CAMBRIDGE OPERA JOURNAL

CAMBRIDGE OPERA JOURNAL

PER.GB.7

 

 

-ABBATE (C.), … And in Response, Vol. 21 (2009), n. 2, pp. 199-201

  • “On Modulation”, and Tristan, 1 (1989), n. 1, pp. 33-58
  • Wagner, Debussy’s phantom sounds, Vol. 10 (1998), n. 1, pp. 67-96

-ABBATE (C.) & PARKER (R.), Dismembering Mozart, Vol. 2 (1990), n. 2, pp. 187-195

-ADLINGTON (R.), “A sort of guerrilla”: Che at the opera, Vol. 19 (2007), n. 2, pp. 167-194

-AHRENDT (R.), Verdi, Victor Maurel and fin-de-siècle operatic performance, Vol. 19 (2007), n. 1, pp. 59-84

-ALBRIGHT (D.), The witches and the witch: Verdi’s Macbeth, Vol. 17 (2005), n. 3, pp. 225-252

-ALEXANDER (T.), Decentralising via Russia: Glinka’s A Life for the Tsar in Nice, 1890, Vol. 27 (2015), n. 2, pp. 35-62

-ALLIS (M.), Richter’s Wagner: a new source for tempi in Das Rheingold, Vol. 20 (2008), n. 2, pp. 117-148

-ALM (I.), Winged feet and mute eloquence: dance in seventeenth-century Venetian opera, Vol. 15 (2003), n. 3, pp.216-280

-ARMSTRONG (A.), Gilbert-Louis Duprez and Gustave Roger in the composition of Meyerbeer’s Le Prophète, Vol. 8 (1996), n. 2, pp. 147-166

-ASHBROOK (W.), Popular success, the critics and fame: The early careers of Lucia di Lammermoor and Belisario, Vol. 2 (1990), n. 1, pp. 65-81

-ASPDEN (S.), The “rival queans” and the play of identity in Handel’s Admeto, Vol. 18 (2006), n. 3, pp. 301-332

  • “An infinity of factions”: Opera in eighteenth-century Britain and the undoing of society, Vol. 9 (1997), n. 1, pp. 1-20
  • Filial Enchainements; Metastasio, “Per quel paterno amplesso” ( Arbace), Artaserse, Act II, Vol. 28 (2016), n. 2, pp. 119-125
  • Stephen LaRue, Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728, Vol. 9 (1997), n. 2, pp. 185-193

-ASPDEN (S.) & HUEBNER (S.), Twenty Years, Vol. 21 (2009), n. 2, pp. 101-104

-ATLAS (A.W.), Newly discovered sketches for Puccini’s Turandot at the Pierpont Morgan Library, Vol. 3 (1991), n. 2, pp. 173-193

-BALDWIN (O.) & WILSON (T.), The Harmonious Unfortunate: new light on Catherine Tofts, Vol. 22 (2010), n. 2, pp. 217-134

-BALTHAZAR (S.L.), Aspects of form in the Ottocento libretto, Vol. 7 (1995), n. 1, pp. 23-36

-BAKER (H.), Steve Swayne, How Sondheim Found His Sound. Ann Arbor: University of Michigan Press, 2005, Vol. 19 (2007), n. 2, pp. 195-198

-BARANELLO (M.), Die lustige Witwe and the Creation of the Silver Age of Viennese Operetta, Vol. 26 (2014), n.2, pp. 175-202

-BARONE (A.), Richard Wagner’s Parsifal and the theory of late style, Vol. 7 (1995), n. 1, pp. 37-54

-BASINI (L.), Alfredo Casella and the rhetoric of colonialism, Vol. 24 (2012), n. 2, pp. 127-158

Cults of sacred memory: Parma and the Verdi centennial celebrations of 1913, Vol. 13 (2001), n. 2, pp. 141-162

-BAUMAN (T.), Ivan nagel, Autonomy and Mercy: Reflections on Mozart’s Operas, Vol. 3 (1991), n. 4, pp. 303-308

-BEARD (D.), “A face like music”: Shaping images into sound in The Second Mrs Kong, Vol. 18 (2006), n. 2, pp. 273-300

-BEK (M.), On the dramaturgy of Zemlinsky’s Eine florentinische Tragödie, Vol. 7 (1995), n. 2, pp. 165-173

-BERGERON (K.), Catherine Clément, Opera, or the Undoing of Women, Vol. 2 (1990), n. 1, pp. 93-98

  • The Castro as History, Vol. 8 (1996), n. 2, pp. 167-184
  • Verdi’s Egyptian spectacle: On the colonial subject of Aida, Vol. 14 (2002), n. 1 & 2, pp. 149-160

-BERIO (L.), Of sounds and images, Vol. 9 (1997), n. 3, pp. 295-300

-BERMAN (A. A.), Competing Visions of Love and Brotherhood: Rewriting War and Peace for the Soviet Opera, Vol. 26 n. 3 (2014) pp.215-238

-BERNSTEIN (J.A.), “Bewitched, bothered and bewildered”: Lady Macbeth, sleepwalking, and the demonic in Verdi’s Scottish opera, Vol. 14 (2002), n. 1 & 2, pp. 31-46

-BETZWIESER (T.), Exoticism and politics: Beaumarchais’ and Salieri’s Le Couronnement de Tarare (1790), Vol. 6 (1994), n. 2, pp. 91-112

  • Musical setting and scenic movement : chorus and chœur dansé in eighteenth-century Parisian Opéra, Vol. 12 (2000), n. 1, pp. 1-28

-BIERGER (K.), Roger Scruton, Death-Devoted Heart: Sex and the Sacred in Wagner’s “Tristan and Isolde”. Oxford: Oxford University Press, 2004,  Vol. 18 (2006), n. 1, pp. 118-123

-BLOCH (G.W.), The pathological voice of Gilbert-Louis Duprez, Vol. 19 (2007), n. 1, pp. 11-32

-BOYD-BENNETT (H.)

