Opera after 1900

Contents

• Contents: Introduction
• Part I Operas by Viennese Composers, ca. 1910-1935: Expressive principle and orchestral polyphony in Schoenberg's Erwartung, Carl Dahlhaus
• 'Die Frauenfrage' in Erwartung: Schoenberg's collaboration with Marie Pappenheim, Elizabeth L. Keathley
• A Florentine Tragedy, or woman as mirror, Sherry D. Lee
• Schoenberg as Moses and Aron, Joseph Auner
• Berg's Propaganda pieces: the 'Platonic idea' of Lulu, Margaret Notley. Part II Operas from Other European Contexts: The Verbunkos and BartA(3)k's modern style: the case of Duke Bluebeard's Castle, Judit Frigyesi
• Hans Pfitzner's Palestrina and the impotence of early lateness, Stephen McClatchie
• Ariadne, Daphne and the problem of Verwandlung, Bryan Gilliam
• The concept of epic opera: theoretical anomalies in the Brecht-Weill partnership, Stephen Hinton
• French identity in flux: the triumph of Honegger's Antigone, Jane F. Fulcher
• Back to the future: Shostakovich's revision of Leskov's 'Lady Macbeth of Mtsensk District', Caryl Emerson. Part III Operas by Britten and Birtwistle: 'Peter Grimes': the growth of the libretto, Philip Brett
• 'Twisted relations': method and meaning in Britten's Billy Budd, Arnold Whittall
• Why does Miles die? A study of Britten's The Turn of the Screw, Clifford Hindley
• The shadow of opera: dramatic narrative and musical discourse in Gawain, David Beard. Part IV Operas Composed in the United States: Porgy and Bess: 'an American Wozzeck', Christopher Reynolds
• Kurt Weill, modernism, and popular culture: A-ffentlichkeit als Stil, Kim H. Kowalke
• The best of all possible worlds: the Eldorado episode in Leonard Bernstein's Candide, Elizabeth B. Crist
• The great American opera: Klinghoffer, Streetcar, and the exception, Lawrence Kramer
• Instrumental dramaturgy as humane comedy: What Next? by Elliott Carter and Paul Griffiths, Anne C. Shreffler
• Name Index.