No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 18 October 2016
1 The interview was published as ‘L’ira di Maazel’ in Il corriere della sera, 20 August 2008. The 2004 production of La traviata marked the reopening of La Fenice after a fire had destroyed the opera house 18 years earlier.
2 ‘Zeffirelli: Bravo Maazel, basta orrori’, Il corriere della sera, 22 August 2008.
3 ‘No alla lirica arroccata su se stessa’, Il corriere della sera, 23 August 2008, and ‘Carsen: Chi attacca i registi danneggia l’opera (e se stesso)’, Il corriere della sera, 24 August 2008.
4 The issue had already attracted the attention of a number of Italian academics: see Petrobelli, Pierluigi, ‘La regia dell’opera: lettura storica o interpretazione attuale?’, in Enciclopedia della Musica, vol. 4, Storia della musica europea, ed. Jean-Jacques Nattiez (Turin: Einaudi, 2004): 951–955 Google Scholar; Gallarati, Paolo, ‘Mimesi e astrazione nella regia del teatro musicale’, in La regia teatrale: Specchio delle mie brame della modernità, ed. Roberto Alonge (Bari: Edizioni Di Pagina, 2007): 175–188 Google Scholar; Fabbri, Paolo, ‘“Di vedere e non vedere”: lo spettatore all’opera’, Il saggiatore musicale 14/2 (2007): 359–367 Google Scholar.
5 Levin, David, Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky (Chicago and London: University of Chicago Press, 2007): 2 CrossRefGoogle Scholar. See also Abbate, Carolyn and Parker, Roger, ‘Introduction: On Analyzing Opera’, in Analyzing Opera, ed. Carolyn Abbate and Roger Parker (Berkeley: University of California Press, 1989): 23–24 Google Scholar.
6 Bianconi, Lorenzo and Pestelli, Giorgio, ‘Introduction’, in Opera Production and Its Resources (Chicago and London: University of Chicago Press, 1998): xi–xiiGoogle Scholar.
7 See Kreuzer, Gundula, Verdi and the Germans: From Unification to the Third Reich (Cambridge: Cambridge University Press, 2010.)Google Scholar For a nuanced discussion of the ontological status of the staging manuals, see Parker, Roger, ‘Reading the Livrets, or the Chimera of “Authentic” Staging’, in his Leonora’s Last Act: Essays in Verdian Discourse (Princeton: Princeton University Press, 1997): 126–148 Google Scholar.
8 Parker, ‘Reading the Livrets’, 148.
9 See Cannadine, David, The Decline and Fall of British Aristocracy (New Haven: Yale University Press, 1990)Google Scholar.
10 See Kreuzer, Verdi and the Germans, 116–24.
11 See Verdi’s letters to the impresario Lanari, Alessandro collected in Verdi’s Macbeth: A Sourcebook, ed. David Rosen and Andrew Porter (Cambridge: Cambridge University Press, 1984)Google Scholar, particularly those dated 15 October 1846 (p. 11), 22 December 1846 (p. 27), and 21 January 1847 (pp. 33–4).