Bernstein, Leonard, Candide, 79 Seventh Symphony, 152 Besutti, Paola, 222 Sonata, Op. 26, 19 Bible, 65, 142, 167 Behler, Ernst, 152 Bigand, Emmanuel, 128 Beijing opera, 80 Bizet, Georges, 135 Bel canto opera, 29, 67, 77, 174, 175, 187 Carmen, 39, 41, 69, 79, 124, 125, 129, Bellini, Vincenzo, 7, 28, 29, 35 194, 237 I Capuleti e I Montecchi, 261 Bjoerling, Jussi, 18 Benjamin, Walter, 89, 91 Blood, Anne J., 119 Berg, Alban, 98, 189, 255, 272 Blythe, Stephanie, 42 and tradition of music-drama, 216, 270 Boccaccio, Giovanni, 159 attitudes toward Richard Strauss, Bo¨hm, Karl, 254 248, 250, 251 Boito, Arrigo, 30 Lulu, 69, 110, 124, 194; Adorno on, 68; Mefistofele, 52, 103 as example of “hard modernism,” Bokina, John, 52 181; delayed in being produced Bolcom, William complete, 256; heroine as akin to A View from the Bridge, 194–95 Salome, 250 A Wedding, 195 Lyric Suite, 256, 257 Bondy, Luc, 106 relations with Hanna Boston Lyric Opera, 115 Fuchs-Robettin, 256 Boulez, Pierre, 111 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information 300 Index Bourdieu, Pierre, 3 Childe Harold’s Pilgrimage, 163 Distinction, 55 Don Juan, 166 Homo Academicus, 55–56 Manfred, 94 Rules of Art, 54 Marino Faliero, 166 Bourgeois, Louise, 111 Sardanapalus, 166 Boyce, William, 122 Brahms, Johannes Caballe´, Montserrat, 135 “Die scho¨ne Magelone,” 163 Caccini, Giulio, 219 Third Symphony, 128 Cage, John, 110–11, 173 Braider, Christopher, 160 Europeras 1 & 2, 104–5, 110, 173, Brandeis, Irma, 32 191–92, 217 Braque, Georges, collages, 173 Caldero´n, Pedro, 159, 200 Braunfels, Walter, Die Vo¨gel, 194 La Devocio´ndelaCruz, 159 Breazeal, Cynthia, 101 Callas, Maria, 4, 15, 26, 67, 127, Brecht, Bertolt, 93, 196, 197 135, 260, 261 Bretzner, C. F., 47, 50 Cambridge Opera Journal, 275 Britten, Benjamin, 174, 184, 185, 187, 216 Cambridge Studies in Opera, 275 Billy Budd, 184 Camerata, Florentine, 144, 185, 219, 266 Curlew River, 184 Cammarano, Salvatore, 9, 13, 14, 15, 17, 42 Death in Venice, 184 Canova, Antonio, 146 Peter Grimes, 179, 184, 216 Carner, Mosco, 250 The Rape of Lucretia, 216 Carracci family, painters, 158 Bronte¨, Charlotte, Jane Eyre, 67 Carter, Tim, 222, 223 Bronte¨, Emily, Wuthering Heights, 63 Caruso, Enrico, 15, 261 Browning, Elizabeth Barrett, 75 Castrati, 3, 59, 85, 221, 224, 225, 232, Bruch, Max, “Kol Nidrei,” 125 238–39 Bruckner, Anton, 127 Cattelan, Maurizio, 113 Budden, Julian, 10, 14, 15, 21, 43 Cavalli, Francesco, 124, 224, 225, 227 Buffet, Bernard, 55 La Calisto, 115, 223–28 Burke, Edmund, The Sublime and Cavour, Conte di Camillo Benso, 25 the Beautiful, 147 Cervantes, Miguel, 159 Burney, Charles, 230, 232 Chaliapin, Fyodor, 261 Burns, Robert, 153 Chamisso, Adelbert von, Peter Burroughs, William, The Black Rider, Schlemihl, 94 93, 94 Chapados, Catherine, 134 Burton, Robert, Anatomy of Melancholy, 72 Chaucer, Geoffrey, 76, 159 Busenello, Gian Francesco, 227 Chekhov, Anton, 196 Busoni, Ferruccio, 254 Che´reau, Patrice, 40, 107, 217 Doktor Faust, 103, 190 Chicago Lyric Opera, 115, 195 Byron, George Gordon, Lord, 145, 160 Chomsky, Noam, 82 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information Index 301 Chusid, Martin, 19 Dawkins, Richard, 101, 102 