Helen M. Greenwald is a musicologist, cellist, and translator on the faculty of the New England Conservatory. Her work has appeared in such journals as 19th-Century Music, Acta Musicologica, Music & Letters, Journal of the American Musicological Society, Current Musicology, the Mozart-Jahrbuch, Nineteenth-Century Music Review, Notes, Studi musicali toscani, Newsletter of the Résource Internationale d'Iconographie Musicale, and Cambridge Opera Journal.

The best writers here are erudite, witty, thoughtful, a little weird. They can analyse and explain but they are are still prepared to surrender to the impact of a greedy, usually overtly emotional art form

• CONTENTS ; List of Figures ; List of Musical Examples ; List of Tables ; List of Contributors ; Acknowledgements ; A Note about Translations and Music Examples ; INTRODUCTION: Helen M. Greenwald ; PART I. WHAT IS OPERA? ; 1. Tim Carter: What is Opera? ; 2. Emanuele Senici: Genre ; 3. Derek B. Scott: Musical Theater(s) ; 4. Monika Hennemann: Operatorio? ; 5. Lydia Goehr: The Concept of Opera ; PART II. WORDS, MUSIC, AND MEANING ; The Libretto and the Score ; 6. Vincent Giroud: Oft-Told Tales ; 7. Marina Frolova-Walker: The Problem of National Style ; 8. Damien Colas: Musical Dramaturgy ; 9. Andreas Giger: Versification ; 10. John Warrack: The German Libretto of the Early Nineteenth Century ; 11. William Drabkin: Analyzing Opera ; Humanism, Verisimilitude, and Voice ; 12. Wendy Heller: Opera between the Ancients and the Moderns ; 13. Thomas Betzwieser: Verisimilitude ; 14. Michal Grover-Friedlander: Voice ; 15. Julian Rushton: Characterization ; 16. Lawrence Kramer: Meaning ; PART III: PERFORMANCE AND PRODUCTION ; 17. Hilary Poriss: Divas and Divos ; 18. Martha Feldman: Castrato Acts ; 19. Mark Everist: Rehearsal Practices ; 20. Simon Williams: Acting ; 21. Ryan Minor: The Chorus ; 22. Alessandro Di Profio: The Orchestra ; 23. Linda Tomko: Dance ; 24. Katherine Syer: Production Aesthetics and Materials ; 25. Veronica Isaac: Costumes ; 26. Ulrich Mueller: Regietheater/ Director's Theater ; 27. Mary Hunter: Historically Informed Performance ; PART IV: OPERA AND SOCIETY ; 28. Marianne Betz: Opera Composition and Cultural Environment ; 29. Valeria De Lucca: Patronage ; 30. Georgia Cowart: Audiences ; 31. Daniela Macchione: Autographs, Memorabilia, and the Aesthetics of Collecting ; 32. Marc Weiner: Politics ; 33. Jesse Rosenberg: Religion ; 34. John Graziano: Race ; 35. Alexandra Wilson: Gender ; 36. W. Anthony Sheppard: Exoticism ; 37. Francesco Izzo: Censorship ; PART V: TRANSMISSION AND RECEPTION ; 38. Louise Stein: How Opera Traveled ; 39. James Parakilas: The Operatic Canon ; 40. Paul Watt: Critics ; 41. Thomas Christensen: Soundings Offstage ; 42. Marcia J. Citron: Visual Media ; 43. Helen M. Greenwald: Operatic Images ; 44. Linda Fairtile: Sources ; 45. Charles Brauner: Reconstructions ; 46. Patricia Brauner: Editing Opera ; 47. Philip Gossett: Writing the History of Opera ; PART VI: OPERA ON THE EDGE ; 48. Joy H. Calico: 1900-1945 ; 49. Robert Fink: After the Canon ; EPILOGUE ; 50. Jake Heggie: Composing Opera Today ; Index of Musical Works ; General Index

Helen M. Greenwald is a musicologist, cellist, and translator on the faculty of the New England Conservatory. Her work has appeared in such journals as 19th-Century Music, Acta Musicologica, Music & Letters, Journal of the American Musicological Society, Current Musicology, the Mozart-Jahrbuch, Nineteenth-Century Music Review, Notes, Studi musicali toscani, Newsletter of the Résource Internationale d'Iconographie Musicale, and Cambridge Opera Journal.