  •  Excavating Attila; Verdi, “Allor che i forti corrono” (Odabella), Attila, Act I, Vol. 28 (2016), n. 2, pp. 167-170
  •  Remaking reality: Echoes, noise and modernist realism in Luigi Nono’s Intolleranza 1960, Vol. 24 (2012), n. 2, pp. 177-200

-BRONFEN (E.), DIAMOND (E.), Carolyn Abbate, In Search of Opera. Princeton: Princeton University Press, 2001. 290 pp., Vol. 17 (2005), n. 2, pp. 215-223

-BROOKS (P.), Slavoj Žižek and Mladen Dolar, Opera’s Secon Death, Vol. 16 (2004), n. 3, pp. 319-320

-BROWN (B.A.) & RICE (J.A.), Salieri’s Così fan tutte, Vol. 8 (1996), n. 1, pp. 17-44

-BROWN (J.), Schoenberg’s early Wagnerisms: Atonality and the redemption of Ahasuerus, Vol. 6 (1994), n. 1, pp. 51-80

-BROWN (J.W.), “Innsbruck, ich muss dich lassen”: Cesti, Orontea and the Gelone problem, Vol. 12 (2000), n. 3, pp. 179-218

-BUCH (D.J.), Mozart and the Theater auf der Wieden: New attributions and perspectives, Vol. 9 (1997), n. 3, pp. 195-232

-BUDDEN (J.), Mary Jane Phillips-Matz, Verdi: A Biography and The Verdi-Boito Correspondence, Vol. 6 (1994), n. 3, pp. 293-298

  • The genesis and literary source of Giacomo Puccini’s first opera, Vol. 1 (1989), n. 1, pp. 79-85

-BUHLER (J.), Ken Wlaschin, Encyclopedia of Opera on Screen: A Guide to More than 100 Years of Opera Films, Videos and DVDs; Paul Fryer, The Opera Singer and Silent Film, Vol. 18 (2006), n. 3, pp. 333-340

-BULLOCK (P.R.), Staging Stalinism: The search for Soviet opera in the 1930s, Vol. 18 (2006), n. 1, pp. 83-108

-BURDEN (M.), “Pots, privies and WCs; crapping at the opera in London before 1830”, Vol. 23 (2011), n. 1-2, pp. 27-50

-BURGESS (G.), « Le theater ne change qu’à la troisième scène » : the hand of the author and unity of place in Act V of Hippolyte et Aricie, Vol. 10 (1998), n. 3, pp. 275-288

  • Preamble: (Re)presenting Rameau’s Hippolyte et Aricie, Vol. 10 (1998), n. 3, pp. 223-224

-BUTLER (M.), Administration and innovation at Turin’s Teatro Regio: producing Sofonisba (1764) and Oreste (1766), Vol. 14 (2002), n. 3, pp. 243-262

-CABALLERO (C.), Review of Steven Huebner, French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style (Oxford, 1999), Vol. 12 (2000), n. 1, pp. 81-89

-CADDY  (D.)

  •  The Cambridge Companion to Twentieth-Century Opera, ed. Mervyn Cooke. Cambridge University Press, 2005, Vol. 19 (2007), n. 1, pp. 97-105
  • Holding Hands; Verdi, “Tu che le vanità” (Elisabetta), Don Carlo, Act IV, Vol. 28 (2016), n. 2, pp. 209-214
  • Variations on the Dance of the Seven Veils, Vol. 17 (2005), n. 1, pp. 37-58

-CALICO (J.), The trial, the condemnation, the cover-up: behind the scenes of Brecht/Dessau’s Lucullus opera(s), Vol. 14 (2002), n. 3, pp. 313-342

-CAMPANA (A.), Book Review: Michele Girardi, Puccini: His International Art. Translated by Laura Basini. Chicago: University of Chicago Press, 2000, Vol. 12 (2000), n. 3, pp. 261-266

-CAMPO-BOWEN (C.), An operatic Locarno: The Paris Premiere of Smetana’s The Bartered Bride and Czechoslovak-French cultural diplomacy, pp. 283-312, Vol 28 (2016), No. 3

Comparing notes: Amelia/Maria and the “larve del passato”, Vol. 14 (2002), n. 1 & 2, pp. 211-228

-CARLSON (M.), Robert Donington, Opera and its Symbols: The Unity of Words, Music, and Staging, Vol. 4 (1992), n. 1, pp. 81-85

-CARTER (T.), “In Love’s harmonious consort”? Penelope and the interpretation of Il ritorno di Ulisse in patria, Vol. 5 (1993), n. 1, pp. 1-16

  • Two into Three Won’t Go? Poetic Structure and Musical Forms in Mozart’s Idomeneo, Vol. 24 (2012), n. 3, pp. 229-248

-CASADEI (D.) & CARBOTTI (R.), Towards a multitudinous voice: Dario Fo’s adaptation of l’Histoire du soldat, Vol. 24 (2012), n. 2, pp. 201-228

-CASTELVECCHI (S.), From Nina to Nina: Psychodrama, absorption and sentiment in the 1780s, Vol. 8 (1996), n. 2, pp. 91-112

-CENCIARELLI (C.)

