The Ashgate Library of Essays in Opera Studies

6-Volume Series

Series Editor: Roberta Montemorra Marvin, University of Iowa, USA New perspectives on opera scholarship have emerged in recent years and have changed the course of the genre’s study in significant ways. This series brings together selected articles and essays which reflect the new scholarship: the papers address sources, works, audiences, performers, creators, culture, and theory and deal with operatic works as historical and contemporary entities with aesthetic, theoretical, and ideological complexities. The articles display a rich variety of approaches and style and come from a range of disciplines, both musical and non-musical.

Each volume in the series is edited by a recognized authority in the area, and features a detailed introduction which surveys the current state of the field, gives an overview of important issues and new discoveries, and explains the significance of the texts in the collection. There is also a select bibliography of the sources cited in each introduction. Because of the nature of the scholarship and the operatic repertory for different times and places, volumes are organized in differing ways designed to serve readers’ needs and to embrace various topics and approaches as appropriate to the repertory of diverse eras.

This authoritative series of six volumes offers a selection of the most important and influential English-language scholarship in opera studies and is a valuable resource for scholars new to the area as well as for experienced scholars who may have overlooked an important essay published in a journal with limited circulation.

Titles in the series:

• Volume 1: Studies in Seventeenth-Century Opera

• Volume 2: Opera Re-Made, 1700–1750

• Volume 3: Essays on Opera, 1750–1800

• Volume 4: National Traditions in Nineteenth-Century Opera, Volume I

• Volume 5: National Traditions in Nineteenth-Century Opera, Volume II

• Volume 6: Opera After 1900

www.ashgate.com/reference The Ashgate Library of Essays in Opera Studies

NEW NEW Studies in Seventeenth-Century Opera Opera Re-Made, 1700–1750 Edited by Beth L. Glixon, University of Kentucky, USA Edited by Charles Dill, University of Wisconsin, Madison, USA The Ashgate Library of Essays in Opera Studies The Ashgate Library of Essays in Opera Studies The past four decades have seen an explosion in research regarding seventeenth- Opera in the first half of the eighteenth century saw the rise of the memorable century opera. In addition to investigations of extant scores and librettos, scholars composer and the memorable work. Recent research on this period has been have dealt with the associated areas of dance and scenery, as well as newer especially fruitful, showing renewed interest in how opera operated within its local disciplines such as studies of patronage, gender and semiotics. While most of the cultures, what audience members felt was at stake in opera performances, who the essays in this volume pertain to Italian opera, others concern opera production in people - composers and performers - were who made opera possible. The essays France, England, Spain and the Germanic countries. selected for this volume capture the principal themes of current research: the ‘idea’ of opera, opera criticism, the people of opera, and the emerging technologies of opera. Contents and contributors include: Introduction Contents and contributors include: Introduction Part I 17th-Century Opera: The Early Years: Singing Orfeo: on the performers of Monteverdi’s first opera, Part I Librettos: Tim Carter Why early opera is Roman not Greek, Training a singer for Musica Recitativa in early 17th-century Italy: the case of Robert C. Ketterer Baldassare, Staging an opera: letters from the Cesarian poet, John Walter Hill Roger Savage Re-voicing Arianna (and laments): 2 women respond, Dramatic dualities: opera pairs from Minato to Metastasio, Suzanne G. Cusick. Reinhard Strohm Metastasio on the Spanish stage: operatic adaptations in the public theatres of Part II Monteverdi and Cavalli: Monteverdi’s mimetic art: L’incoronazione di Poppea, Madrid in the 1730s, Ellen Rosand José-Maximo Leza Tacitus incognito: opera as history in L’incoronazione di Poppea, ‘Le théâtre ne change qu’à la troisième scène’: the hand of the author and unity of Wendy Heller place in Act V of Hyppolyte et Aricie Didone by Cavalli and Busenello: from the sources to modern productions, Geoffrey Burgess Dinko Fabris The Beggar’s Opera and opéra-comique en vaudevilles, Censuring Eliogabalo in 17th-century Venice, Daniel Heartz Mauro Calcagno. ‘His spirit is in action seen’: Milton, Mrs Clive and the simulcra of the pastoral in Comus, Part III Italian Opera During the Second Half of the 17th Century: Berta Joncus. La sirena antica dell’Adriatico: Caterina Porri, a 17th-century Roman prima donna on the stages of Venice, Bologna and Pavia, Part II Gender: Beth L. Glixon Reforming Achilles: gender, opera seria, and the rhetoric of the enlightened hero, Dances from th ‘4 corners of the Earth’: exoticism in 17th-century Venetian opera, Wendy Heller Irene Alm Female operatic cross-dressing: Bernado Saddumene’s libretto for Leonardo Vinci’s On the road with the ‘suitcase aria’: the transmission of borrowed arias in late 17th- Li zite ‘n galera, century Italian opera, Nina Treadwell Jennifer Williams Brown. Of women, sex, and folly: opera under the old regime, Georgia Cowart Part IV Opera Outside of Italy: The castrato as history, Why the first opera given in Paris wasn’t Roman, Katherine Bergeron. Margaret Murata The articulation of Lully’s dramatic dialogue, Part III Theaters and Performing: Lois Rosow ‘An infinity of factions’: opera in 18th-century Britain and the undoing of society, Recovering the Lullian divertissement, Suzanne Aspden Rebecca Harris-Warwick Ignaz Holzbauer and the origins of the German opera in Vienna, Opera and the Spanish political agenda, Lawrence Bennett Louise K. Stein Heidegger and the management of the Haymarket Opera, 1713–17, What did Handel learn from Steffani’s operas?, Judith Milhous and Robert D. Hume Colin Timms Farinelli in Madrid: opera, politics, and the War of Jenkins’ Ear, Performance ands political allegory in Restoration England: what to interpret and Thomas McGeary when, An 18th-century singer’s commission of ‘baggage’ arias, Andrew Walkling Daniel E. Freeman The politics of opera in late 17th-century London, Staging and its dramatic effect in French baroque opera: evidence from prompt notes, Robert D. Hume Antonia L. Banducci Name Index. The Paris Opéra during the time of Rameau, Mary Cyr What recitatives owe to the airs: a look at the dialogue scene, Act 1 Scene 2 of includes 17 previously published journal articles Rameau’s Hippolyte et Aricie – version with airs, December 2010 c. 504 pages Hardback 978-0-7546-2901-6 £140.00 Cynthia Verba.

