A Short History of OperaColumbia University Press, 2003 - 1030 pages When first published in 1947, A Short History of Opera immediately achieved international status as a classic in the field. Now, more than five decades later, this thoroughly revised and expanded fourth edition informs and entertains opera lovers just as its predecessors have. The fourth edition incorporates new scholarship that traces the most important developments in the evolution of musical drama. After surveying anticipations of the operatic form in the lyric theater of the Greeks, medieval dramatic music, and other forerunners, the book reveals the genre's beginnings in the seventeenth century and follows its progress to the present day. A Short History of Opera examines not only the standard performance repertoire, but also works considered important for the genre's development. Its expanded scope investigates opera from Eastern European countries and Finland. The section on twentieth-century opera has been reorganized around national operatic traditions including a chapter devoted solely to opera in the United States, which incorporates material on the American musical and ties between classical opera and popular musical theater. A separate section on Chinese opera is also included. With an extensive multilanguage bibliography, more than one hundred musical examples, and stage illustrations, this authoritative one-volume survey will be invaluable to students and serious opera buffs. New fans will also find it highly accessible and informative. Extremely thorough in its coverage, A Short History of Opera is now more than ever the book to turn to for anyone who wants to know about the history of this art form. |
Table des matières
Introduction I | 1 |
I | 9 |
The Immediate Forerunners of Opera | 21 |
4 | 41 |
Other Early SeventeenthCentury Italian Court Operas Including | 60 |
Italian Opera in the Later Seventeenth Century in Italy | 83 |
SeventeenthCentury Italian Opera in GermanSpeaking | 107 |
Early German Opera | 121 |
PART 4 | 330 |
PART 5 | 464 |
National Traditions of Opera | 507 |
Introduction Opera in France and Italy | 577 |
Opera in the GermanSpeaking Countries | 611 |
National Opera in Russia and Neighboring Countries Central | 662 |
Opera in the British Isles Canada Australia and New Zealand | 708 |
Opera in the United States | 729 |
Opera in France from Lully to Charpentier | 132 |
IO Opera in England | 147 |
Masters of the Early Eighteenth Century | 165 |
General Characteristics | 203 |
The Composers | 225 |
The Operas of Gluck | 253 |
Chinese Opera Xiqu | 787 |
List of Abbreviations | 795 |
Sources and Translations of Musical Examples | 897 |
911 | |
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accompanied Alessandro Scarlatti arias audiences ballet Baroque bass castrato characters choral chorus comedy comic opera composer's composition continued court dance Die Zauberflöte Donizetti dramatic duet early Edited eighteenth century English ensembles example final Francesco French opera German opera Giovanni Gluck grand opera Handel harmony important influence instrumental intermezzos Italian opera Italy Johann later Leipzig librettist libretto London Lully lyrical melody Metastasio Metropolitan Opera Monteverdi motifs Mozart musical style Musik musique nineteenth century one-act opera buffa opéra comique opera composers opera seria operetta orchestra Orfeo overture Paris performed play popular premiere production recitative repertoire revised revival rhythms Richard Strauss ritornello role Romantic Rome Rossini Russian scene seventeenth singers singing Singspiel solo songs spoken dialogue stage story Strauss successful sung Tannhäuser theater themes tion tonal tradition Translation University Press Venice Verdi Vienna vocal voice vols Wagner Wozzeck writing York zarzuela