Part of a series of sixteen volumes that provides for the first time ever a comprehensive set of works from a full century of musical theater in the United States of America. Many of the volumes contain musical scores and librettos that have never before been published. The work that leads off this volume, The Voice of Nature, is generally considered the first melodrama to be performed in America, and the earliest surviving complete work composed for American professional theater. It is also the first to be written by a playwright boom in America.

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.

In the 300 hundred years following the translation of The Arabian Nights into French and English, a chain of editions, compilations, translations, and variations has circled the globe. Here scholars from across the world reassess the influence of the Nights in Enlightenment and Romantic literature and beyond.

From Napoleon's invasion of Portugal in 1807 to his final defeat at Waterloo, the English theatres played a crucial role in the mediation of the Peninsular campaign. In the first in-depth study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. Exploring the role of spectacle in the mediation of war and the links between theatrical productions and print culture, she argues that the popularity of theatre-going and the improvisation and topicality unique to dramatic performance make the theatre an ideal lens for studying the construction of the Peninsular War in the public domain. Without simplifying the complex issues involved in the study of citizenship, communal identities, and ideological investments, Valladares recovers a wartime theatre that helped celebrate military engagements, reform political sympathies, and register the public’s complex relationship with Britain’s military campaign in the Iberian Peninsula. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and helped shape public feeling on the Peninsular campaign.

Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.

Edwin Forrest was the foremost American actor of the nineteenth century. His advocacy of American, and specifically Jacksonian, themes made him popular in New York's Bowery Theatre. His rivalry with the English tragedian William Charles Macready led to the Astor Place Riot, and his divorce from Catharine Sinclair Forrest was one of the greatest social scandals of the period. This full-length biography examines Forrest's personal life while acknowledging the impossibility of separating it from his public image. Included is a historical chronology of every known performance the actor gave.

The series aims to represent all the major genres and styles of musical theater of the century, from ballad opera through melodrama, plays with incidental music, parlor entertainments, pastiche, temperance shows, ethnic theater, minstrelsy, and operetta, to grand opera. This series of sixteen volumes provides for the first time ever a comprehensive set of works from a full century of musical theater in the United States of America. Volume 1 presents the earliest works in this series of Nineteenth-Century American Musical Theater. Indeed, the two tides reprinted here were composed in the prior century but enjoyed a currency in the early 1800s that helped establish conventions for generations of native-born dramaturges and composers. Moreover, Children in the Wood 1795 and Blue Beard 1811 are the only two works included in this series that were fully realized abroad, and imported for performance in the United States by musicians trained in the theaters of London. As editor Susan Porter points out in her Introduction, like all stage works, they were then adapted to suit the tastes of the times and places in which they were performed. (Indeed, Blue Beard was already an English adaptation of a French work.)

Mabel Daniels (1877–1971): An American Composer in Transition assesses Daniels within the context of American music of the first half of the twentieth century. Daniels wrote fresh sounding works that were performed by renowned orchestras and ensembles during her lifetime but her works have only recently begun to be performed again. The book explains why works by Daniels and other women composers fell out of favor and argues for their performance today. This study of Daniels’s life and works evinces transition in women’s roles in composition, the professionalization of women composers, and the role that Daniels played in the institutionalization of American art music. Daniels’s dual role as a patron-composer is unique and expressive of her transitional status.