Cimarosa, Domenico, 161 Deathridge, John, 261 Clark Institute, 113 Debussy, Claude, 248, 250 Cocteau, Jean “Clair de Lune,” 125 La Belle et le beˆte, 94–96, 109 Pelle´as et Me´lisande, 7, 67, 95, 175–76, Parade, 217 179, 188, 193, 196, 200–05, 209, 214, 215, Coleridge, Samuel Taylor, 261, 272;hypnoticeffectsof,218; “Rime of the Ancient Mariner,” its anti-theatricality, 7;itsinfluence 168 on Messiaen, 212–13; its speech Collisani, Amalia, 234 rhythms, 96 Commedia dell’ arte, 209, 226 “Why I Wrote Pelle´as,” 204 Commetant, Oscar, 243 Defoe, Daniel, 64 Conceptual Art, 191 Degas, Edgar, 166 Conrad, Joseph, 63 Delacroix, Euge`ne, 146, 161, 166, Constable, John, 146, 165–66 167, 243 Constructivism, 107 De La Grange, Henri-Louis, 234, 249 Contarini, Marco, 224 Delibes, Le´o, Lakme´, 237 Corelli, Franco, 17, 37 Della Seta, Fabrizio, 16 Corneille, Pierre De Man, Paul, 107 Cinna, 50 Dent, Edward J., 47 Pertharite, 84 Derrida, Jacques, 107, 108 Correggio, Antonio da, 158, 159 Deutsche Guggenheim, 90, 91 Cossotto, Fiorenza, 42 Deutsche Oper, Berlin, 40 Cowper, William, The Task, 145 De Van, Gilles, 36 Crisp, Deborah, 26 Diaghilev, Sergei, 110 Croce, Benedetto, 147 Dickens, Charles, 64, 67, 76 Crutchfield, Will, 29 Hard Times, 63, 64, 70 Cunningham, Merce, 132, 173 Dietsch, Pierre Louis Philippe, 246 Curtius, Ernst Robert, 148 Dionysian festival, 115 Cuzzoni, Francesca, 84, 85 Donizetti, Gaetano, 35, 174, 246 Lucia di Lammermoor, 18–19 Da Ponte, Lorenzo, 50, 113, 191 Doody, Margaret, 75 Dahlhaus, Carl, 155, 156, 261 Drury Lane Theater, 231 Daltrey, Roger, 97 Dryden, John, 64 Dante [Alighieri], 159 Dumont, Margaret, 24 Divine Comedy, 65, 152, 166 Dvorˇa´k, Antonin, Armida, 230 Darwinism, 270 David, Jacques-Louis, 144, 146 Eldar, Eran, 133 Davis, Anthony, X, 110 Elector of Hanover (later King Davis, Miles, Kind of Blue, 73 George I), 231 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19989-6 - Situating Opera: Period, Genre, Reception Herbert Lindenberger Index More information 302 Index Eliot, George, 63 Gainsborough, Thomas, 144 Middlemarch, 69 Garcı´a Gutie´rrez, Antonio Eliot, T. S., 190 El Trovador, 8, 9, 11–13, 29, 30, 42 Empathy, 136–37, 138 Los hijos del tı´o Tronera, 29–30 Euripides, 159 Simo´n Bocanegra, 29 Garibaldi, Giuseppe, 40 Farinelli (Carlo Broschi), 261 George I, king of Britain, 231 Farrar, Geraldine, 261 Gershwin, George Farrell, Eileen, 18 Porgy and Bess, 176 Faure´, Gabriel, Pelle´as et Rhapsody in Blue, 55 Me´lisande, 164 Gesamtkunstwerk, 4, 15–16, 112, 138, Faust Book, 102, 103 140, 142, 152, 169, 171 Faustini, Giovanni, 224, 226 Gigli, Beniamino, 33, 261 Faustini, Marco, 224–26 Gilbert, W. S., 209 Feldman, Martha, 57, 121 Gilman, Sander L., 180, 253 Fenlon, Iain, 220, 227 Glass, Philip, 99, 109 Fielding, Henry, 64, 65, 278 Einstein on the Beach, 94, 191, 192, Fie´rens-Gevaert, H., 247 195, 218 Film studies, 263–64, 276, 277 La Belle et le beˆte, 94–96 Flaubert, Gustave, 65 Glixon, Beth L., 224–26, 228 L’Education sentimentale, 54 Glixon, Jonathan E., 224–26, 228 Madame Bovary, 62 Glover, Jane, 224 Floros, Constantin, 256 Gluck, Christoph Willibald, 135, 143, Forster, E.
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