The Cambridge companion to opera studies

364 Pages·2012·3.823 MB·English

by  Till, Nicholas (ed.)

TheCambridgeCompaniontoOperaStudies
Withitspowerfulcombinationofmusicandtheatre,operaisoneof
themostcomplexandyetimmediateofallartforms.Onceoperawas
studiedonlyas‘astepchildofmusicology’,butinthepasttwo
decadesoperastudieshasexperiencedanexplosionofenergywith
theintroductionofnewapproachesdrawnfromdisciplinessuchas
socialanthropologyandperformancestudiestomediatheory,genre
theory,genderstudiesandreceptionhistory.Writtenbyleading
scholarsinoperastudiestoday,thisCompanionoffersawide-ranging
guidetoarapidlyexpandingfieldofstudy,andnewwaysofthinking
aboutarichandintriguingartform,placingoperabackatthecentre
ofourunderstandingofWesterncultureoverthepast400years.This
bookgivesloversofoperaaswellasthosestudyingthesubjecta
comprehensiveapproachtothemanyfacetsofoperainthepastand
today.
nicholastillisProfessorofOperaandMusicTheatreand
LeverhulmeResearchFellowattheUniversityofSussex.
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The Cambridge Companion to
OPERA STUDIES
............
edited by
NicholasTill
UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom
CambridgeUniversityPressispartoftheUniversityofCambridge.
ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof
education,learningandresearchatthehighestinternationallevelsofexcellence.
www.cambridge.org
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(cid:2)C CambridgeUniversityPress2012
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andtotheprovisionsofrelevantcollectivelicensingagreements,
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Firstpublished2012
PrintedandboundintheUnitedKingdombytheMPGBooksGroup
AcataloguerecordforthispublicationisavailablefromtheBritishLibrary
LibraryofCongressCataloguinginPublicationdata
TheCambridgecompaniontooperastudies/editedbyNicholasTill.
p. cm.
Includesbibliographicalreferencesandindex.
ISBN978-0-521-85561-7(hardback)
1.Opera. I.Till,Nicholas,1955–
ML1700.C166 2012
782.1–dc23 2012013653
ISBN978-0-521-85561-7Hardback
ISBN978-0-521-67169-9Paperback
CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracy
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Contents
Notesoncontributors [pageviii]
Acknowledgements [xi]
Introduction:operastudiestoday NicholasTill [1]
•
PartI Institutions
1 Opera,thestateandsociety ThomasErtman [25]
2 Thebusinessofopera NicholasPayne [53]
3 Theoperaticevent:operahousesandoperaaudiences NicholasTill [70]
•
PartII Constituents
4 ‘Toomuchmusic’:themediaofopera ChristopherMorris [95]
5 Voicesandsingers SusanRutherford [117]
6 Operaandmodesoftheatricalproduction SimonWilliams [139]
7 Operaandthetechnologiesoftheatricalproduction
NicholasRidout [159]
•
PartIII Forms
8 Thedramaturgyofopera LaurelE.Zeiss [179]
9 Genreandpoetics AlessandraCampana [202]
10 Theoperaticwork:texts,performances,receptionsand
repertories NicholasTill [225]
•
PartIV Issues
11 Operaandgenderstudies HeatherHadlock [257]
12 Operaandnationalidentity SuzanneAspden [276]
13 ‘Anexoticandirrationalentertainment’:operaandourothers;
operaasother NicholasTill [298]
Furtherreading [325]
Index [338]
[vii]
Contributors
Suzanne Aspden teaches in the Music Faculty at the University of Oxford. Her
researchinterestscentreoneighteenth-centuryopera,andissuesofperformance
andidentity.Shehasco-editedabookonword–musicinterrelationships,andis
currentlycompletingabookonthereputedrivalryofthesingersFaustinaBordoni
andFrancescaCuzzoniin1720sLondon.Hernextbookprojectconcernsopera
andnationalidentityintheeighteenthcentury.Sheisco-editoroftheCambridge
OperaJournal.
Alessandra Campana is Assistant Professor of Music at Tufts University. She has
publishedonMozart,Verdi,PucciniandBelliniintheCambridgeOperaJournal,
Mozart Jahrbuch, Studi Verdiani and The Opera Quarterly. Recent publications
include ‘To Look Again (At Don Giovanni)’ in The Cambridge Companion to
Eighteenth-CenturyOpera(2009)and‘LookandSpectatorshipinManonLescaut’,
inTheOperaQuarterly(2009).Sheiscurrentlycompletingabookonoperaand
modern spectatorship in Italy between the 1870s and 1915 and is part of the
editorialteamofthenewOperaQuarterly.
ThomasErtmanisAssociateProfessorofSociologyatNewYorkUniversity,where
he teaches courses on historical sociology and sociology of the arts. He is co-
editor,alongwithVictoriaJohnsonandJaneFulcher,ofOperaandSocietyinItaly
andFrancefromMonteverditoBourdieu(CambridgeUniversityPress,2007)and
authorofBirthoftheLeviathan:BuildingStatesandRegimesinMedievalandEarly
