Do you cringe when your opera-loving friends start raving about the latest production of Tristan? Do you feel faint just thinking about the six-hour performance of Parsifal you were given tickets to? Does your mate accuse you of having a Tannhäuser complex? If you're baffled by the behavior of Wagner worshipers, if you've longed to fathom the mysteries of Wagner's ever-increasing popularity, or if you just want to better understand and enjoy the performances you're attending, you'll find this delightful book indispensable. William Berger is the most helpful guide one could hope to find for navigating the strange and beautiful world of the most controversial artist who ever lived. He tells you all you need to know to become a true Wagnerite--from story lines to historical background; from when to visit the rest room to how to sound smart during intermission; from the Jewish legend that possibly inspired Lohengrin to the tragic death of the first Tristan. Funny, informative, and always a pleasure to read, Wagner Without Fear proves that the art of Wagner can be accessible to everyone. Includes: - The strange life of Richard Wagner--German patriot (and exile), friend (and enemy) of Liszt and Nietzsche - Essential opera lore and "lobby talk" - A scene-by-scene analysis of each opera - What to listen for to get the most from the music - Recommended recordings, films, and sound tracks

Verdi, Wagner, polymorphous perversion, Puccini, Brunnhilde, Pinkerton, and Parsifal all rub shoulders in this delightful, poetic, insightful, sexual book sprung by one man's physical response to the power and exaggeration we call opera. Sam Abel applies a light touch as he considers the topic of opera and the eroticized body: Why do audiences respond to opera in a visceral way? How does opera, like no other art form, physically move watchers? How and why does opera arouse feelings akin to sexual desire? Abel seeks the answers to these questions by examining homoerotic desire, the phenomenon of the castrati, operatic cross-dressing, and opera as presented through the media. In this deeply personal book, Abel writes, ‘These pages map my current struggles to pin down my passion for opera, my intense admiration for its aesthetic forms and beauties, but much more they express my astonishment at how opera makes me lose myself, how it consumes me.’ In so doing, Abel uncovers what until now, through dry musicology and gossipy history, has been left behind a wall of silence: the physical and erotic nature of opera. Although Abel can speak with certainty only about his own response to opera, he provides readers with a language and a resonance with which to understand their own experiences. Ultimately, Opera in the Flesh celebrates the power of opera to move audiences as no other book has done. It is indeed a treasure of scholarship, passion, and poetry for everyone with even a passing interest in this fascinating art form.

Through studies of works by three composers, this text seeks to demonstrate that 'assimilating Jewish music' is as much a process audiences themselves engage in when they listen to Jewish music as it is something critics and musicologists do when they write about it.

The turbulent story of one of Britain's most famous concert halls.

This is the first book-length study of the rich fiction that has emerged from the AIDS crisis. Examining first the ways in which scientific discourse on AIDS has reflected ideologies of gender and sexuality-such as the construction of AIDS as a disease of gay men, part of a battle over masculinity, and thus largely excluding women with AIDS from public attention-the book considers how such discourses have shaped narrative understandings of AIDS. On the one hand, AIDS is seen as an invariably fatal weakening of an individual's bodily defenses, a depiction often used to reconfirm an identification between disease and a weak and vulnerable gayness. On the other hand, AIDS is understood in terms of an epidemic attributable to gay immorality or unnaturalness. The fiction of AIDS depends upon these two narratives, with one major subgenre of AIDS novel presenting narratives of personal illness, decline, and death, and a second focusing on epidemic spread. These novels also question the narrative structures upon which they depend, intervening particularly against the homophobia of those structures, though also sometimes reinforcing it.

When the first edition of Queering the Pitch was published in early 1994, it was immediately hailed as a landmark and defining work in the new field of Gay Musicology. In light of the explosion of Gay Musicology since 1994, a new edition of Queering the Pitch is timely and needed. In this new work, the editors are including a landmark essay by Philip Brett on Gay Musicology, its history and scope. The essay itself has become a cause celebre, and this will be its first full appearance in print. Along with this new historical essay, the editors are contributing a new introduction that outlines the changes that have occurred over the last decade as Gay Musicology has grown.

Here is a serious discussion of an emerging gay subculture! Take another fascinating journey into the bear's den with the latest offering from Les Wright, author of The Bear Book. The Bear Book II will show you the contrast between the media image of the fun-loving, carefree bear man and the health, image, psychological, technological, and sexual concerns of bears living in the real world. A continuation of The Bear Book (1997), this study of typically big, hairy, and bearded gay men explores bears on a societal and personal level, giving a wide voice to bears of all ages, nationalities, and cultures. Among the topics The Bear Book II: Further Readings in the History and Evolution of a Gay Male Subculture discusses are: health concerns of bears bear body images self-esteem issues for bears physical and psychological bear attributes as portrayed in the media versus actual individual accounts social and sexual institutions in the bear community the role of the Internet in creating a global bear subculture The Bear Book II will help you to understand the life of a bear. This unique book, the only serious exploration of this topic, offers documentation of a subculture in the making, complete with subjective and analytical perspectives that support this example of postmodern cultural anthropology.

Acknowledgements To Users of this Research Guide I. Introduction II. Introducing Wagner: Compendia and Other Survey Studies III. Researching Wagner: Reference Works of Various Kinds IV. The Documentary Legacy V. Wagner's Life and Character VI. Wagner as Composer: Studies in Techniques, Styles, and Influences VII. Wagner as Music-Dramatist VIII. Wagner as Instrumental and Vocal Composer and Arranger IX. Performing Wagner X. Wagner as Poet, Prose Writer, and Philosopher XI. Criticizing Wagner XII. Wagner and Culture, Past and Present XIII. After Wagner: Bayreuth, the Festivals, and Wagner's Descendents Index