New,Opera for Everyone: The Industry's Experiments with American Opera in the Digital Age

Contents

• Acknowledgments
• Introduction
• Introduction
• From Recession to Pandemic: Operatic Contexts
• Yuval Sharon and The Industry
• Methods: Precarity, Perspectives, and Critique
• Plan of Book
• Chapter 1: Opera as Mobile Music: Invisible Cities
• Introduction
• Experiencing Mediated Performance: Logistics
• Interpretive Ambiguity, Audience Agency
• Performance History and Digital Adaptation
• Writing for Headphones: Making Sound Design Visible
• New Rules of Spectatorship: Listening to Invisible Cities
• Audile Techniques and Consumerism
• Wagner’s Invisible Theater, Brecht’s headphones?
• Convention or Experimentation?
• Conclusions: Contradictory Spectatorships and the Operatic Genre
• Chapter 2: Operatic Economics: Liveness and Labor in Hopscotch
• Introduction
• Operatic Tradition on Wheels: The Production
• Fractured Logistics
• Hybrid Spectatorships
• The Labor of the Live
• Mediated Entertainment and Operatic Distance
• Look at Me! Isolation in Digital Performance
• Curation and Commodification
• Mediating Intimacy and Isolation
• Performers, Participants, and Power
• Participating in Precarity
• Commodities and Conclusions
• Chapter 3 : Experiments with Institutionality: Galileo, War of the Worlds, and ATLAS
• Introduction
• Precarities and Production: Galileo and War of the Worlds
• Traditional Structures and Closed Systems
• Closed Institutional Precedents and Contemporary Manifestations
• New Approaches to Political Economy: Open Models of Production
• Open Institutional Lineages: Economic and Experimental Tensions
• War of the Institutional Frameworks?
• Coda: ATLAS
• Chapter 4: “What you remember doesn’t matter”: Toward an Anti-Colonial Opera
• Introduction
• Colonizer Opera
• New Models of Collaboration
• Experimenting with Form: From Workshop to Film
• Representing Individuals, Rejecting Tokenism, Re-envisioning Opera
• Moving Beyond Colonial Collaboration: Rehearsals
• Moving Beyond Colonial Collaboration: Performer Composition
• “If you’re going to change opera, you have to change it”: Lingering Colonial Hierarchies
• Conclusion: Colonial Hauntings, Anti-Colonial Ambiguities
• Epilogue
• Introduction
• Closing the Curtain on Sweet Land: March-November 2020
• The Future of Opera for Everyone and The Industry’s Artistic Director Collective
• Everyone’s Opera