The Oxford Handbook of the Operatic Canon
- Editor: Newark, Cormac
- Editor: Weber, William
Recommended. Upper-division undergraduates through faculty; general readers — More…
Book
$154.00Contents
- Note to the reader
- Contributors
- Acknowledgements
- General Introduction
- Idiosyncrasies of the operatic canon
- Cormac Newark and William Weber
- Part 1. History, geography
- Introduction to Chapters 1 and 2
- Foundations: France and Italy in the eighteenth century
- Michel Noiray and Franco Piperno
- Chapater 1.The practical and symbolic functions of pre-Rameau opera at the Paris Opera before Gluck
- Michel Noiray
- Chapter 2.Italian opera and the concept of canon in the late eighteenth century
- Franco Piperno
- Introduction to Chapters 3 and 4
- From royal authority to public taste in Berlin, 1740-1815
- John Mangum and Katherine Hambridge
- Chapter 3. The repertory of the Italian Court Opera in Berlin, 1740-1786
- John Mangum
- Chapter 4.Catching up and getting ahead: The opera house as temple of art in Berlin c. 1800
- Katherine Hambridge
- Introduction to Chapters 5 and 6
- Operatic practices at the London Opera: Pasticcio to repertory to canon?
- Michael Burden and Jennifer Hall-Witt
- Chapter 5.From recycled performances to repertoire at the King's Theatre in London, 1705-1820
- Michael Burden
- Chapter 6. Repertory opera and canonic sensibility at the London opera, 1820-1860
- Jennifer Hall-Witt
- Introduction to chapters 7 and 8
- From capital-city opera house to provincial theaters in France
- Patrick Taieb, Sabine Teulon Lardic and Yannick Simon
- Chapter 7.The evolution of French opera repertories in provincial theaters: Three epochs, 1770-1900
- Patrick Taieb and Sabine Teulon Lardic
- Chapter 8. The mingling of opera genres: Canonic opera at the Theatre des Arts in Rouen, 1882-1897
- Yannick Simon
- Introduction to chapters 9 and 10
- The Italian opera world and its canons
- Carlotta Sorba and Jutta Toelle
- Chapter 9. Theaters, markets, and canonic implications in the Italian opera system, 1820-1880
- Carlotta Sorba
- Chapter 10.Operatic canons and repertories in Italy around 1900
- Jutta Toelle
- Introduction to chapters 11 and 12
- Opera in the Western Hemisphere, 1811-1910: New York, Buenos Aires, and Montevideo
- Karen Ahlquist and Benjamin Walton
- Chapter 11. International opera in nineteenth-century New York: Core repertories and canonic values
- Karen Ahlquist
- Chapter 12. Canons of real and imagined opera: Buenos Aires and Montevideo, 1810-1860
- Benjamin Walton
- Introduction to chapters 13 and 14
- Tension between national and cosmopolitan canons in England and Russia
- William Weber and Rutger Helmers
- Chapter 13.The survival of English opera in nineteenth-century concert life
- William Weber
- Chapter 14.National and international canons of opera in Tsarist Russia
- Rutger Helmers
- Part 2. Other views, other canons
- Introduction to chapters 15 and 16
- Singers and the operatic canon
- Kimberley White and Hilary Poriss
- Chapter 15.Setting the standard: Singers, theater practices, and the operatic canon in nineteenth-century France
- Kimberley White
- Chapter 16.Redefining the standard: Pauline Viardot and Gluck's Orphee
- Hilary Poriss
- Introduction to chapters 17 and 18
- Uses of the operatic canon
- Cormac Newark and Mark Berry
- Chapter 17. Canons of the Risorgimento then and now
- Cormac Newark
- Chapter 18. Blow the opera houses into the air: Wagner, Boulez, and modernist canons
- Mark Berry
- Introduction to chapters 19 and 20
- Re-writing the operatic canon
- Flora Willson and William Gibbons
- Chapter 19.Phantoms at the Opera: Meyerbeer and de-canonization
- Flora Willson
- Chapter 20. The uses and disadvantages of opera history: Unhistorical thinking in fin-de-siecle Paris
- William Gibbons
- Introduction to chapters 21 and 22
- Contiguous genres: Operetta and American musicals
- Micaela Baranello and Raymond Knapp
- Chapter 21. Viennese operetta canon formation and the journey to prestige
- Micaela Baranello
- Chapter 22.Canons of the American musical
- Raymond Knapp
- Introduction to chapters 23 and 24
- Twentieth-century reproductive technology and the operatic canon
- Karen Henson and Hugo Shirley
- Chapter 23. Sound recording and the operatic canon: Three drops of the needle
- Karen Henson
- Chapter 24. Opera on film and the canon
- Hugo Shirley
- Introduction to chapters 25 and 26
- Views of the operatic canon from the industry
- John Rockwell and Kasper Holten
- Chapter 25. Critical reflections on the operatic canon
- John Rockwell
- Chapter 26. Inside and outside the operatic canon, on stage and in the boardroom
- Kasper Holten
- Bibliography