  • The Limits of Operatic Deadness: Bizet, “Habanera” (Carmen), Carmen, Act I, Vol. 28 (2016), n. 2, pp. 221-226
  • At the Margins of the Televisual: Picture Frames, Loops and “Cinematics” in the Paratexts of Opera Videos, Vol. 25 (2013), n.2, pp. 203-223

-CETRANGOLO (A.E.), Aida Times Two: How Italian Veterans of Two Historic Aida Productions Shaped Argentina’s Music History, Vol.28 (2016), n.1, pp. 79-105

-CHARLTON (D.), Bruce Alan Brown, Gluck and the French Theatre in Vienna, Vol. 7 (1995), n. 1, pp. 73-80

-CHENG (W.), Opera en abyme: The prodigious ritual of Korngold’s Die tote Stadt, Vol. 22 (2010), n. 2, pp. 115-146

-CHEW (G.), Patoral and neoclassicism: A reinterpretation of Auden’s and Stravinsky’s Rake’s Progress, Vol. 5 (1993), n. 3, pp. 239-264

-CHOWRIMOOTOO (C.), Bourgeois opera: Death in Venice and the aesthetics of sublimation, Vol. 22 (2010), n. 2, pp. 175-216

Early modern spectacle and the staging of power: Olivia Bloechl, Nativ American Song at the Frontiers of Early Modern Music. Cambridge: Cambridge University Press, 2008. Georgia Cowart, The Triumph of Pleasure: Louis XIV and the Politics of Spectacle. Chicago: University of Chicago Press, 2008, Vol. 22 (2010), n. 1, pp. 93-108

-CLARK (M.), James H. Johnson, Listening in Paris, Vol. 8 (1996), n. 1, pp. 77-82

Marian Smith, Ballet and Opera in the Age of Giselle, Vol. 13 (2001), n. 2, pp. 191-196

-CORAZZOL (A.G.), Opera and verismo: Regressive points of view and the artifice of alienation, Vol. 5 (1993), n. 1, pp. 39-53

-COWART (G.), Of women, sex and folly: Opera under the Old Regime, Vol. 6 (1994), n. 3, pp. 205-220

-COWGILL (R.), Re-gendering the Libertine; or, the Taming of the Rake: Lucy Vestris as Don Giovanni on the early nineteenth-century London stage, Vol. 10 (1998), n. 1, pp. 45-66

-CRISSOCHOIDIS (I.) & HUCK (S.), Elsa’s reason: On beliefs and motives in Wagner’s Lohengrin, Vol. 22 (2010), n. 1, pp. 65-92

-CRIST (E.B.), The best of all possible worlds: The Eldorado episode in Leonard Bernstein’s Candide, Vol. 19 (2007), n. 3, pp. 223-248

-CRUZ (G.), Aida’s flutes, Vol. 14 (2002), n. 1 & 2, pp. 177-200

  • Laughing at History: the third act of Meyerbeer’s L’Africaine, Vol. 11 (1999), n. 1, pp. 31-76

-DAUB (A.), Adorno Schreker: Charting the self-dissolution of the distant sound, Vol. 18 (2006), n. 3, pp. 247-272

-DAVIES (J.Q.)

  •    The Progess of an Aria; Bellini, “Ah! non pensar che pieno”, Beatrice di Tenda, Act I, Vol. 28 (2016), n. 2, pp. 155-159
  •  “Veluti in speculum”: The twilight of the castrato, Vol. 17 (2005), n. 3, pp. 271-302

-DEASY (M.), Bare Interiors, Vol. 18 (2006), n. 2, pp. 125-150

-DEATHRIDGE (J.), Wagner and the post-modern, Vol. 4 (1992), n. 2, pp. 143-161

-DELL’ANTONIO (A.), Il divino Claudio: Monteverdi and lyric nostalgia in fascist Italy, Vol. 8 (1996), n. 3, pp. 271-284

-DELLA SETA (F.), “O cieli azzurri”: Exocitism and dramatic discourse in Aida, Vol. 3 (1991), n. 1, pp. 49-62

  • Some difficulties in the historiography of Italian opera, Vol. 10 (1998), n. 1, pp. 3-14

-DILL (C.), Pellegrin, opera and tragedy, Vol. 10 (1998), n. 3, pp. 247-258

  • Remeau reading Lully: Meaning and system in Rameau’s recitative tradition, Vol. 6 (1994), n. 1, pp. 1-18

-DILLON (E.), Violetta, Historian; Verdi, “Sempre libera” (Violetta), La traviata, Act I (1853),  191-197

-DREYFUS (L.), Hermann Levi’s shame and Parsifal’s guilt: A critique of essentialism in biography and criticism, Vol. 6 (1994), n. 2, pp. 113-124

-DUNCAN (M.), Castrati and impresarios in London: two mid-eighteenth-century lawsuits, Vol. 24 (2012), n. 1, pp. 43-66

The operatic scandal of the singing body: Voice, presence, performativity, Vol. 16 (2004), n. 3, pp. 283-306

-EDGE (D.), Attributing Mozart (i): three accompanied recitatives, Vol. 13 (2001), n. 3, pp. 197-238

-ELLIS (K.), How to Make Wagner Normal: Lohengrin’s “tour de France”, Vol. 25 (2013), n.2, pp. 121-138

  • Unintended consequences: Theatre deregulation and opera in France, 1864-1878, Vol. 22 (2010), n. 3, pp. 327-352

-EMERSON (C.), Back to the future: Shostakovich’s revision of Leskov’s “Lady Macbeth of Mtsensk”, Vol. 1 (1989), n. 1, pp. 59-78

-EMSLIE (B.), Billy Budd and the fear of words, Vol. 4 (1992), n. 1, pp. 43-59

  • Handel the Postmodernist, Vol. 15 (2003), n. 2, pp. 185-198
  • The domestication of opera, Vol. 5 (1993), n. 2, pp. 167-178
  • Woman as image and narrative in Wagner’s Parsifal: A case study, Vol. 3 (1991), n. 2, pp. 109-124

-ESSE (M.)