The best writers here are erudite, witty, thoughtful, a little weird. They can analyse and explain but they are are still prepared to surrender to the impact of a greedy, usually overtly emotional art form

• CONTENTS ; List of Figures ; List of Musical Examples ; List of Tables ; List of Contributors ; Acknowledgements ; A Note about Translations and Music Examples ; INTRODUCTION: Helen M. Greenwald ; PART I. WHAT IS OPERA? ; 1. Tim Carter: What is Opera? ; 2. Emanuele Senici: Genre ; 3. Derek B. Scott: Musical Theater(s) ; 4. Monika Hennemann: Operatorio? ; 5. Lydia Goehr: The Concept of Opera ; PART II. WORDS, MUSIC, AND MEANING ; The Libretto and the Score ; 6. Vincent Giroud: Oft-Told Tales ; 7. Marina Frolova-Walker: The Problem of National Style ; 8. Damien Colas: Musical Dramaturgy ; 9. Andreas Giger: Versification ; 10. John Warrack: The German Libretto of the Early Nineteenth Century ; 11. William Drabkin: Analyzing Opera ; Humanism, Verisimilitude, and Voice ; 12. Wendy Heller: Opera between the Ancients and the Moderns ; 13. Thomas Betzwieser: Verisimilitude ; 14. Michal Grover-Friedlander: Voice ; 15. Julian Rushton: Characterization ; 16. Lawrence Kramer: Meaning ; PART III: PERFORMANCE AND PRODUCTION ; 17. Hilary Poriss: Divas and Divos ; 18. Martha Feldman: Castrato Acts ; 19. Mark Everist: Rehearsal Practices ; 20. Simon Williams: Acting ; 21. Ryan Minor: The Chorus ; 22. Alessandro Di Profio: The Orchestra ; 23. Linda Tomko: Dance ; 24. Katherine Syer: Production Aesthetics and Materials ; 25. Veronica Isaac: Costumes ; 26. Ulrich Mueller: Regietheater/ Director's Theater ; 27. Mary Hunter: Historically Informed Performance ; PART IV: OPERA AND SOCIETY ; 28. Marianne Betz: Opera Composition and Cultural Environment ; 29. Valeria De Lucca: Patronage ; 30. Georgia Cowart: Audiences ; 31. Daniela Macchione: Autographs, Memorabilia, and the Aesthetics of Collecting ; 32. Marc Weiner: Politics ; 33. Jesse Rosenberg: Religion ; 34. John Graziano: Race ; 35. Alexandra Wilson: Gender ; 36. W. Anthony Sheppard: Exoticism ; 37. Francesco Izzo: Censorship ; PART V: TRANSMISSION AND RECEPTION ; 38. Louise Stein: How Opera Traveled ; 39. James Parakilas: The Operatic Canon ; 40. Paul Watt: Critics ; 41. Thomas Christensen: Soundings Offstage ; 42. Marcia J. Citron: Visual Media ; 43. Helen M. Greenwald: Operatic Images ; 44. Linda Fairtile: Sources ; 45. Charles Brauner: Reconstructions ; 46. Patricia Brauner: Editing Opera ; 47. Philip Gossett: Writing the History of Opera ; PART VI: OPERA ON THE EDGE ; 48. Joy H. Calico: 1900-1945 ; 49. Robert Fink: After the Canon ; EPILOGUE ; 50. Jake Heggie: Composing Opera Today ; Index of Musical Works ; General Index

Helen M. Greenwald is a musicologist, cellist, and translator on the faculty of the New England Conservatory. Her work has appeared in such journals as 19th-Century Music, Acta Musicologica, Music & Letters, Journal of the American Musicological Society, Current Musicology, the Mozart-Jahrbuch, Nineteenth-Century Music Review, Notes, Studi musicali toscani, Newsletter of the Résource Internationale d'Iconographie Musicale, and Cambridge Opera Journal.

