Studies in the history of French nineteenth-century stage music have blossomed in the last decade, encouraging a revision of the view of the primacy of Austro-German music during the period and rebalancing the scholarly field away from instrumental music (key to the Austro-German hegemony) and towards music for the stage. This change of emphasis is having an impact on the world of opera production, with new productions of works not heard since the nineteenth century taking their place in the modern repertory. This awakening of enthusiasm has come at something of a price. Selling French opera as little more than an important precursor to Verdi or Wagner has entailed a focus on works produced exclusively for the Paris Opéra at the expense of the vast range of other types of stage music produced in the capital: opéra comique, opérette, comédie-vaudeville and mélodrame, for example. The first part of this book therefore seeks to reintroduce a number of norms to the study of stage music in Paris: to re-establish contexts and conventions that still remain obscure. The second and third parts acknowledge Paris as an importer and exporter of opera, and its focus moves towards the music of its closest neighbours, the Italian-speaking states, and of its most problematic partners, the German-speaking states, especially the music of Weber and Wagner. Prefaced by an introduction that develops the volume’s overriding intellectual drivers of cultural exchange, genre and institution, this collection brings together twelve of the author’s previously published articles and essays, fully updated for this volume and translated into English for the first time.

By making systematic use of the mostly unpublished Opera Archive, Mead fills in the missing links to previous investigations and unlocks the significance of this seminal masterpiece.

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.

House Bright'Lor has established a secret world for augmented humans, built cities, and enhanced more slaves-but their future has never been more tenuous. Dragorn Bright'Lor, imprisoned for crimes against the Empire, has been forced to watch his sons flourish in his absence. Armed with a powerful new ally, he has never been more dangerous. Ero and Skorn must stop him or risk losing everything, a task made difficult when an explosive secret comes to light. Reklin is trapped in the Burning Ghosts, the most feared criminal organization in the galaxy. When he continues to try and escape, Visika kidnaps a member of his family to control him. It's a deadly mistake. She may be the Ghost Queen, but Reklin would defy the Emperor himself to protect his own. As threats against House Bright'Lor continue to mount, Siena is thrust into the fight. She will need more than powerful abilities to steal cargo ships, avoid discovery from a Ranger team, and infiltrate the military. The risks may be higher but she is the supreme augment, and when enemies and allies finally collide, one thing is certain. A Titan will be born. Book 3 in The Augmented Space Opera Series from #1 Amazon Bestseller, Ben Hale.

Packed full of new archival evidence that reveals the interconnected world of music theatre during the 'Classical era', this interdisciplinary study investigates key locations, genres, music, and musicians. Austin Glatthorn explores the extent to which the Holy Roman Empire delineated and networked a cultural entity that found expression through music for the German stage. He maps an extensive network of Central European theatres; reconstructs the repertoire they shared; and explores how print media, personal correspondence, and their dissemination shaped and regulated this music. He then investigates the development of German melodrama and examines how articulations of the Holy Roman Empire on the musical stage expressed imperial belonging. Glatthorn engages with the most recent historical interpretations of the Holy Roman Empire and offers quantitative, empirical analysis of repertoire supported by conventional close readings to illustrate a shared culture of music theatre that transcended traditional boundaries in music scholarship.

Winner of the 2020 Hugo Award for Best Novel A Locus, and Nebula Award nominee for 2019 A Best Book of 2019: Library Journal, Polygon, Den of Geek An NPR Favorite Book of 2019 A Guardian Best Science Fiction and Fantasy Book of 2019 and “Not the Booker Prize” Nominee A Goodreads Biggest SFF Book of 2019 and Goodreads Choice Awards Nominee "A Memory Called Empire perfectly balances action and intrigue with matters of empire and identity. All around brilliant space opera, I absolutely love it."—Ann Leckie, author of Ancillary Justice Ambassador Mahit Dzmare arrives in the center of the multi-system Teixcalaanli Empire only to discover that her predecessor, the previous ambassador from their small but fiercely independent mining Station, has died. But no one will admit that his death wasn't an accident—or that Mahit might be next to die, during a time of political instability in the highest echelons of the imperial court. Now, Mahit must discover who is behind the murder, rescue herself, and save her Station from Teixcalaan's unceasing expansion—all while navigating an alien culture that is all too seductive, engaging in intrigues of her own, and hiding a deadly technological secret—one that might spell the end of her Station and her way of life—or rescue it from annihilation. A fascinating space opera debut novel, Arkady Martine's A Memory Called Empire is an interstellar mystery adventure. "The most thrilling ride ever. This book has everything I love."—Charlie Jane Anders, author of All the Birds in the Sky And coming soon, the brilliant sequel, A Desolation Called Peace! At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

"When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth‐century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life—one whose transgressions helped define the musical hierarchies of its day.

History of the Opera From Its Origin in Italy to the Present Time. With Anecdotes of the Most Celebrated Composers and Vocalists of Europe Volume 2

This volume illuminates musical connections between Britain and the continent of Europe, and Britain and its Empire. The seldom-recognized vitality of musical theatre and other kinds of spectacle in Britain itself, and also the flourishing concert life of the period, indicates a means of defining tradition and identity within nineteenth-century British musical culture. The volume benefits not only from new archival research, but also from fresh musicological approaches and interdisciplinary methods that recognize the integral role of music within a wider culture.