MLA Index and Bibliography Series vol. 36 Additional information online at https://www.areditions.com/books/IB036.html

The story of Baby Doe Tabor has seduced America for more than a century. Long before her body was found frozen in a Leadville shack near the Matchless Mine, Elizabeth McCourt “Baby Doe” Tabor was the stuff of legend. The stunning divorcée married Colorado’s wealthiest mining magnate and became the “Silver Queen of the West.” Blessed with two daughters, Horace and Baby Doe mesmerized the world with their wealth and extravagance. But Baby Doe’s life was also a morality play. Almost overnight, the Tabors’ wealth disappeared when depression struck in 1893. Horace died six years later. According to the legend, one daughter left home never to return; the other died horribly. For thirty-five years, Baby Doe, who was considered mad, lived in solitude high in the Colorado Rockies. Baby Doe Tabor left a record of her madness in a set of writings she called her “Dreams and Visions.” These were discovered after her death but never studied in detail—until now. Author Judy Nolte Temple retells Lizzie’s story with greater accuracy than any previous biographer and reveals a story more heartbreaking than the legend, giving voice to the woman behind the myth.

A treasure trove of information, "American Opera" sketches musical traits and provides plot summaries, descriptions of sets and stagings, and biographical details on performers, composers, and librettists for more than 100 American operas. 86 photos.

The first feminist analysis of some of the most performed works in the American-opera canon, emphasizing the voices and perspectives of the sopranos who brought these operas to life. In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so typically expressed in European opera: that is, of women as either saintly and pure or sexually corrupt, with no middle ground. As a result, in American opera of the 1950s, women risked becoming once again opera's inevitable victims. Yet the sopranos who were tasked with portraying these paragons of virtue and their opposites did not always take them as their composers and librettists made them. Sometimes they rewrote, through their performances, the roles they had been assigned. Sometimes they used their lived experiences to invest greater authenticity in the roles. With chapters on The Tender Land, Susannah, The Ballad of Baby Doe, and Lizzie Borden, this book analyzes some of the most performed yet understudied works in the American-opera canon. It acknowledges Catherine Clément's famous description of opera as "the undoing of women," while at the same time illuminating how singers like Beverly Sills and Phyllis Curtin worked to resist such undoing, years before the official resurgence of the American feminist movement. In short, they ended up helping to dismantle powerful gendered stereotypes that had often reigned unquestioned in opera houses until then.

In his short life, the Virginia-born John Treville Latouche (1914-56) made a profound mark on America's musical theater as a lyricist, book writer, and librettist. His signature achievements include theatrical works with composers Earl Robinson, Vernon Duke, Duke Ellington, Jerome Moross, and Leonard Bernstein.