  •  “Chi piange, qual forza m’arretra?”: Verdi’s interior voices, Vol. 14 (2002), n. 1 & 2, pp. 59-78
  • Rossini’s noisy bodies, Vol. 21 (2009), n. 1, pp. 27-64
  • The Sexual Politics of Operatic Collaboration Gounod, “O ma lyre immortelle” (Sapho), Sapho, Act III, Vol. 28 (2016), n. 2, pp. 171-174

-EUBANKS WINKLER (A.), Politics and the Reception of Andrew Lloyd Webber’s The Phantom of the Opera, Vol. 26 n. 3 (2014), pp. 271-288

-EVERIST (M.), Meyerbeer’s Il crociato in Egitto: melodrams, opera, orientalism, Vol. 8 (1996), n. 3, pp. 215-250

  • Theatres of litigation: Stage music at the Théâtre de la Reinassance, 1838-1840, Vol. 16 (2004), n. 2, pp. 133-162

-FABBRI (P.), Rossini the aesthetician, Vol. 6 (1994), n. 1, pp. 19-30

-FAIRTILE (L.B.), Duetto a tre: Franco Alfano’s completino of Turandot, Vol. 16 (2004), n. 2, pp. 163-186

-FEND (M.), Literary motifs, musical form and the quest for the “Sublime”: Cherubini’s Eliza ou le Voyage aux glaciers du Mont St Bernard, Vol. 5 (1993), n. 1, pp. 17-38

  • Fillweup (J.), Lucia’s ghosts: Sonic, Gothic and Postmodern, pp. 313-345, Vol. 28 (2016), No. 3,

-FINK (R.), Klinghoffer in Brooklyn Heights, Vol. 17 (2005), n. 1, pp. 173-214

-FORMENT (B.), Frederick’s Athens: crushing superstition and resuscitating the marvellous at the Königliches Opernhaus, Berlin, Vol. 24 (2012), n. 1, pp. 1-42

-FORSHAW (J.), Osip Petrov, Anna-Petrova-Vorobyova and the Development of Low-Voiced Character Types in Nineteenth-Century Russian Opera, Vol.28 (2016), n.1, pp. 37-77

-FRANCIS (K.) and LACHAPELLE (S.), the medical and the musical : french physiology and late Nineteenth-Century Operatic training, pp. 347-362, Vol.28 (0216), No. 3

-FRANKLIN (P.), Distant sounds – Fallen music: Der ferne Klang as “woman’s opera”?, Vol. 3 (1991), n. 2, pp. 159-172

-FROLOVA-WALKER (M.), On Ruslan and Russianness, Vol. 9 (1997), n. 1, pp. 21-46

The Soviet opera project: Ivan Dzerzhinsky vs. Ivan Susanin, Vol. 18 (2006), n. 2, pp. 181-216

-FRY (A.)

  •  The “Cartuso of Jazz” and a ” Creole Benvenuto Cellini”; Verdi, “Miserere…Ah, che la morte ognora” (Leonora, Manrico), Il trovatore, Act IV, Vol. 28 (2016), n. 2, pp. 183-186
  • “Du jazz hot à La Créole”: Josephine Baker sings Offenbach, Vol. 16 (2004), n. 1, pp. 43-76

Over the Rainbow : Scott McMillin, The Musical as Drama. Princeton: Princeton University Press, 2006; Raymond Knapp, The American Musical and the Performance of Personal Identity. Princeton: Princeton University Press, 2006; 2009 pbk; Raymond Knapp, The American Musical and the Formation of National Identity. Princeton: Princeton University Press, 2005; 2006 pbk, Vol. 20 (2008), n. 3, pp. 283-298

-FULCHER (J.), Vincent d’Indy’s “Drame Anti-Juif” and its meaning in Paris, 1920, Vol. 2 (1990), n. 3, pp. 295-319

-FURMAN (N.),  Opera, or the Staging of the Voice, Vol. 3 (1991), n. 3, pp. 303-306

-GALLARATI (P.), Music and masks in Lorenzo Da Ponte’s Mozartian librettos, Vol. 1 (1989), n. 2/3, pp. 225-47

-GERHARD (A.), Verdi’s Attila and the sunrise over the lagoon, Vol. 21 (2009), n. 3, pp. 279-289

-GIDWITZ (P.L.), Mozart’s Fiordiligi: Adriana Ferrarese del Bene, Vol. 8 (1996), n. 3, pp. 199-214

-GIGER (A.), Notes on Verdi’s I due Fosacri, Vol. 24 (2012), n. 1, pp. 99-126

  • Social control and the censorship of Giuseppe Verdi’s operas in Rome (1844-1859), Vol. 11 (1999), n. 3, pp. 233-266

-GILLIAM (B.), Ariadne, Daphne and the problem of Verwandlung,  Vol. 15 (2003), n. 1, pp. 67-82

-GOEHRING (E.J.), Despina, Cupid and the pastoral mode of Così fan tutte, Vol. 7 (1995), n. 2, pp. 107-134

-GOOSE (B.), The opera of the film? Eugen d’Albert’s Der Golem, Vol. 19 (2007), n. 2, pp. 139-166

-GORDON (B.), Siren Songs: Representations of Gender and Sexuality in Opera, ed. Mary Ann Smart, Vol. 14 (2002), n. 3, pp. 343-348

  • Talking back: the female voice in Il ballo delle ingrate, Vol. 11 (1999), n. 1, pp. 1-30

-GOSSETT (P.), Becoming a citizen: the chorus in Risorgimento opera, Vol. 2 (1990), n. 1, pp. 41-64

