Skip to content
Register Sign in Wishlist

Situating Opera
Period, Genre, Reception

$113.00 (C)

Part of Cambridge Studies in Opera

  • Date Published: November 2010
  • availability: Available
  • format: Hardback
  • isbn: 9780521199896

$ 113.00 (C)
Hardback

Add to cart Add to wishlist

Other available formats:
eBook


Looking for an examination copy?

If you are interested in the title for your course we can consider offering an examination copy. To register your interest please contact collegesales@cambridge.org providing details of the course you are teaching.

Description
Product filter button
Description
Contents
Resources
Courses
About the Authors
  • Setting opera within a variety of contexts – social, aesthetic, historical – Lindenberger illuminates a form that has persisted in recognizable shape for over four centuries. The study examines the social entanglements of opera, for example the relation of Mozart's Abduction from the Seraglio and Verdi's Il trovatore to its initial and later audiences. It shows how modernist opera rethought the nature of theatricality and often challenged its viewers by means of both musical and theatrical shock effects. Using recent experiments in neuroscience, the book demonstrates how different operatic forms developed at different periods to create new ways of exciting a public. Lindenberger considers selected moments of operatic history from Monteverdi's Orfeo to the present to study how the form has communicated with its diverse audiences. Of interest to scholars and operagoers alike, this book advocates and exemplifies opera studies as an active, emerging area of interdisciplinary study.

    • Refers to specific works including Mozart's Abduction from the Seraglio, Verdi's Il trovatore, Strauss's Salome, and Stravinsky's The Rake's Progress to illustrate key points
    • Draws upon a range of diverse areas including neuroscience, social thought, and the history of aesthetics, demonstrating opera studies to be a vibrant and emerging field of interdisciplinary activity
    • Written in an elegant, quirky, and engaging style, the book will appeal to both scholars and keen operagoers
    Read more

    Reviews & endorsements

    "...very accessible and offer excellent insights into why operas of the 20th century and beyond seem to have a more limited audience than the lyrical dramatic operas of the 19th century." --Choice

    Customer reviews

    Not yet reviewed

    Be the first to review

    Review was not posted due to profanity

    ×

    , create a review

    (If you're not , sign out)

    Please enter the right captcha value
    Please enter a star rating.
    Your review must be a minimum of 12 words.

    How do you rate this item?

    ×

    Product details

    • Date Published: November 2010
    • format: Hardback
    • isbn: 9780521199896
    • length: 324 pages
    • dimensions: 229 x 157 x 23 mm
    • weight: 0.65kg
    • availability: Available
  • Table of Contents

    Prologue. Why opera? Why (how, where) situate?
    1. Anatomy of a war horse: Il trovatore from A to Z
    2. On opera and society (assuming a relationship)
    3. Opera and the novel: antithetical or complementary?
    4. Opera by other means
    5. Opera and/as lyric
    6. From separatism to unity: aesthetic theorizing from Reynolds to Wagner
    7. Toward a characterization of modernist opera
    8. Anti-theatricality in twentieth-century opera
    9. A brief consumer's history of opera
    Epilogue. Why (what, how, if) opera studies?
    Works cited.

  • Author

    Herbert Lindenberger, Stanford University, California
    Herbert Lindenberger is Avalon Professor of Humanities Emeritus at Stanford University. He is the author of Opera in History: From Monteverdi to Cage (1998), The Literature in History: On Genre, Values, Institutions (1990), Opera: The Extravagant Art (1984), and Saul's Fall: A Critical Fiction (1979).

Sign In

Please sign in to access your account

Cancel

Not already registered? Create an account now. ×

Sorry, this resource is locked

Please register or sign in to request access. If you are having problems accessing these resources please email lecturers@cambridge.org

Register Sign in
Please note that this file is password protected. You will be asked to input your password on the next screen.

» Proceed

You are now leaving the Cambridge University Press website. Your eBook purchase and download will be completed by our partner www.ebooks.com. Please see the permission section of the www.ebooks.com catalogue page for details of the print & copy limits on our eBooks.

Continue ×

Continue ×

Continue ×

Find content that relates to you

Join us online

This site uses cookies to improve your experience. Read more Close

Are you sure you want to delete your account?

This cannot be undone.

Cancel

Thank you for your feedback which will help us improve our service.

If you requested a response, we will make sure to get back to you shortly.

×
Please fill in the required fields in your feedback submission.
×