¹ For some thought-provoking reflections on the topic, see Pasler, Jann's ‘Introduction’ in her Writing through Music: Essays on Music, Culture, and Politics (Oxford and New York, 2008)Google Scholar.

² For a concise commentary on the issues involved in music reception studies in this regard, see Everist, Mark, ‘Reception Theories, Canonic Discourse and Musical Value’, in Rethinking Music, ed. Cook, Nicholas and Everist, Mark (Oxford, 1999), 378–402Google Scholar. See also Holub, Robert C., Reception Theory: A Critical Introduction (London, 1984), esp. 53–146Google Scholar.

³ On the ‘alternative histories’ that such stagings create, see Abbate, Carolyn, In Search of Opera (Princeton, 2001)Google Scholar.