Part IV Handel: Irony and borrowing in Handel’s ‘Agrippina’, John E. Sawyer Classical history and Handel’s ‘Alessandro’, Richard G. King Dejanira and the physicians: aspects of hysteria in Handel’s Hercules, David Ross Hurley Handel’s compositional methods in his London operas of the 1730s and the unusual case of ‘Poro, rè dell’Indie’ (1731), Graham Cummings Name Index.

includes 22 previously published journal articles December 2010 c. 546 pages Hardback 978-0-7546-2900-9 £140.00

The Ashgate Library of Essays in Opera Studies

NEW NEW Essays on Opera, 1750–1800 National Traditions in Nineteenth-Century Opera, Edited by John A. Rice, Independent Scholar Volume I The Ashgate Library of Essays in Opera Studies Italy, France, England and the Americas The study of opera in the second half of the eighteenth century has flourished during Edited by Steven Huebner, McGill University, Canada the last several decades, and our knowledge of the operas written during that period The Ashgate Library of Essays in Opera Studies and of their aesthetic, social, and political context has vastly increased. This volume explores opera and operatic life of the years 1750–1800 through a selection of articles This volume covers opera in Italy, France, England and the Americas during the which represent the last few decades of scholarship in this field. long nineteenth century (1789–1914). The book is divided into four sections that are thematically, rather than geographically, conceived: places - essays centering on Contents and contributors include: contexts for operatic culture; genres and styles - studies dealing with the question Introduction of how operas in this period were put together; critical studies of individual works, Part I Aesthetics and Dramaturgy: exemplifying particular critical trends; and performance. The theory and practice of piccinnisme, Contents and contributors include: Julian Rushton Introduction Recitative and dramaturgy in the dramma per musica, Raymond Monelle Part I Contexts: Opera versus drama: Romeo and Juliet in 18th-century Germany, Some difficulties in the historiography of Italian opera, Thomas Bauman Fabrizio Della Seta Mozart’s operas and the myth of musical unity, Metaphors for Meyerbeer, James Webster. Cormac Newark Italian romanticism and Italian opera: an essay in their affinities, Part II Singers: Gary Tomlinson Raaff’s last aria: a Mozartian idyll in the spirit of Hasse, Verismo: origin, corruption and redemption of an operatic term, Daniel Heatz Andreas Giger Galuppi, Tenducci, and Montezuma: a commentary on the history and musical style of Felice Romani, librettist by trade, opera seria after 1750, Alessandro Roccatagliati Dale Monson Frederick Gye and ‘the dreadful business of opera management’, ‘Ich bin die erste Sängerin’: vocal profiles of 2 Mozart sopranos, Gabriella Dideriksen and Matthew Ringel Patricia Lewy Gidwitz Opera audiences in Paris 1830–70, Mozart’s Ilia and Elettra: new perspectives on Idomeneo, Steven Huebner Paul Corneilson. Verdian opera burlesqued: a glimpse into mid-Victorian theatrical culture, Part III Sensibility, Sentiment, and the Pastoral: Roberta Montemorra Marvin. Pamela: the offspring of Richardson’s heroine, Part II Composition and Analysis: Mary Hunter History and works that have no history: reviving Rossini’s Neapolitan operas, Human nature in the unnatural garden: Figaro as pastoral, Philip Gossett Wye Jamison Allanbrook “‘La solita forma’ and ‘the uses of convention’”, From Nina to Nina: psychodrama, absorption, and sentiment in the 1780s, Harold Powers Stefano Castelvecchi A key for chi? Tonal areas in Puccini, L’arbore di Diana: a model for Così fan tutte, Roger Parker and Allan Atlas Dorothea Link ‘Tristan’ in the composition of ‘Pelléas’, The sentimental muse of opera buffa, Carolyn Abbate. Edmund Goehring. Part III Criticism: Part IV Orientalism and Exoticism: ‘Dormez donc, mes chers amours’: Hérold’s La Somnambule (1827) and dream Mozart in Turkey, phenomena