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Opera and sovereignty: transforming myths in eighteenth-century Italy
0 references·16 citing·49 second hop
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Cited by

  • 2013Venice: history of the floating city51 cited
  • 2011A Sublime Invasion: Meyerbeer, Balzac, and the Opera Machine49 cited
  • 2013Maria Antonia of Saxony and the Emergence of Music Analysis in Opera Criticism45 cited
  • 2011Situating opera: period, genre, reception21 cited
  • 2015Divas and Divos20 cited
  • 2012Opera in the Age of Rousseau: Music, Confrontation, Realism19 cited
  • 2018The terroir of bureaucratic practice: Everyday life and scholarly method in the study of policy19 cited
  • 2013Sound Work: Music as Labor and the 1940s Recording Bans of the American Federation of Musicians17 cited
  • 2012‘Too much music’: the media of opera16 cited
  • 2012The operatic event: opera houses and opera audiences13 cited
  • 2015Censorship12 cited
  • 2014The rival sirens: performance and identity on Handel's operatic stage7 cited
  • 2012Voices and singers6 cited
  • 2019‘The only real magic’: enchantment and disenchantment in music's modernist ordinary4 cited
  • 2023Immaculate Sounds2 cited

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2015
Performing Sovereignty, Sounding Autonomy: Political Representation in the Operas of Maria Antonia of Saxony
2 cited