作曲者 | Cormac Newark / William Weber |
タイトル | The Oxford Handbook of the Operatic Canon |
出版社 | Oxford University Press (USA) |
シリーズ名 | Oxford Handbooks |
品番 | 9780190224202 |
形状 | 552 ページ・24.8 x 17.1 cm・ハードカバー |
出版番号 | 9780190224202 |
ISBN | 9780190224202 |
The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence.
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