on the Parisian lyric stage, Benjamin Perl Sarah Hibberd Oriental tyranny in the extreme West: reflections on Amiti e Ontario and Le gare ‘TB sheets’: love and disease in La Traviata, generose, Arthur Groos Pierpaolo Polzonetti. Masked balls, Part V Opera and Politics: Ralph Hexter On the freedom of the theatre and censorship: the Adrien controversy (1792), Return of the repressed: the prima donna from Hoffmann’s Tales to Offenbach’s M. Elizabeth C. Bartlett Contes, Songs to shape a German nation: Hiller’s comic operas and the public sphere, Heather Hadlock Estelle Joubert. Smyth the anarchist: fin-de-siècle radicalism in The Wreckers, Part VI Mozart and His Viennese Contemporaries: Suzanne Robinson. Mozart’s fee for Così fan tutte, Part IV Performance: Dexter Edge Knowing the score: Italian opera as work and play, How original was Mozart? Evidence from the opera buffa, Philip Gossett John Platoff Ornamenting Verdi’s arias: the continuity of a tradition, Slaieri’s Così fan tutte, David Lawton Bruce Alan Brown and John A.Rice La cantate delle passioni: Giuditta Pasta and the idea of operatic performance, Sie Zauberflöte, Masonic opera, and other fairy tales, Susan Rutherford David J. Buch. The sea, the stars, the waste and the desert, Part VII Opera Seria Roger Parker The Venetian role in the transformation of Italian opera seria in the 1790s, Name Index. Marita McClymonds Mozart, Mayr, Rossini and the development of the opera seria duet, includes 21 previously published journal articles Scott Balthazar December 2010 c. 558 pages Hardback 978-0-7546-2899-6 £140.00 ‘La clemenza di Tito’ and other 2-act reductions of the late 18th century,

Sergio Durante The absent mother in opera seria, Martha Feldman Producing the operatic chorus and Parma’s Teatro Ducale, 1759–1769, Margaret Butler Name Index. includes 26 previously published journal articles December 2010 c. 572pages Hardback 978-0-7546-2904-7 £140.00 The Ashgate Library of Essays in Opera Studies

NEW NEW National Traditions in Nineteenth-Century Opera, Opera After 1900 Volume II Edited by Margaret Notley, University of North Texas, USA Central and Eastern Europe The Ashgate Library of Essays in Opera Studies Edited by Michael C. Tusa, University of Texas at Austin, USA The reprinted articles and chapters in this volume consider operas from the beginning of the twentieth century to the 1990s. They are grouped in to: studies of operas by The Ashgate Library of Essays in Opera Studies particular composers, such as Ravel, Debussy, Puccini and Britten; and studies This volume offers a cross-section of English-language scholarship on German divided according to geographical and historical consideration: German-language and Slavonic operatic repertories of the ‘long nineteenth century’, giving particular operas from the turn of the twentieth century to the Second World War, Opera in the emphasis to four areas: German opera in the first half of the nineteenth century; the Soviet Union, and Opera in the United States. works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky- Contents and contributors include: Korsakov; and the operas of Richard Strauss and Janácek. The essays reflect diverse methods, ranging from stylistic, philological, and historical approaches to those Introduction rooted in hermeneutics, critical theory, and post-modernist inquiry. Part I Operas by Viennese Composers, ca. 1910–1935: Contents and contributors include: Expressive principle and orchestral polyphony in Schoenberg’s Erwartung, Carl Dahlhaus Introduction Die Frauenfrage, Part I German Opera in the Early 19th Century: Elizabeth L. Keathley The arias of Marzelline: Beethoven as a composer of opera, A Floerntine Tragedy, or woman as mirror, Philip Gossett Sherry D. Lee New light(s) on Weber’s Wolf’s Glen scene, Schoenberg as Moses and Aron, Anthony Newcomb Joseph Auner Richard Wagner and Weber’s Euryanthe, Berg’s Propaganda pieces: the ‘Platonic idea’ of Lulu, Michael C. Tusa. Margaret Notley.

