Opera Remade, 1700–1750

Contents

• Contents: Introduction
• Part I Librettos: Why early opera is Roman not Greek, Robert C. Ketterer
• Staging an opera: letters from the Cesarian poet, Roger Savage
• Dramatic dualities: opera pairs from Minato to Metastasio, Reinhard Strohm
• Metastasio on the Spanish stage: operatic adaptations in the public theatres of Madrid in the 1730s, Jose-MA!ximo Leza
• 'Le theActre ne change qu'A la troisieme scene': the hand of the author and unity of place in Act V of Hippolyte et Aricie, Geoffrey Burgess
• The Beggar's Opera and opera-comique en vaudevilles, Daniel Heartz
• 'His spirit is in action seen': Milton, Mrs Clive and the simulacra of the pastoral in Comus, Berta Joncus. Part II Gender: Reforming Achilles: gender, opera seria, and the rhetoric of the enlightened hero, Wendy Heller
• Female operatic cross-dressing: Bernado Saddumene's libretto for Leonardo Vinci's Li zite 'n galera, Nina Treadwell
• Of women, sex, and folly: opera under the old regime, Georgia Cowart
• The castrato as history, Katherine Bergeron. Part III Theatres and Performing: 'An infinity of factions': opera in 18th-century Britain and the undoing of society, Suzanne Aspden
• Ignaz Holzbauer and the origins of German opera in Vienna, Lawrence Bennett
• Heidegger and the management of the Haymarket Opera, 1713-17, Judith Milhous and Robert D. Hume
• Farinelli in Madrid: opera, politics, and the War of Jenkins' Ear, Thomas McGeary
• An 18th-century singer's commission of 'baggage' arias, Daniel E. Freeman
• Staging and its dramatic effect in French baroque opera: evidence from prompt notes, Antonia L. Banducci
• The Paris Opera chorus during the time of Rameau, Mary Cyr
• What recitatives owe to the airs: a look at the dialogue scene, Act 1 Scene 2 of Rameau's Hippolyte et Aricie - version with airs, 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 i