The best writers here are erudite, witty, thoughtful, a little weird. They can analyse and explain but they are are still prepared to surrender to the impact of a greedy, usually overtly emotional art form

• CONTENTS ; List of Figures ; List of Musical Examples ; List of Tables ; List of Contributors ; Acknowledgements ; A Note about Translations and Music Examples ; INTRODUCTION: Helen M. Greenwald ; PART I. WHAT IS OPERA? ; 1. Tim Carter: What is Opera? ; 2. Emanuele Senici: Genre ; 3. Derek B. Scott: Musical Theater(s) ; 4. Monika Hennemann: Operatorio? ; 5. Lydia Goehr: The Concept of Opera ; PART II. WORDS, MUSIC, AND MEANING ; The Libretto and the Score ; 6. Vincent Giroud: Oft-Told Tales ; 7. Marina Frolova-Walker: The Problem of National Style ; 8. Damien Colas: Musical Dramaturgy ; 9. Andreas Giger: Versification ; 10. John Warrack: The German Libretto of the Early Nineteenth Century ; 11. William Drabkin: Analyzing Opera ; Humanism, Verisimilitude, and Voice ; 12. Wendy Heller: Opera between the Ancients and the Moderns ; 13. Thomas Betzwieser: Verisimilitude ; 14. Michal Grover-Friedlander: Voice ; 15. Julian Rushton: Characterization ; 16. Lawrence Kramer: Meaning ; PART III: PERFORMANCE AND PRODUCTION ; 17. Hilary Poriss: Divas and Divos ; 18. Martha Feldman: Castrato Acts ; 19. Mark Everist: Rehearsal Practices ; 20. Simon Williams: Acting ; 21. Ryan Minor: The Chorus ; 22. Alessandro Di Profio: The Orchestra ; 23. Linda Tomko: Dance ; 24. Katherine Syer: Production Aesthetics and Materials ; 25. Veronica Isaac: Costumes ; 26. Ulrich Mueller: Regietheater/ Director's Theater ; 27. Mary Hunter: Historically Informed Performance ; PART IV: OPERA AND SOCIETY ; 28. Marianne Betz: Opera Composition and Cultural Environment ; 29. Valeria De Lucca: Patronage ; 30. Georgia Cowart: Audiences ; 31. Daniela Macchione: Autographs, Memorabilia, and the Aesthetics of Collecting ; 32. Marc Weiner: Politics ; 33. Jesse Rosenberg: Religion ; 34. John Graziano: Race ; 35. Alexandra Wilson: Gender ; 36. W. Anthony Sheppard: Exoticism ; 37. Francesco Izzo: Censorship ; PART V: TRANSMISSION AND RECEPTION ; 38. Louise Stein: How Opera Traveled ; 39. James Parakilas: The Operatic Canon ; 40. Paul Watt: Critics ; 41. Thomas Christensen: Soundings Offstage ; 42. Marcia J. Citron: Visual Media ; 43. Helen M. Greenwald: Operatic Images ; 44. Linda Fairtile: Sources ; 45. Charles Brauner: Reconstructions ; 46. Patricia Brauner: Editing Opera ; 47. Philip Gossett: Writing the History of Opera ; PART VI: OPERA ON THE EDGE ; 48. Joy H. Calico: 1900-1945 ; 49. Robert Fink: After the Canon ; EPILOGUE ; 50. Jake Heggie: Composing Opera Today ; Index of Musical Works ; General Index