  • Introduction, Vol. 21 (2009), n. 3, pp. 237-240
  • New sources for Stiffelio: A preliminary report, Vol. 5 (1993), n. 3, pp. 199-222
  • Source Studies and Opera History, Vol. 21 (2009), n. 2, pp. 111-118

-GREEN (R.A.), Aristophanes, Rameau and Platée, Vol. 23 (2011), n. 1-2, pp. 1-26

-GREENWALD (H.M.), Picturing Cio-Cio-San: House, screen, and ceremony in Puccini’s Madama Butterfly, Vol. 12 (2000), n. 3, pp. 237-260

  • Son et lumière: Verdi, Attila and the sunrise over the lagoon, Vol. 21 (2009), n. 3, pp. 267-278

-GREY (T.), Marc A. Weiner, Richard Wagner and the Anti-Semitic Imagination, Vol. 8 (1996), n. 2, pp. 185-197

  • Wagner and the “Makart Style”, Vol. 25 (2013), n.3, pp. 225-260

-GREY (T.), PAIGE (K.), The Owl the Nightingale and the Jew in the Thorn-bush: Relocating Anti-Semitism in Die Meistering, Vol.28 (2016), n.1, pp. 1-35

-GROOS (A.), Becoming a Composer: Walther’s Songs in Die Meistersinger, Vol. 25 (2013), n.3, pp. 261-284

  • Madame Butterfly: The story, Vol. 3 (1991), n. 2, pp. 125-158
  • “TB sheets”: Love and disease in La traviata, Vol. 7 (1995), n. 3, pp. 233-260

-GROVER-FRIEDLANDER (M.), “The Phantom of the Opera”: the lost voice of opera in silent film, Vol. 11 (1999), n. 2, pp. 179-192

-GUTHRIE (K.), Marconi’s Phoney Future: Puccini, “Addio” (Mimì), La bohème, Act III, Vol. 28 (2016), n. 2, pp. 247-249

-HADLOCK (H.)

  • “The firmness of a female hand” in The Corsair and Il corsaro, Vol. 14 (2002), n. 1 & 2, pp. 47-58
  • light Music meretrix; Offenbach, “Rondeau de la Lettre” (Métella), La vie parisienne, Act II, Vol. 28 (2016), n. 2, pp. 203-207

Wayne Koestenbaum, The Queen’s Throat, Vol. 5 (1993), n. 3, pp. 265-275

-HAMBRIDGE (K), Melodramatic Historionics; Bernhard Anselm Weber , “Ich bin geliebt” (Sulmalle), Sulmalle, Vol. 28 (2016), n. 2, pp. 141-144

-HAMILTON (K.), Not with a bang but a whimper: The death of Liszt’s Sardanapale, Vol. 8 (1996), n. 1, pp. 45-58

  • Reminiscences of a scandal – reminiscences of La Scala: Liszt’s fantasy on Mercadante’s Il giuramento, Vol. 5 (1993), n. 3, pp. 187-198

-HANSON (K.), In the house of disillusion: Augusta Holmès and La Montagne noire, Vol. 9 (1997), n. 3, pp. 233-262

-HARPER-SCOTT (J.P.E.), Britten’s opera about rape, Vol. 21 (2009), n. 1, pp. 65-88

-HARRIS (E.T.), William C. Holmes, Opera Observed: Views of a Florentine Impresario in the Early Eighteenth Century, Vol. 7 (1995), n. 2, pp. 175-179

-HARRIS-WARRICK (R.), Magnificence in motion: Stage musicians in Lully’s ballets and operas, Vol. 6 (1994), n. 3, pp. 189-204

  • Staging Venice, Vol. 15 (2003), n. 3, pp. 297-316

-HELLER (W.), Dancing desire on the Venetian stage, Vol. 15 (2003), n. 3, pp. 281-296

  • Introducing note, Vol. 15 (2003), n. 3, pp. 213-215
  • Of Voices, Hearts and Ghosts Saint-Saens, “Mon coeur s’ouvre à ta voix” (Dalila), Samson et Dalila, Act II, Vol. 28 (2016), n. 2, pp. 227-233
  • The queen as king: Refashioning Semiramide for Seicento Venice, Vol. 5 (1993), n. 2, pp. 93-114

-HENSON (K.)

  • Introduction: Divo worship, Vol. 19 (2007), n. 1, pp. 1-10
  • Victor Maurel and fin-de-siècle operatic performance, Vol. 19 (2007), n. 1, pp. 59-84

-HEPOKOSKI (J.A.), Genre and content in mid-century Verdi: “Addio, del passato” (La traviata, Act III), Vol. 1 (1989), n. 2/3, pp. 249-76

-HEXTER (R.), Masked balls, Vol. 14 (2002), n. 1 & 2, pp. 93-108

-HIBBERD (S.), Cherubini and the Revolutionary Sublime, Vol. 24 (2012), n. 3, pp. 293-318

  • “Dormez done, mes chers amours”: Hérold’s La somnambule (1827) and dream phenomena on the Parisian lyric stage, Vol. 16 (2004), n. 2, pp. 107-132

-HICKS (J.),

  • Linda Ben-Zvi and Tracy C. Davis, eds. Considering Calamity: Methods for Performance Research. The Yolanda and David Katz Faculty of the Arts, Tel Aviv University: Asaph Books, 2007; Henry Bial, ed. The Performance Studies Reader. 2nd edn. London and New York: Routledge, 2007. Tracy C. Davis, ed. The Cambridge Companion to Performance Studies. Cambridge: Cambridge University Press, 2008, Vol. 21 (2009), n. 1, pp. 89-99
  • Should Manrico Escape? ; Verdi, “Miserere…Ah, che la morte ognora” (Leonora, Manrico), Il trovatore, Act IV, Vol. 28 (2016), n. 2, pp. 187-190

