This volume brings together ten essays focusing on the diversity of operatic institutions, their protagonists, and historical fortunes in Europe from 1730 to 1917. Its aim is not to understand operatic institutions as locally distinct and isolated organizations, but rather to perceive them as a part of a historically fluctuating, transnational network: a network that was shaped among other things by individual professionals and groups in the opera business (and beyond), as well as by specific socio-cultural and political surroundings. The volume offers new perspectives on a wide range of topics, including networks of cultural exchange, singers as agents in shaping institutional structures, and the influence of socio-cultural, diplomatic, and political factors on operatic production across international borders.

In late imperial China, opera transmitted ideas across the social hierarchy about the self, family, society, and politics. Beijing attracted a diverse array of opera genres and audiences and, by extension, served as a hub for the diffusion of cultural values. It is in this context that historian Andrea S. Goldman harnesses opera as a lens through which to examine urban cultural history. Her meticulous yet playful account takes up the multiplicity of opera types that proliferated at the time, exploring them as contested sites through which the Qing court and commercial playhouses negotiated influence and control over the social and moral order. Opera performance blurred lines between public and private life, and offered a stage on which to act out gender and class transgressions. This work illuminates how the state and various urban constituencies manipulated opera to their own ends, and sheds light on empire-wide transformations underway at the time.

This edited volume brings together academic specialists writing on the multi-media operatic form from a range of disciplines: comparative literature, history, sociology, and philosophy. The presence in the volume's title of Pierre Bourdieu, the leading cultural sociologist of the late twentieth century, signals the editors' intention to synthesise advances in social science with advances in musicological and other scholarship on opera. Through a focus on opera in Italy and France, the contributors to the volume draw on their respective disciplines both to expand our knowledge of opera's history and to demonstrate the kinds of contributions that stand to be made by different disciplines to the study of opera. The volume is divided into three sections, each of which is preceded by a concise and informative introduction explaining how the chapters in that section contribute to our understanding of opera.

From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragédie en musique). In Opera and the Political Imaginary in Old Regime France, however, Olivia Bloechl reveals another layer of French opera’s political theater. The make-believe worlds on stage, she shows, involved not just fantasies of sovereign rule but also aspects of government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus hailing glorious majesty. What’s more, opera’s creators dispersed sovereign-like dignity and powers well beyond the genre’s larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genre’s distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time. By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancienrégime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced, genre than previously thought.

Opera is the fastest growing of all the performing arts, attracting audiences of all ages who are enthralled by the gorgeous music, vivid drama, and magnificent production values. If you've decided that the time has finally come to learn about opera and discover for yourself what it is about opera that sends your normally reserved friends into states of ecstatic abandon, this is the book for you. Opera 101 is recognized as the standard text in English for anyone who wants to become an opera lover--a clear, friendly, and truly complete handbook to learning how to listen to opera, whether on the radio, on recordings, or live at the opera house. Fred Plotkin, an internationally respected writer and teacher about opera who for many years was performance manager of the Metropolitan Opera, introduces the reader (whatever his or her level of musical knowledge) to all the elements that make up opera, including: A brief, entertaining history of opera; An explanation of key operatic concepts, from vocal types to musical conventions; Hints on the best way to approach the first opera you attend and how to best understand what is happening both offstage and on; Lists of recommended books and recordings, and the most complete traveler's guide to opera houses around the world. The major part of Opera 101 is devoted to an almost minute-by-minute analysis of eleven key operas, ranging from Verdi's thunderous masterpiece Rigoletto and Puccini's electrifying Tosca through works by Mozart, Donizetti, Rossini, Offenbach, Tchaikovsky, and Wagner, to the psychological complexities of Richard Strauss's Elektra. Once you have completed Opera 101, you will be prepared to see and hear any opera you encounter, thanks to this book's unprecedentedly detailed and enjoyable method of revealing the riches of opera.

Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviors worthy of psychoanalysis? Why are the legendary grands operas - much celebrated in their time - so seldom performed today?

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The perfect accompaniment to courses on eighteenth-century opera for both students and teachers, this Companion is a definitive reference resource.

"This book deals with contemporary relationships between opera and the media. It is concerned with both, the use of media on stage, and opera on screen. Drawing on the concept of hypermediacy from media studies, it situates opera within the larger context of contemporary media practices, and particularly those that play up the multiplicity, awareness and enjoyment of media. The discussion is driven by the underlying question of what politics of representation and perception opera performs within this context. This entails approaching operas as audiovisual events (rather than works or texts) and paying attention to what they do by visual means, along with the operatic music and singing. The book concentrates on events that foreground their use of media and technology, drawing attention to opera's inherently hypermedial aspects. It works with the recognition that such events nevertheless engender powerful effects of immediacy, which are not contingent on illusionism or the seeming transparency of the medium. It analyzes how effects like presence, liveness and immersion are produced, contesting some critical claims attached to them. It also sheds light on how these effects, often perceived as visceral or material in nature, are related to the production of meaning in opera. The discussion pertains to contemporary pieces such as Louis Andriessen and Peter Greenaway's Rosa and Writing to Vermeer, as well as productions of the canonical repertory such as Wagner's Ring Cycle by Robert Lepage at the Met and La Fura dels Baus in Valencia"--

China has over three hundred distinct styles of music drama, from exorcism theatre to farce, historical romance, and shadow puppetry. This study considers one of the newer operatic forms. Established just two centuries ago, huju (Shanghai opera), is renowned for its portrayal of ordinary people, not the emperors, courtesans, and heroes of older forms. Acting and make-up aim for realism rather than symbolism, and stories deal with contemporaneous themes: the struggles of lovers to marry, women's rights after the Communist revolution (1949), and life under the new social order established by Deng Xiaoping's reforms in the 1980s. Music ranges from local folksong to syncretic adoptions of Western popular music. Jonathan Stock is an authority on Chinese music, with previous books on Chinese flute and violin solos and Abing, a twentieth-century composer. Adding to his extensive research on Chinese music, Stock's eighteen months of fieldwork in Shanghai allows him to interweave material from historical reports, sound recordings, live performance, and the first-hand accounts of three generations of singers into a study of a unique Chinese opera form seen equally as historical tradition, venue for social action, and forum for musical creativity. Assessing first the roots of huju in local folksong and ballad, he looks at the enduring role of emotional expressivity. He next focuses on the rise of actresses, laying out a specially 'musical' reading of gendered performance. Further chapters reverse conventional ethnomusicological arguments that music constructs place by looking at how Shanghai's institutions before 1949 shaped the environment within which troupes developed new dramatic materials and competed for work. In considering reforms post-1949, the author shows how the infusion of explicit political content actually weakened the expressive impact of these dramas. Finally, developments since 1980 are reviewed. The book includes songs and illustrations of performance styles. An innovative combination of urban and historical ethnomusicology, the book's findings will engage the historian of China and general scholar of music alike.