CAMBRIDGE OPERA JOURNAL Volumes 1 - 5 [15 Issues] 1989-1993

Description: Volume 1 - Issue 1 - March 1989 JOHN ROSSELLIFrom princely service to the open market: Singers of Italian opera and their patrons, 1600–1850pp. 1-32 CAROLYN ABBATEWagner, ‘On Modulation’, and Tristanpp. 33-58 CARYL EMERSONBack to the future: Shostakovich's revision of Leskov's ‘Lady Macbeth of Mtsensk District’pp. 59-78 JULIAN BUDDENThe genesis and literary source of Giacomo Puccini's first operapp. 79-85 ReviewPETER KIVYRobinson Paul. Opera and Ideas: From Mozart to Strauss. New York: Harper and Row, 1985; reprinted Ithaca, NY: Cornell University Press, 1986. 279 pp.pp. 87-93 Volume 1 - Issue 2 - July 1989 CARL DAHLHAUSWhat is a musical drama?pp. 95-111 ELLEN ROSANDMonteverdi's mimetic art: L'incoronazione di Poppeapp. 113-137 PATRICIA HOWARDpp. 139-153 HUGH MACDONALDThe prose librettopp. 155-166 ARTHUR GROOSReturn of the native: Japan in Madama Butterfly/Madama Butterfly in Japanpp. 167-194 ReviewULRICH WEISSTEINCarl Dahlhaus and Sieghart Döhring, eds. Pipers Enzyklopädie des Musiktheaters: Oper–Operette-Musical-Ballett. Vol. I, Werke: Abbatini bis Donizetti. Munich: Piper, 1986. 776 pp. Subscription price DM 368.pp. 195-201 Volume 1 - Issue 3 - November 1989 SUSAN MCCLARYConstructions of gender in Monteverdi's dramatic musicpp. 203-223 PAOLO GALLARATIMusic and masks in Lorenzo Da Ponte's Mozartianpp. 225-247 JAMES A. HEPOKOSKIGenre and content in mid-century Verdi: ‘Addio, del passato’ (La traviata, Act III)pp. 249-276 SUSAN YOUENSHugo Wolf and the operatic Grail: The search for a librettopp. 277-298 ReviewMICHAEL TANNERJoseph Kerman. Opera as Drama. New and revised edition. Berkeley: University of California Press, 1988. 232 pp. – Peter Kivy. Osmin's Rage. Philosophical Reflections on Opera, Drama, and Text. Princeton: Princeton University Press, 1988. 303 pp.pp. 299-306 Volume 2 - Issue 1 - March 1990 CURTIS PRICE, JUDITH MILHOUS, ROBERT D. HUMEA Royal Opera House in Leicester Square (1790)pp. 1-28 LUCA ZOPPELLI‘Stage music’ in early nineteenth-century Italian operapp. 29-39 PHILIP GOSSETTBecoming a citizen: The chorus in Risorgimento operapp. 41-64 WILLIAM ASHBROOKPopular success, the critics and fame: The early careers of Lucia di Lammermoor and Belisariopp. 65-81 RICHARD TARUSKINChristian themes in Russian opera: A millennial essaypp. 83-91 ReviewKATHERINE BERGERONCatherine Clément. Opera, or the Undoing of Women. Trans. Betsy Wing. Minneapolis: University of Minnesota Press, 1988. 202 pp.pp. 93-98 Volume 2 - Issue 2 - July 1990 The buffa aria in Mozart's ViennaJohn Platoffpp. 99-120 ADELYN PECK LEVERETTLiszt, Wagner and Heinrich Dorn's Die Nibelungenpp. 121-144 ARNOLD WHITTALL‘Twisted relations’: Method and meaning in Britten's Billy Buddpp. 145-171 MATTHIAS THEODOR VOGTListening as a Letter of Uriah: A note on Berio's Un re in ascolto (1984) on the occasion of the opera's first performance in London (9 February 1989)pp. 173-185 Review symposium: Recent Mozart literature CAROLYN ABBATE, ROGER PARKERDismembering Mozartpp. 