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  3. Cambridge Studies in Opera

The potential for the study of opera and its cultural ramifications today is vast indeed. Cambridge Studies in Opera is pleased to offer a forum for this growing and lively area of contemporary scholarship. The series intends its methodological focus to be inclusive, ranging from musicological studies of composers and works or forms of analysis to the varieties of approaches that critical theories in other humanistic disciplines can now offer to the study of opera.

  • General Editors: Arthur Groos, Cornell University
  • Editorial Boards: Tim Carter, University of London, John Deathridge, University of London, James Hepokoski, University of Minnesota, Paul Robinson, Stanford University

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22 results in Cambridge Studies in Opera

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Opera and Drama in Eighteenth-Century London
  • The King's Theatre, Garrick and the Business of Performance
  • Ian Woodfield
  • Published online:
    22 September 2009
    Print publication:
    10 May 2001
  • In this study, Ian Woodfield explores the cultural and commercial life of Italian opera in late eighteenth-century London. It was a period when theatre and opera worlds mixed, venues were shared, and agents and managers collaborated and competed. Through primary sources, many analysed for the first time, Woodfield examines such issues as finances, recruitment policy, the handling of singers and composers, links with Paris and Italy, and the role of women in opera management. These key topics are also placed within the context of a personal dispute between two of the most important managers of the day, the woman writer Frances Brooke and the actor David Garrick, which influenced the running of the major venues, the King's Theatre, Drury Lane and Covent Garden. Woodfield has also uncovered new information concerning the influential role of the eighteenth-century music historian and critic Charles Burney, as artistic advisor to the King's Theatre.

The Puccini Problem
  • Opera, Nationalism, and Modernity
  • Alexandra Wilson
  • Published online:
    22 September 2009
    Print publication:
    08 March 2007
  • A detailed investigation of the reception and cultural contexts of Puccini's music, this book offers a fresh view of this historically important but frequently overlooked composer. Wilson's study explores the ways in which Puccini's music and persona were held up as both the antidote to and the embodiment of the decadence widely felt to be afflicting late nineteenth- and early twentieth-century Italy, a nation which although politically unified remained culturally divided. The book focuses upon two central, related questions that were debated throughout Puccini's career: his status as a national or international composer, and his status as a traditionalist or modernist. In addition, Wilson examines how Puccini's operas became caught up in a wide range of extra-musical controversies concerning such issues as gender and class. This book makes a major contribution to our understanding of both the history of opera and of the wider artistic and intellectual life of turn-of-the-century Italy.

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