Operatic Migrations: Transforming Works and Crossing Boundaries

Abstract

Contents: Introduction: Migrations and transformations, Roberta Montemorra Marvin Venice: cradle of (operatic) convention, Ellen Rosand 'Je vous rA(c)pondrez au troisiAme couplet': 18th-century opA(c)ra comique and the demands of speech, Downing A. Thomas From the ComA(c)die-FranA aise to the OpA(c)ra: Figaro at the crossroads, Tili Boon CuillA(c) Ideological noises: opera criticism in early 18th-century France, Charles Dill Transformations on stage only: Anfossi's Circe in Weimar, Waltraud Maierhofer Roman republicanism and operatic heroines in Napoleonic Italy: Tarchi's La congiura pisoniana and Cimarosa's Gli Orazi e i Curiazi, Robert C. Ketterer Ghostly voices: 'Gothic Opera' and the failure of Gounod's La Nonne sanglante, Anne Williams Mozart productions and the emergence of Werktreue at London's Italian Opera House, 1780a 1830, Rachel Cowgill The mirror of art and scenes of recognition: Wagner and Mann, Grace Kehler Burlesques, barriers, borders, and boundaries, Roberta Montemorra Marvin Local color: the representation of race in Carmen and Carmen Jones, Robert L.A. Clark Operatic school for scandal, David J. Levin Why (what? How? If?) opera studies?, Herbert Lindenberger Epilog, Downing A. Thomas Index.

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