187-195 JAMES WEBSTERMozart's operas and the myth of musical unitypp. 197-218 Volume 2 - Issue 3 - November 1990 PIERLUIGI PETROBELLIOn Dante and Italian music: Three momentspp. 219-249 LINDA TYLERAria as drama: A sketch from Mozart's Der Schauspieldirektorpp. 251-267 LAWRENCE KRAMERCulture and musical hermeneutics: The Salome complexpp. 269-294 JANE FULCHERVincent d'Indy's ‘Drame Anti-Juif’ and its meaning in Paris, 1920pp. 295-319 ReviewMICHAEL P. STEINBERGMarvin Carlson. Places of Performance: The Semiotics of Theatre Architecture. Ithaca: Cornell University Press, 1989. 212 pp.pp. 321-329 Volume 3 - Issue 1 - March 1991 JULIAN RUSHTON‘La vittima è Idamante’: Did Mozart have a motive?pp. 1-21 PAUL ROBINSONFidelio and the French Revolutionpp. 23-48 FABRIZIO DELLA SETA‘O cieli azzurri’: Exoticism and dramatic discourse in Aidapp. 49-62 PETER KIVYOpera talk: A philosophical ‘phantasie’pp. 63-77 Review ARNOLD WHITTALLCarl Dahlhaus, the nineteenth century and operapp. 79-88 Volume 3 - Issue 2 - July 1991 MARY HUNTERSome representations of opera seria in opera buffapp. 89-108 BARRY EMSLIEWoman as image and narrative in Wagner's Parsifal: A case studypp. 109-124 ARTHUR GROOSMadame Butterfly: The storypp. 125-158 PETER FRANKLINDistant sounds – Fallen music: Der ferne Klang as ‘woman's opera’?pp. 159-172 ALLAN W. ATLASNewly discovered sketches for Puccini's Turandot at The Pierpont Morgan Librarypp. 173-193 Volume 3 - Issue 3 - November 1991 ‘The Blue Note’ and ‘The objectified voice and the vocal object’Michel Poizatpp. 195-211 CURTIS PRICE, JUDITH MILHOUS, ROBERT D. HUMEA plan of the Pantheon Opera House (1790–92)pp. 213-246 BARRY MILLINGTONNuremberg Trial: Is there anti-semitism in Die Meistersinger?pp. 247-260 RALPH P. LOCKEConstructing the Oriental ‘Other’: Saint-Saëns's Samson et Dalilapp. 261-302 ReviewNELLY FURMANMarie-France Castarède. La voix et ses sortilèges. Paris: Société d'édition «Les Belles Lettres», 1987. 280 pp. - Michel Poizat. L'Opéra ou le cri de l'ange. Essai sur la jouissance de l'amateur d'Opéra. Paris: A. M. Métailié, 1986. 292 pp. - Philippe-Joseph Salazar. Idéologies de l'opéra. Paris: Presses universitaires de France, 1980. 208 pp.pp. 303-306 Volume 4 - Issue 1 - March 1992 MARIAN SMITH‘Poésie lyrique’ and ‘Chorégraphie’ at the Opéra in the July Monarchypp. 1-19 STEWART SPENCERWagner's Nurembergpp. 21-41 BARRY EMSLIEBilly Budd and the fear of wordspp. 43-59 DAVID ROSENCone's and Kivy's ‘World of Opera’pp. 61-74 ELLEN ROSANDOperatic ambiguities and the power of musicpp. 75-80 ReviewMARVIN CARLSONRobert Donington. Opera and its Symbols: The Unity of Words, Music, and Staging. New Haven: Yale University Press, 1990. 248 pp.pp. 81-85 JOHN ROSSELLIDavid Kimbell. Italian Opera. Cambridge: Cambridge University Press, 1991. 684 pp.pp. 87-90 Volume 4 - Issue 2 - July 1992 ELISABETH SCHMIERERPiccinni's Iphigénie en Tauride: ‘Chant périodique’ and dramatic structurepp. 91-118 MARY ANN SMARTThe silencing of Luciapp. 119-141 JOHN DEATHRIDGEWagner and the post-modernpp. 