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Nicholas Till - The Cambridge Companion to Opera Studies

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The Cambridge Companion to Opera Studies
Author:
Nicholas Till
Publisher:
Cambridge University Press
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2012
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With its powerful combination of music and theatre, opera is one of the most complex and yet immediate of all art forms. Once opera was studied only as a stepchild of musicology, but in the past two decades opera studies have experienced an explosion of energy with the introduction of new approaches drawn from disciplines such as social anthropology and performance studies to media theory, genre theory, gender studies and reception history. Written by leading scholars in opera studies today, this Companion offers a wide-ranging guide to a rapidly expanding field of study and new ways of thinking about a rich and intriguing art form, placing opera back at the centre of our understanding of Western culture over the past 400 years. This book gives lovers of opera as well as those studying the subject a comprehensive approach to the many facets of opera in the past and today.

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The Cambridge Companion to Opera Studies

With its powerful combination of music and theatre, opera is one of the most complex and yet immediate of all art forms. Once opera was studied only as a stepchild of musicology, but in the past two decades opera studies has experienced an explosion of energy with the introduction of new approaches drawn from disciplines such as social anthropology and performance studies to media theory, genre theory, gender studies and reception history. Written by leading scholars in opera studies today, this Companion offers a wide-ranging guide to a rapidly expanding field of study, and new ways of thinking about a rich and intriguing art form, placing opera back at the centre of our understanding of Western culture over the past 400 years. This book gives lovers of opera as well as those studying the subject a comprehensive approach to the many facets of opera in the past and today.

NICHOLAS TILL is Professor of Opera and Music Theatre and Leverhulme Research Fellow at the University of Sussex.

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to Opera Studies

Edited by

Nicholas Till

CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi, Mexico City

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521855617

Cambridge University Press 2012

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2012

Printed and bound in the United Kingdom by the MPG Books Group

A catalogue record for this publication is available from the British Library

Library of Congress Cataloguing in Publication data

The Cambridge companion to opera studies / edited by Nicholas Till.

p. cm.

Includes bibliographical references and index.

ISBN 978-0-521-85561-7 (hardback)

1. Opera. I. Till, Nicholas, 1955

ML1700.C166 2012

782.1 -- dc23 2012013653

ISBN 978-0-521-85561-7 Hardback

ISBN 978-0-521-67169-9 Paperback

Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

Contents

Nicholas Till

Thomas Ertman

Nicholas Payne

Nicholas Till

Christopher Morris

Susan Rutherford

Simon Williams

Nicholas Ridout

Laurel E. Zeiss

Alessandra Campana

Nicholas Till

Heather Hadlock

Suzanne Aspden

Nicholas Till

Contributors

Suzanne Aspden teaches in the Music Faculty at the University of Oxford. Her research interests centre on eighteenth-century opera, and issues of performance and identity. She has co-edited a book on wordmusic interrelationships, and is currently completing a book on the reputed rivalry of the singers Faustina Bordoni and Francesca Cuzzoni in 1720s London. Her next book project concerns opera and national identity in the eighteenth century. She is co-editor of the Cambridge Opera Journal .

Alessandra Campana is Assistant Professor of Music at Tufts University. She has published on Mozart, Verdi, Puccini and Bellini in the Cambridge Opera Journal , Mozart Jahrbuch , Studi Verdiani and The Opera Quarterly . Recent publications include To Look Again (At Don Giovanni ) in The Cambridge Companion to Eighteenth-Century Opera (2009) and Look and Spectatorship in Manon Lescaut, in The Opera Quarterly (2009). She is currently completing a book on opera and modern spectatorship in Italy between the 1870s and 1915 and is part of the editorial team of the new Opera Quarterly .

Thomas Ertman is Associate Professor of Sociology at New York University, where he teaches courses on historical sociology and sociology of the arts. He is co-editor, along with Victoria Johnson and Jane Fulcher, of Opera and Society in Italy and France from Monteverdi to Bourdieu (Cambridge University Press, 2007) and author of Birth of the Leviathan: Building States and Regimes in Medieval and Early Modern Europe (Cambridge University Press, 1997). He is currently researching a project comparing cultural life in Weimar and Third Reich Berlin.

Heather Hadlock is Associate Professor of Musicology at Stanford University. She is the author of Mad Loves: Women and Music in Offenbach's Les Contes dHoffmann (Princeton University Press, 2000), and has contributed chapters to The Cambridge Companion to Rossini (2003), Women's Voices Across Musical Worlds (Northeastern University Press, 2003), Berlioz: Past Present, Future (University of Rochester Press, 2003), Siren Songs (Princeton University Press, 2000) and Musicology and Sister Disciplines (Oxford University Press, 2000). She is Book Review Editor for the Cambridge Opera Journal , and is Chair of the American Musicological Society Committee on the Status of Women.

Christopher Morris is Lecturer in Music at University College, Cork (UCC). He is a musicologist specializing in opera, cultural theory, Austro-German modernism and film music. He worked for four years as Archivist of the Canadian Opera Company before joining UCC in 1998. His publications include Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg (Cambridge University Press, 2002) and he is currently working on a book entitled Modernism and the Cult of Mountains: Music, Opera, Cinema , to be published by Ashgate. He is Associate and Reviews Editor of The Opera Quarterly .

Nicholas Payne is the Director of Opera Europa, the leading organization for professional opera companies throughout Europe. He has worked in opera since joining Covent Garden at the end of the 1960s, and subsequently worked for four different UK opera companies over twenty-seven consecutive years as Financial Controller of Welsh National Opera, General Administrator of Opera North, Director of the Royal Opera Covent Garden, and General Director of English National Opera. Nicholas Payne writes and broadcasts regularly on operatic and general arts.

Nicholas Ridout is Reader in Theatre and Performance Studies at Queen Mary, University of London. His publications include Theatre & Ethics (Palgrave Macmillan, 2009), The Theatre of Socetas Raffaello Sanzio (co-authored with Claudia Castellucci, Romeo Castellucci, Chiara Guidi and Joe Kelleher; Routledge, 2007), Stage Fright, Animals and Other Theatrical Problems (Cambridge University Press, 2006) and Contemporary Theatres in Europe: A Critical Companion (co-editor with Joe Kelleher; Routledge, 2006). In 201011 he was Visiting Professor in the Department of Theatre Arts and Performance Studies at Brown University and a guest speaker at the first Andrew Mellon Summer School in Theatre and Performance Studies at Harvard University.

Susan Rutherford is Senior Lecturer in Music at the University of Manchester. She studied voice at the Royal Northern College of Music in both undergraduate and postgraduate programmes before pursuing an academic career. In 2003, she was awarded the biennial Premio internazionale: Giuseppe Verdi by the Istituto Nazionale di Studi Verdiani, Parma, and in 2007 received the Pauline Alderman Award for outstanding research on women and music for her monograph The Prima Donna and Opera, 18151930 (Cambridge University Press, 2006).

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