-HINDLEY (C.), Not the marrying kind: Britten’s Albert Herring, Vol. 6 (1994), n. 2, pp. 159-174

-HOECKNER (B.), Elsa screams, or The birth of music drama,  Vol. 9 (1997), n. 2, pp. 97-132

-HOLZER (R.R.), Iain Fenlon and Peter N. Miller: The Song of the Soul: Understanding “Poppea”, Vol. 5 (1993), n. 1, pp. 79-92

-HOXBY (B.), The doleful airs of Euripides: The origins of opera and the spirit of tragedy reconsidered, Vol. 17 (2005), n. 3, pp. 253-270

-HUDSON (E.), Gilda seduced: A tale untold, Vol. 3 (1991), n. 4, pp. 229-251

  • From Orpheus to Opera- Singing about; Singing in Verdi’s Il trovatore; Verdi, “Tacea la notte” (Leonora), Il trovatore, Act I, Vol. 28 (2016), n. 2, pp. 179-182
  • “…qualche cosa d’incredibile …”: Hearing the invisible in Macbeth, 14 (2002), n. 1 & 2, pp. 11-30

-HUEBNER (S.), Laughter: In Ravel’s time, Vol. 18 (2006), n. 3, pp. 225-246

  • Massenet and Wagner: Bridling the influence, Vol. 5 (1993), n. 3, pp. 223-238
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-HUGHES (D.), “Wie die Hans Heilings”: Weber, Marchner, and Thomas Mann’s Doktor Faustus, Vol. 10 (1998), n. 2, pp. 179-204

-HUME (R.D.), The politics of opera in late seventeenth-century London, Vol. 10 (1998), n. 1, pp. 15-44

-HUNTER (M.), Melania Bucciarelli, Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies, and Reinhard Strohm, ed., The Eighteenth-Century Diaspora of Italian Music and Musicians, Vol. 16 (2004), n. 1, pp. 103-106

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-IPSON (D.L.), Attila takes Rome: the reception of Verdi’s opera on the eve of revolution, Vol. 21 (2009), n. 3, pp. 249-256

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-JOE (J.), Marcia J. Citron. Opera on Screen, Vol. 13 (2001), n. 1, pp. 81-85

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-JOUBERT (E.), Maria Antonia of Saxony and the Emergence of Music Analysis in Opera Criticism, Vol. 25 (2013), n.1, pp. 37-74

-KERMAN (J.), Verdi and the undoing of women, Vol. 18 (2006), n. 1, pp. 21-32

-KERTESZ  (E.) & CHRISTOFORIDIS (M.), Confronting Carmen beyond the Pyrenees: Bizet’s opera in Madrid, 1887-1888, Vol. 20 (2008), n. 1, pp. 79-110

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-KIVY (P.), Composers and “composers”: A response to David Rosen,Vol. 4 (1992), n. 2, pp. 179-186

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-KREUZER (G.)

  • Compromising Wagnerism? Egk, “Dein Hahnchen bin ich” (Peer Gynt), Peer Gynt (1938), Act II, Vol. 28 (2016), n. 2, pp. 255-261
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-LAQUEUR (T.W.), Response: Men with a past, Vol. 19 (2007), n. 1, pp. 85-90

-LAW (H.), “Tout, dans ses charmes, est dangereux”: music, gesture and the dangers of French pantomime, 1748-1775, Vol. 20 (2008), n. 3, pp. 241-268

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-LECESTER, JR. (H.M.), Discourse and the film text : Four readings of Carmen, Vol. 6 (1994), n. 3, pp. 283-292

-LEE (S.D.), A Florentine Tragedy, or woman as mirror, Vol. 18 (2006), n. 1, pp. 33-58

-LETZTER (J.), Making a spectacle of oneself: French Revolutionary opera by women, Vol. 11 (1999), n. 3, pp. 215-232

-LEVERETT (A.P.), Liszt, Wagner and Heinrich Dorn’s Die Nibelunge, Vol. 2 (1990), n. 2, pp. 121-44

-LEVIN (D.J.), Opera out of performance: Verdi’s Macbeth at San Francisco Opera, Vol. 16 (2004), n. 3, pp. 249-268

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  • Opera Points: Puccini, “Laggiù nel Soledad” (Minnie), La fanciulla del West, Act I, Vol. 28 (2016), n. 2, pp. 251-254
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-LOUGHRIDGE (D.), When Media Meet: Marcia J. Citron, When Opera meets Films. Cambridge: Cambridge University Press, 2010; Héctor J. Pérez, ed., Opera and Video: Technology and Spectatorship. Frankfurt: Peter Lang, 2012, Vol. 26 (2014), n.2, pp. 203-213

-MACEDO (C.), Between opera and reality: the Barcelona Parsifal, Vol. 10 (1998), n. 1, pp. 97-110

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-MARVIN (R.M.), Introduction to Special Issue on Opera Reception, Vol. 25 (2013), n.2, pp. 117-120

-MATHEW (N.), Out of Circulation; Beethoven, “Hat man nicht auch Gold beineben”, (Rocco), Fidelio, Act I, Vol. 28 (2016), n. 2, pp. 145-148

-McCLARY (S.), Cambridge Opera Journal at Twenty, Vol. 21 (2009), n. 2, pp. 105-110

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-McCLATCHIE (S.), Benjamin Britten, Owen Wingrave and the politics of the closet: or, “He Shall be Straightened Out at Paramore”, Vol. 8 (1996), n. 1, pp. 59-78

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-MEHRING (F.), Welcome to the machine! The representation of technology in Zeitopern, Vol. 11 (1999), n. 2, pp. 159-178