143-161 RHIAN SAMUELBirtwistle's Gawain: An essay and a diarypp. 163-178 PETER KIVYComposers and ‘composers’: A response to David Rosenpp. 179-186 ReviewRICHARD TARUSKINCarolyn Abbate. Unsung Voices. Opera and Musical Narrative in the Nineteenth Century. Princeton: Princeton University Press, 1991. 288 pp.pp. 187-197 Volume 4 - Issue 3 - November 1992 NEAL ZASLAWScylla et Glaucus: A case studypp. 199-228 ELIZABETH HUDSONGilda seduced: A tale untoldpp. 229-251 RICHARD TARUSKIN‘Entoiling the falconet’: Russian musical orientalism in contextpp. 253-280 PAUL WINGFIELDJanáček's speech-melody theory in concept and practicepp. 281-301 ReviewTHOMAS BAUMANIvan Nagel. Autonomy and Mercy: Reflections on Mozart's Operas. trans. Marion Faber and Ivan Nagel. Cambridge, Mass.: Harvard University Press, 1991. [Originally published as Autonomie und Gnade: Über Mozarts Opern. Munich: Carl Hanser Verlag, 1985.]pp. 303-308 Volume 5 - Issue 1 - March 1993 TIM CARTER‘In Love's harmonious consort’? Penelope and the interpretation of Il ritorno d'Ulisse in patriapp. 1-16 MICHAEL FENDLiterary motifs, musical form and the quest for the ‘Sublime’: Cherubini's Eliza ou le Voyage aux glaciers du Mont St Bernardpp. 17-38 ADRIANA GUARNIERI CORAZZOLOpera and verismo: Regressive points of view and the artifice of alienationpp. 39-53 KIM H. KOWALKESinging Brecht vs. Brecht singing: Performance in theory and practicepp. 55-78 ReviewROBERT R. HOLZERIain Fenlon and Peter N. Miller. The Song of the Soul: Understanding ‘Popilea’. London: Royal Musical Association, 1992. viii + 96 pp. (Royal Musical Association Monographs 5).pp. 79-92 Volume 5 - Issue 2 - July 1993 WENDY HELLERThe queen as king: Refashioning Semiramide for Seicento Venicepp. 93-114 MICHAEL WITTMANNMeyerbeer and Mercadante? The reception of Meyerbeer in Italypp. 115-132 PAUL ROBINSONIs Aida an orientalist opera?pp. 133-140 LAWRENCE KRAMERFin-de-siècle fantasies: Elektra, degeneration and sexual sciencepp. 141-165 BARRY EMSLIEThe domestication of operapp. 167-177 ReviewMERCEDES VIALE FERREROH. Robert Cohen and Marie-Odile Gigou. Cent ans de mise en scène lyrique en France (env. 1830–1930). Catalogue descriptif des livrets de mise en scène, des libretti annotés et des partitions annotées dans la Bibliothèque de l'Association de la régie théâtrale (Paris). Preface by Philip Gossett. New York: Pendragon Press, 1986. lviii + 334 pp.pp. 179-186 Volume 5 - Issue 3 - November 1993 KENNETH HAMILTONReminiscences of a scandal – reminiscences of La Scala: Liszt's fantasy on Mercadante's Il giuramentopp. 187-198 PHILIP GOSSETTNew sources for Stiffelio: A preliminary reportpp. 199-222 STEVEN HUEBNERMassenet and Wagner: Bridling the influencepp. 223-238 GEOFFREY CHEWPastoral and neoclassicism: A reinterpretation of Auden's and Stravinsky's Rake's Progresspp. 239-263 ReviewHEATHER HADLOCKWayne Koestenbaum, The Queen's Throat: Opera, Homosexuality and the Mystery of Desire. New York, Poseidon Press: 1993. Hardback, 271 pp.pp. 265-275

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