A Catalogue of the Library of the Athenæum |
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Page xii
... Opéra company. My approach to opera always gives the libretto half or more of the due quota of attention, opera-as-drama; and in France, of all countries, one expects dramatic values to be a strong point of definition. By giving ...
... Opéra company. My approach to opera always gives the libretto half or more of the due quota of attention, opera-as-drama; and in France, of all countries, one expects dramatic values to be a strong point of definition. By giving ...
Page 17
... opera was staged in public theatres for paying audiences. In the 18th century, the operas of Christoph Willibald Gluck. HOW IT ALL BEGAN Opera was yet another fruit of the Italian Renaissance. And, as such, it is no accident that its ...
... opera was staged in public theatres for paying audiences. In the 18th century, the operas of Christoph Willibald Gluck. HOW IT ALL BEGAN Opera was yet another fruit of the Italian Renaissance. And, as such, it is no accident that its ...
Page 5
... opera,” looks at the other side – the place of opera in film. Similarly Marcia J. Citron's Opera on Screen (2000) explores a number of well-known film productions of operas, only briefly touching on topics related to the broader presence of ...
... opera,” looks at the other side – the place of opera in film. Similarly Marcia J. Citron's Opera on Screen (2000) explores a number of well-known film productions of operas, only briefly touching on topics related to the broader presence of ...
Page 4
... operas might well have justified Dr. Johnson's remarks about eighteenth - century opera in his dictionary : he called it " an exotic and ir- rational entertainment . " Tellingly , however , during the French Revo- lution opera was not ...
... operas might well have justified Dr. Johnson's remarks about eighteenth - century opera in his dictionary : he called it " an exotic and ir- rational entertainment . " Tellingly , however , during the French Revo- lution opera was not ...
Page 23
... opera and the media that these operas foreground remain chiefly the same, including the crucial question of how opera recasts its cultural relevance and rethinks its critical potential through its engagement with the media of ...
... opera and the media that these operas foreground remain chiefly the same, including the crucial question of how opera recasts its cultural relevance and rethinks its critical potential through its engagement with the media of ...
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