Margaret Notley - Opera after 1900

First published 2010 by Ashgate Publishing

Published 2016 by Routledge
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Copyright Margaret Notley 2010. For copyright of individual articles please refer to the Acknowledgements.

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British Library Cataloguing in Publication Data
Opera after 1900. (The Ashgate library of essays in opera studies)

1. OperaEurope20th century.

I. Series II. Notley, Margaret Anne.

782.1949041 -dc22

Library of Congress Control Number: 2010925877

ISBN 9780754628989 (hbk)

The editor and publishers wish to thank the following for permission to use copyright material.

Boydell Press for the essay: Philip Brett (1996), Peter Grimes : The Growth of the Libretto, in Paul Banks (ed.), The Making of Peter Grimes, Aldeburgh Studies in Music, 6, Woodbridge, Suffolk: Boydell Press, pp. 5378; plates 711. Copyright 1996 Philip Brett.

Cambridge University Press for the essays: Carl Dahlhaus (1987), Expressive Principle and Orchestral Polyphony in Schoenbergs Erwartung , in Carl Dahlhaus, Schoenberg and the New Music: Essays by Carl Dahlhaus , trans. Derrick Puffett and Alfred Clayton, Cambridge: Cambridge University Press, pp. 14955. Copyright 1987 Cambridge University Press, the original paper in the German language 1978 Carl Dahlhaus; Sherry D. Lee (2006), A Florentine Tragedy , or Woman as Mirror, Cambridge Opera Journal , , pp. 3358. Copyright 2006 Cambridge University Press; Bryan Gilliam (2003), Ariadne, Daphne and the Problem of Verwandlung , Cambridge Opera Journal , , pp. 6781. Copyright 2003 Cambridge University Press; Caryl Emerson (1989), Back to the Future: Shostakovichs Revision of Leskovs Lady Macbeth of Mtsensk District, Cambridge Opera Journal , , pp. 5978; Arnold Whittall (1990), Twisted Relations: Method and Meaning in Brittens Billy Budd , Cambridge Opera Journal , , pp. 14571; David Beard (2006), The Shadow of Opera: Dramatic Narrative and Musical Discourse in Gawain , Twentieth-Century Music , , pp. 15995. Copyright 2006 Cambridge University Press; Christopher Reynolds (2007), Porgy and Bess , An American Wozzeck , Journal of the Society for American Music , , pp. 128. Copyright 2007 The Society for American Music; Elizabeth B. Crist (2007), The Best of All Possible Worlds: The Eldorado Episode in Leonard Bernsteins Candide , Cambridge Opera Journal , , pp. 22318. Copyright 2007 Cambridge University Press.

Copyright Clearance Center for the essay: Margaret Notley (2008), Bergs Propaganda Pieces: The Platonic Idea of Lulu, The Journal of Musicology, , pp. 95142. Copyright 2008 by the Regents of the University of California. All rights reserved.

Johns Hopkins University Press for the essay: Kim H. Kowalke (1995), Kurt Weill, Modernism, and Popular Culture: ffentlichkeit als Stil, Modernism/Modernity, , pp. 2769. Copyright 1995 The Johns Hopkins University Press.

Laaber-Verlag for the essay: Stephen Hinton (1988), The Concept of Epic Opera: Theoretical Anomalies in the Brecht-Weill Partnership, in Hermann Danuser et al. (eds), Das musikalische Kunstwerk: Geschichte sthetik Theorie. Festschrift Carl Dahlhaus zum 60. Geburtstag, Laaber: Laaber-Verlag, pp. 28594.

MIT for the essay: Jane F. Fulcher (2006), French Identity in Flux: The Triumph of Honeggers Antigone, Journal of Interdisciplinary History , , pp. 64974. Copyright 2006 Massachusetts Institute of Technology and The Journal of Interdisciplinary History, Inc.

Oxford University Press for the essays: Joseph Auner (2007), Schoenberg as Moses and Aron, The Opera Quarterly , , pp. 37384. Copyright 2007 Joseph Auner; Judit Frigyesi (2000), The Verbunkos and Bartks Modem Style: The Case of Duke Bluebeards Castle, in Elliott Antokoletz, Victoria Fischer and Benjamin Suchoff (eds), Bartk Perspectives: Man, Composer, and Ethnomusicologist , New York and Oxford: Oxford University Press, pp. 14051. Copyright 2000 Oxford University Press; Clifford Hindley (1990), Why Does Miles Die? A Study of Brittens The Turn of the Screw, The Musical Quarterly , , pp. 117; Lawrence Kramer (2007), The Great American Opera: Klinghoffer, Streetcar , and the Exception, The Opera Quarterly , , pp. 6680. Copyright 2008 Lawrence Kramer.