Table of Contents
Acknowledgments ix
Introduction xi
Part I The Evolution of Comic Opera
1 Mozart, the Serious Comic Don Giovanni 3
2 The Renewal of Comic Opera Rossini's La Cenerentola 17
3 The Final Frontier Verdi's Falstaff 31
Part II Bel Canto and Beyond
4 The Rebirth of Italian Opera Seria Rossini's Semiramide 47
5 Hybrid Opera Bellini's I Puritani 65
6 The Beginning of the End Verdi's Nabucco 81
Part III Italian Opera in Revolution
7 New Directions in Italian Opera Verdi's Rigoletto 97
Part IV Opera as Autobiography
8 A Case of Self-Salvation Beethoven's Fidelio 119
9 When Is Opera Not Opera? Berlioz's La damnation de Faust 135
Part V Shakespearean Opera
10 Rewriting Shakespeare Gounod's Roméo et Juliette 155
11 Adaptation and Form in Late-Nineteenth-Century Opera Verdi's Otello 173
Part VI From Literature to Opera
12 A Hero's Transformation Gounod's Faust 193
13 Two (of the Three) Manons Massenet vs. Puccini 211
Part VII Symphonic Opera
14 Wagner, Strauss, and the Question of Operatic Form 229
Part VIII French Grand Opera
15 A Foreigner's View Verdi's Don Carlos 245
16 A Misjudged Masterpiece Berlioz's Les Troyens 259
Part IX Verismo Opera
17 A Sociological Interpretation Bizet's Carmen 275
18 The Not-So-"Shabby Little Shocker" Puccini's Tosca 289
Part X Fairy-Tale Opera
19 The (Un)solved Riddle Puccini's Turanadot 303
Part XI The Influence of Wagner
20 The Exorcism of Wagner Debussy's Pelléas et Mélisande 321
Part XII Approaches to Twentieth-Century Opera
21 Looking Ahead While Looking Back: Bartók, Berg, and Britten 339
Glossary 365
Bibliography 369
Index 371