Contributor
Newark, Cormac, 1972- editor.
ImprintNew York, NY : Oxford University Press, [2020]
Descriptionxvii, 614 pages : illustrations ; 26 cm.
Note:General Introduction: Idiosyncrasies of the operatic canon / Cormac Newark and William Weber -- Part 1. History, geography -- The practical and symbolic functions of pre-Rameau opera at the Paris Opéra before Gluck / Michel Noiray -- Italian opera and the concept of "canon" in the late eighteenth century / Franco Piperno -- The repertory of the Italian Court Opera in Berlin, 1740-1786 / John Mangum -- Catching up and getting ahead: The opera house as temple of art in Berlin c. 1800 / Katherine Hambridge -- From recycled performances to repertoire at the King's Theatre in London, 1705-1820 / Michael Burden -- Repertory opera and canonic sensibility at the London opera, 1820-1860 / Jennifer Hall-Witt -- The evolution of French opera repertories in provincial theaters: Three epochs, 1770-1900 / Patrick Taïeb and Sabine Teulon Lardic -- The mingling of opera genres: Canonic opera at the Théâtre des Arts in Rouen, 1882-1897 / Yannick Simon -- Theaters, markets, and canonic implications in the Italian opera system, 1820-1880 / Carlotta Sorba -- Operatic canons and repertories in Italy around 1900 / Jutta Toelle -- International opera in nineteenth-century New York: Core repertories and canonic values / Karen Ahlquist -- Canons of real and imagined opera: Buenos Aires and Montevideo, 1810-1860 / Benjamin Walton -- The survival of English opera in nineteenth-century concert life / William Weber -- National and international canons of opera in Tsarist Russia / Rutger Helmers -- Part 2. Other views, other canons -- Setting the standard: Singers, theater practices, and the operatic canon in nineteenth-century France / Kimberley White -- Redefining the standard: Pauline Viardot and Gluck's Orphée / Hilary Poriss -- Canons of the Risorgimento then and now / Cormac Newark -- "Blow the opera houses into the air": Wagner, Boulez, and modernist canons / Mark Berry -- Phantoms at the Opéra: Meyerbeer and de-canonization / Flora Willson -- The uses and disadvantages of opera history: Unhistorical thinking in fin-de-siècle Paris / William Gibbons -- Viennese operetta canon formation and the journey to prestige / Micaela Baranello -- Canons of the American musical / Raymond Knapp -- Sound recording and the operatic canon: Three "drops of the needle" / Karen Henson -- Opera on film and the canon / Hugo Shirley -- Critical reflections on the operatic canon / John Rockwell -- Inside and outside the operatic canon, on stage and in the boardroom / Kasper Holten.
Bibliography Note:Includes bibliographical references (pages 549-578) and index.
Note:"This collection examines the phenomenon of the operatic canon: its formation, history, current ontology and practical influence, and future. It does so by taking an international and interdisciplinary view: the workshops from which it was derived included the participation of critics, producers, artistic directors, stage directors, opera company CEOs, and even economists, from the United Kingdom, the United States, France, Italy, Ireland, Germany, the Netherlands, Denmark, and Canada. The volume is structured as a series of dialogues: each subtopic is addressed by two essays, introduced jointly by the authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways, for example by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting milieus. Part I consists of a selection of surveys of operatic production and consumption contexts in France, Italy, Germany, England, Russia, and the Americas, arranged in rough order from the late seventeenth century to the late nineteenth century. Part II is a (necessarily) limited sample of subjects that illuminate the operatic canon from different-sometimes intentionally oblique-angles, ranging from the influence of singers to the contiguous genres of operetta and musical theater, and the effects of recording and broadcast over almost 150 years. The volume concludes with two essays written by prominent figures from the opera industry who give their sense of the operatic canon's evolution and prospects."-- Provided by publisher.
