ISBN-10:
0521199891
ISBN-13:
9780521199896
Pub. Date:
12/31/2010
Publisher:
Cambridge University Press
Situating Opera: Period, Genre, Reception

Situating Opera: Period, Genre, Reception

by Herbert Lindenberger

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Overview

Situating Opera: Period, Genre, Reception

Setting opera within a variety of contexts - social, aesthetic, historical - Lindenberger illuminates a form that has persisted in recognizable shape for over four centuries. The study examines the social entanglements of opera, for example the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its initial and later audiences. It shows how modernist opera rethought the nature of theatricality and often challenged its viewers by means of both musical and theatrical shock effects. Using recent experiments in neuroscience, the book demonstrates how different operatic forms developed at different periods to create new ways of exciting a public. Lindenberger considers selected moments of operatic history from Monteverdi's Orfeo to the present to study how the form has communicated with its diverse audiences. Of interest to scholars and operagoers alike, this book advocates and exemplifies opera studies as an active, emerging area of interdisciplinary study.

Product Details

ISBN-13: 9780521199896
Publisher: Cambridge University Press
Publication date: 12/31/2010
Series: Cambridge Studies in Opera Series
Pages: 324
Product dimensions: 6.20(w) x 9.00(h) x 0.90(d)

About the Author

Herbert Lindenberger is Avalon Professor of Humanities Emeritus at Stanford University. He is the author of Opera in History: From Monteverdi to Cage (1998), The Literature in History: On Genre, Values, Institutions (1990), Opera: The Extravagant Art (1984), and Saul's Fall: A Critical Fiction (1979).

Table of Contents

Prologue. Why opera? Why (how, where) situate?; 1. Anatomy of a war horse: Il trovatore from A to Z; 2. On opera and society (assuming a relationship); 3. Opera and the novel: antithetical or complementary?; 4. Opera by other means; 5. Opera and/as lyric; 6. From separatism to unity: aesthetic theorizing from Reynolds to Wagner; 7. Toward a characterization of modernist opera; 8. Anti-theatricality in twentieth-century opera; 9. A brief consumer's history of opera; Epilogue. Why (what, how, if) opera studies?; Works cited.

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"...very accessible and offer excellent insights into why operas of the 20th century and beyond seem to have a more limited audience than the lyrical dramatic operas of the 19th century." —Choice

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