-MELAMED (D.R.), Counterpoint in Mozart’s Die Entfürhrung aus dem Serail, Vol. 20 (2008), n. 1, pp. 25-52

-METZER (D.), “A wall of darkness dividing the world”: Blackness and whiteness in Louis Gruenberg’s The Emperor Jones, Vol. 7 (1995), n. 1, pp. 55-72

-MEYER (S.), Marschner’s villains, monomania, and the fantasy of deviance, Vol. 12 (2000), n. 2, pp. 109-134

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-MILLER (P.N.), María Alicia Amadei-Pulice, Calderón y el Barroco: Exaltación y engaño de los sentidos and Margaret Rich Greer, The Play of Power: Mythological Court Dramas of Calderón de la Barca, Vol. 6 (1994), n. 2, pp. 175-180

-MILLINGTON (B.), Nuremberg trial: Is there anti-semitism in Die Meistersinger?, Vol. 3 (1991), n. 3, pp. 247-260

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-MORDEY (D.)

  • Carmen, Communarde; Bizet, “Habanera” (Carmen), Carmen, Act I, Vol. 28 (2016), n. 2, pp. 215-219
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-MORRISON (S.), Rosamund Barlett, Wagner and Russia, Vol. 8 (1996), n. 1, pp. 83-92

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-MOSELEY (R.), The Qualities of Quantities Mozart, “Madamina, il catalogo è questo” (Leporello), Don Giovanni, Act I, Vol. 28 (2016), n. 2, pp. 137-140

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-MUNDYE (C.), « Motz el Son » : Pound’s musical modernism and the interpretation of medieval song, Vol. 20 (2008), n. 1, pp. 53-78

-MURATA (M.), Why the first opera given in Paris wasn’t Roman, Vol. 7 (1995), n. 2, pp. 87-106

-NEWARK (C.), Arriving late for the ballet: The Cambridge Companion to Grand Opera, ed. David Charlton. Cambridge: Cambridge University Press, 2003, Vol. 16 (2004), n. 2, pp. 239-247

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-NISNEVICH (A.), Simon Morrison, Russian Opera and the Symbolist Movement, Vol. 15 (2003), n. 2, pp. 109-206

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-PARKER (R.)

  • Philippe and Posa, Act II: The shock of the new, Vol. 14 (2002), n. 1 & 2, pp. 133-148
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-PARLY (N.), Flying a Wagner Kite: Subjunctive Performances of a Rheingold Scene Based on a Dramaturgical Sketch by Carolyn Abbate, Vol. 21 (2009), n. 2, pp. 159-180

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-POWERS (H.), One halfstep at a time: Tonal transposition and “split association” in Italian opera, Vol. 7 (1995), n. 2, pp. 135-164

-PRICE (C.), MILHOUS (J.) & HUME (R.D.), A Royal Opera House in Leicester Square (1790), Vol. 2 (1990), n. 1, pp. 1-28

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-REHDING (A.), On the record, Vol. 18 (2006), n. 1, pp. 59-82

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-RICCIARDI (E.), Vivienne Suvini-Hand. Sweet Thunder: Music and Libretti in 1960s Italy. Italian Perspectives 16. London: Legenda, 2006, Vol. 20 (2008), n. 3, pp. 299-302

-RICE (J.A.), The Roman intermezzo and Sacchini’s La Contadina in corte, Vol. 12 (2000), n. 2, pp. 91-108

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-ROGERS (H.), “The Public Will Only Believe the Truth Ifb It Is Shot in 3D”: Michel van der Aa, “Nine Years in an Orphanage” (Zenna), Sunken Garden, Scene 6, Vol. 28 (2016), n. 2, pp. 277-282

-ROSAND (E.), Il ritorno a Seneca, Vol. 21 (2009), n. 2, pp. 119-128

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-RUSHTON (J.), “La vittima è Idamante”: Did Mozart have a motive?, Vol. 3 (1991), n. 1, pp. 1-21

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-SALA (E.), Verdi and the Parisian boulevard theatre, 1847-9, Vol. 7 (1995), n. 3, pp. 185-206

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-SENICI (E.), « Adapted to the modern stage » : La clemenza di Tito in London, Vol. 7 (1995), n. 1, pp. 1-22

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  • Slipping Out; Handel, “As with rosy steps the morn”, (Irene), Theodora, Act I, Vol. 28 (2016), n. 2, pp. 127-131
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-TANNER (M.), Joseph Kerman, Opera as Drama, new and revised edition – Peter Kivy, Osmin’s Rage. Philosophical Reflections on Opera, Drama, and Text, Vol. 1 (1989), n. 2/3, pp. 299-306

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-TREAGAR (P.J.), Musical style and political allegory in Krenek’s Karl V, Vol. 13 (2001), n. 1, pp. 55-80

-TRIPPETT (D.), Facing Digital Realities: Where Media Do Not Mix, Vol. 26 (2014), n.1, pp. 41-64

  • Wagner Studies and the “parallactic drift”: Richard Wagner: Self Promotion and the Making of a Brand, by Nicholas Vazsonyi. Cambridge: Cambridge University Press, 2010. Wagner’s Ring Cycle and the Greeks, by Daniel Foster. Cambridge: Cambridge University Press, 2010. Wagner and the Erotic Impulse, by Laurence Dreyfus. Cambridge, MA: Harvard University Press, 2010, Vol. 22 (2010), n. 2, pp. 235-255

-TUNBRIDGE (L.)

