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BeschreibungElegantly and engagingly written, this study demonstrates how opera has communicated with its diverse audiences over time.
InhaltsverzeichnisPrologue. Why opera? Why (how, where) situate?; 1. Anatomy of a war horse: Il trovatore from A to Z; 2. On opera and society (assuming a relationship); 3. Opera and the novel: antithetical or complementary?; 4. Opera by other means; 5. Opera and/as lyric; 6. From separatism to unity: aesthetic theorizing from Reynolds to Wagner; 7. Toward a characterization of modernist opera; 8. Anti-theatricality in twentieth-century opera; 9. A brief consumer's history of opera; Epilogue. Why (what, how, if) opera studies?; Works cited.
PortraitHerbert Lindenberger is Avalon Professor of Humanities Emeritus at Stanford University. He is the author of Opera in History: From Monteverdi to Cage (1998), The Literature in History: On Genre, Values, Institutions (1990), Opera: The Extravagant Art (1984), and Saul's Fall: A Critical Fiction (1979).
Pressestimmen"...very accessible and offer excellent insights into why operas of the 20th century and beyond seem to have a more limited audience than the lyrical dramatic operas of the 19th century." --Choice
Untertitel: Sprache: Englisch.
Verlag: CAMBRIDGE UNIVERSITY PRESS
Erscheinungsdatum: Oktober 2010