ModernEurope(CambridgeUniversityPress,1997).Heiscurrentlyresearchinga
projectcomparingculturallifeinWeimarandThirdReichBerlin.
HeatherHadlockisAssociateProfessorofMusicologyatStanfordUniversity.Sheis
theauthorofMadLoves:WomenandMusicinOffenbach’s‘LesContesd’Hoffmann’
(PrincetonUniversityPress,2000),andhascontributedchapterstoTheCambridge
CompaniontoRossini(2003),Women’sVoicesAcrossMusicalWorlds(Northeastern
UniversityPress,2003),Berlioz:PastPresent,Future(UniversityofRochesterPress,
2003),SirenSongs(PrincetonUniversityPress,2000)andMusicologyandSister
Disciplines (Oxford University Press, 2000). She is Book Review Editor for the
Cambridge Opera Journal, and is Chair of the American Musicological Society
CommitteeontheStatusofWomen.
ChristopherMorrisisLecturerinMusicatUniversityCollege,Cork(UCC).Heis
amusicologistspecializinginopera,culturaltheory,Austro-Germanmodernism
and film music. He worked for four years as Archivist of the Canadian Opera
CompanybeforejoiningUCCin1998.HispublicationsincludeReadingOpera
BetweentheLines:OrchestralInterludesandCulturalMeaningfromWagnertoBerg
(CambridgeUniversityPress,2002)andheiscurrentlyworkingonabookentitled
ModernismandtheCultofMountains:Music,Opera,Cinema,tobepublishedby
Ashgate.HeisAssociateandReviewsEditorofTheOperaQuarterly.
NicholasPayneistheDirectorofOperaEuropa,theleadingorganizationforprofes-
sionaloperacompaniesthroughoutEurope.Hehasworkedinoperasincejoining
[viii]
ix Notesoncontributors
CoventGardenattheendofthe1960s,andsubsequentlyworkedforfourdifferent
UKoperacompaniesovertwenty-sevenconsecutiveyearsasFinancialController
ofWelshNationalOpera,GeneralAdministratorofOperaNorth,Directorofthe
Royal Opera Covent Garden, and General Director of English National Opera.
NicholasPaynewritesandbroadcastsregularlyonoperaticandgeneralarts.
NicholasRidoutisReaderinTheatreandPerformanceStudiesatQueenMary,Uni-
versityofLondon.HispublicationsincludeTheatre&Ethics(PalgraveMacmillan,
2009),TheTheatreofSoc`ıetasRaffaelloSanzio(co-authoredwithClaudiaCastel-
lucci,RomeoCastellucci,ChiaraGuidiandJoeKelleher;Routledge,2007),Stage
Fright,AnimalsandOtherTheatricalProblems(CambridgeUniversityPress,2006)
andContemporaryTheatresinEurope:ACriticalCompanion(co-editorwithJoe
Kelleher;Routledge,2006).In2010–11hewasVisitingProfessorintheDepart-
mentofTheatreArtsandPerformanceStudiesatBrownUniversityandaguest
speakeratthefirstAndrewMellonSummerSchoolinTheatreandPerformance
StudiesatHarvardUniversity.
SusanRutherfordisSeniorLecturerinMusicattheUniversityofManchester.She
studiedvoiceattheRoyalNorthernCollegeofMusicinbothundergraduateand
postgraduateprogrammesbeforepursuinganacademiccareer.In2003,shewas
awarded the biennial ‘Premio internazionale: “Giuseppe Verdi”’ by the Istituto
NazionalediStudiVerdiani,Parma,andin2007receivedthePaulineAlderman
Awardfor‘outstandingresearchonwomenandmusic’forhermonographThe
PrimaDonnaandOpera,1815–1930(CambridgeUniversityPress,2006).
Nicholas Till is Professor of Opera and Music Theatre and Leverhulme Research
Fellow at the University of Sussex. He has previously worked as a director for
operacompaniesintheUKandEurope,andasalibrettistanddirectorfornew
worksperformedbytheRoyalOperaGardenVenture,EnglishNationalOpera
StudioandStuttgartOpera,amongothers.HeistheauthorofMozartandthe
Enlightenment(1992),haswrittenextensivelyoncontemporaryoperaandmusic
theatre,andhastaughtinmanyfields,includingvisualartsandtheatre.AsDirector
oftheCentreforResearchinOperaandMusicTheatreattheUniversityofSussex,
heregularlycontributestalksandprogrammearticlestooperacompaniesinthe
UK,EuropeandtheUSA,andisafrequentcontributortoradioandtelevision
programmes.Heiscurrentlyworkingonabookabouttheoriginsofoperainthe
seventeenthcentury.
SimonWilliamsisProfessorandChairoftheDepartmentofDramaticArtatthe
University of California, Santa Barbara. He has published widely in the fields
ofEuropeancontinentaltheatre,thehistoryofacting,Shakespeareanperform-
ance and operatic history. His major publications include German Actors of
the Eighteenth and Nineteenth Centuries (Greenwood Press, 1985), Shakespeare
on the German Stage, 1586–1914 (Cambridge University Press, 1990), Richard
WagnerandFestivalTheatre(GreenwoodPress,1994)andRichardWagnerand
theRomanticHero(CambridgeUniversityPress,2004).Heisalsoanactivedirec-
torandreviewerofopera.Hiscurrentprojectsincludeco-editingAHistoryofthe
GermanTheatreforCambridgeUniversityPressandstudiesofShakespeareinthe
eighteenthcenturyandEuropeanoperainthenineteenth.