Part II Wagner: Part II Operas from Other European Contexts: The Ring and the conditions of interpretation: Wagner’s writing, 1848 to 1852, The Verbunkos and Bartók’s modern style: the case of Duke Bluebeard’s Castle, James Treadwell Judit Frigyesi ‘…wie ein rother Faden’: on the origins of leitmotif as critical construct and musical Hans Pfitzner’s Palestrina and the impotence of early lateness, practice, Stephen McClatchie Thomas S. Grey Ariadne, Daphne and the problem of Verwandlung, The structure of the Ring and its evolution, Bryan Gilliam Robert Bailey The concept of epic opera: theoretical anomalies in the Brecht-Weil partnership, Dramatic recapitulation in Wagner’s Götterdämmerung, Stephen Hinton William Kinderman French identity in flux: the triumph of Honegger’s Antigone, Wagner ‘on modulation’ and Tristan, Jane F. Fulcher Carolyn Abbate Back to the future: Shostakovich’s revision of Leskov’s ‘Lady Macbeth of Mtensk Death drive: Eros and Thanatos in Wagner’s Tristan und Isolde, District’, Linda Hutcheon and Michael Hutcheon Caryl Emerson. Constructing Nuremberg: typological and proleptic communities in Die Meistersinger, Part III Operas by Britten and Birtwistle: Arthur Groos ‘Peter Grimes’: the growth of the libretto, Amfortas’s Pto Titurel and the role of D in Parsifal: the tonal spaces of the drama and Philip Brett the enharmonic C-flat/B, ‘Twisted relations’: method and meaning in Britten’s Billy Budd, David Lewin Arnold Whittall Strange love or, how we learned to stop worrying and love Wagner’s Parsifal, Why does Miles die? A study of Britten’s The Turn of the Screw, John Deathridge. Clifford Hindley Part III Russian Opera: The shadow of the opera: dramatic narrative and musical discourse in Gawain, On Ruslan and Russianness, David Beard. Marina Frolova-Walker Part IV Operas Composed in the United States: Mussorgsky’s Boris on the stage of the Maryinsky Theater: a chronicle of the first Porgy and Bess: an American Wozzeck, production, Christopher Reynolds Robert William Oldani Kurt Weill, modernism, and popular culture: Öffenlichkeit als Stil, Mussorgsky’s libretti on historical themes: from the two Borises to Khovanshchina, Kim H. Kowalke Caryl Emerson The best of all possible worlds: the Eldorado episode in Leonard Bernstein’s Candide, The semiotics of symmetry, or Rimsky-Korsakov’s operatic history lesson, Elizabeth B. Crist Simon Morrison. The great American opera: Klinghoffer, Streetcar, and the exception, Part IV Toward Modernism Lawrence Kramer Strauss and the pervert, Instrumental dramaturgy as humane comedy: What Next? By Elliott Carter and Paul Sandra L. Gilman Griffiths, Fin-de-siècle Ffantasies: Elektra, degeneration and sexual science, Anne C. Shreffler Lawrence Kramer Name Index. Janácek’s speech-melody theory in concept and practice, Paul Wingfield includes 20 previously published journal articles Evasive realism: narrative construction in Dostoyevsky’s and Janácek’s From the December 2010 c. 530 pages Hardback 978-0-7546-2898-9 £140.00 House of the Dead, Geoffrey Chew and Robert Vilain Name Index. Six Volume set includes 20 previously published journal articles December 2010 c. 554 pages Hardback 978-0-7546-2906-1 £140.00 6 Hardback Volumes 978-0-7546-2907-8 £840.00 £750.00

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