  • Loving Mozart: Bernhard Lang, “Ach, ich Fuhl’s” (Grace Moor), I Hate Mozart, Act  I, Vol. 28 (2016), n. 2, pp. 271-275
  • Schumann’s Manfred in the Mental Theatre, Vol. 15 (2003), n. 2, pp. 153-184

-TUSA (M.C.), Mime, Meyerbeer and the Genesis of Der junge Siegfried: New Light on the “Jewish Question” in Richard Wagner’s Work, Vol. 26 (2014), n.2, pp. 147-174

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-UVIETTA (M.), “E’ l’ora della prova”: Berio’s finale for Puccini’s Turandot, Vol. 16 (2004), n. 2, pp. 187-238

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-VELLA (F.)

  • Giovanni Gavazzeni, Armando Torno and Carlo Vitali, O mia patria: storia musicale del Risorgimento, tra inni, eroi e melodrammi, preface by Philip Gossett. Milan: Dalai, 2011. Simonetta Chiappini, O patria mia: passione e identità nazionale nel melodramma italiano dell’Ottocento. Florence: Le Lettere, 2011, Vol. 23 (2011), n. 3, pp. 191-200
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-VELLUTINI (C.), Verdi Beyond Verdi: George Martin, Verdi in America: From Oberto to Rigoletto. Rochester and Suffolk: University of Rochester Press and Boydell & Brewer, 2011; Giandula Kreuzer, Verdi and the Germans: From the Unification to the Third Reich. Cambridge: Cambridge University Press, 2010, Vol. 25 (2013), n.3, pp. 319-328

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-VIALE FERRERO (M.), H. Robert Cohen and Marie-Odile Gigou, Cent ans de mise en scène lyrique en France (env. 1830-1930), and H. Robert Cohen, ed., Douze livrets de mise en scène lyrique datant des créations parisiennes, Vol. 5 (1993), n. 2, pp. 179-186

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-WALTON (B.)

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  •  Malibran’s Favourite Aria; Balfe, “With Rapture Dwelling” (Isoline), The Maid of Artois, Act III, Vol. 28 (2016), n. 2, pp. 161-165

-WARD-GRIFFIN (D.), Theme Park Britten: Staging the English Village at the Aldeburgh Festival, Vol. 27 (2015), n. 2, pp. 63-96

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-WENTZ (J.), An Annotated livret of Lully’s Roland as a Source for Seventeenth-Century Declamation, Vol. 25 (2013), n.1, pp. 1-36

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-WETTERS (B.), Allegorical Erasmus: Bruno Maderna’s Ritratto di Erasmo, Vol. 24 (2012), n. 2, pp. 159-176

-WHITE (B.), Music drama on the concert stage: voice, character and performance in Judith Weir’s The Consolations of Scholarship, Vol. 12 (2000), n. 1, pp. 55-80

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-WIEBE (H.)

  • Discovering America: From Paul Bunyan to Peter Grimes, Vol. 27 (2015), n. 2, pp. 129-154
  • Fade to Black; Britten, “O Waly, Waly” (1947), in Terence Davies’s Distant Voices, Still Lives, Vol. 28 (2016), n. 2, pp. 263-266
  • “Now and England”: Britten’s Gloriana and the “New Elizabethans”, Vol. 17 (2005), n. 2, pp. 141-172

-WILBOURNE (E.), Wendy Heller, Emblems of Eloquence: Opera and Women’s Voices in Seventeenth-Century Venice. Bonnie Gordon, Montevedi’s Unruly Women: The Power of Song in Early Modern Italy, Vol. 18 (2006), n. 2, pp. 217-224

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-WILLIAMS (G.), Machine Speak: Ruggiero Leoncavallo, “Vesti la giubba” (Pagliacci), I Pagliacci, Act I, Vol. 28 (2016), n. 2, pp. 243-246

Technology of the archaic: wish images and phantasmagoria in Wagner, Vol. 9 (1997), n. 1, pp. 73-88

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  • In 1968: Lalo, “Puisqu’on ne peut fléchir…Vainement” (Mylio), Le Roi d’Ys, Act III, Vol. 28 (2016), n. 2, pp. 239-242

-WILSON (A.), Golden-Age Thinking: Updated Stagings of Gianni Schicchi and the Popular Historical Imagination, Vol. 25 (2013), n.2, pp.

  • Killing time: Contemporary representations of opera in British culture, Vol. 19 (2007), n. 3, pp. 249-270
  • Torrefranca vs. Puccini: embodying a decadent Italy,  Vol. 13 (2001), n. 1, pp. 29-54
  • Unrealiable History: Opera in Joe Wright’s Adaptation of Atonement, Vol. 27 (2015), n. 2, pp. 155-174

-WINTERS (B.), Strangling blondes: nineteenth-century femininity and Korngold’s Die tote Stadt, Vol. 23 (2011), n. 1-2, pp. 51-82

-WINGFIELD (P.), Janáček’s speech-melody theory in concept and practice, Vol. 3 (1991), n. 4, pp. 281-301

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-WITTMANN (L.), Alexandra Wilson. The Puccini Problem: Opera, Nationalism, and Modernity. Cambridge: Cambridge University Press, 2007, Vol. 20 (2008), n. 3, pp. 303-306

-WITTMANN (M.), Meyerbeer and Mercadante? The reception of Meyerbeer in Italy, Vol. 5 (1993), n. 2, pp. 115-132

-YANG (M.), Mouline Rouge! and the Undoing of Opera, Vol. 20 (2008), n. 3, pp. 269-282

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-ZASLAW (N.), Scylla et Glaucus: A case study, Vol. 3 (1991), n. 4, pp. 199-228

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  • Permeable boundaries in Mozart’s Don Giovanni, Vol. 13 (2001), n. 2, pp. 115-140

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  • The twilight of the true gods: Cristoforo Colombo, I Medici and the construction of Italian history, Vol. 8 (1996), n. 3, pp. 251-270

 

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