original ) (raw )A Note from the Guest Editor (introduction to "Opera and the Avant-Garde")
Arman Schwartz
Opera Quarterly 30, 2014
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Review of Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg by Christopher Morris
Shersten Johnson
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Operatic ambiguities and the power of music
Ellen Rosand
Cambridge Opera Journal, 1992
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Opera’s Unconscious, or What Men Don’t Say.
Ian Biddle
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'Bourgeois Opera: Death in Venice and the Aesthetics of Sublimation'
Christopher Chowrimootoo
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Competing Visions of Love and Brotherhood: Rewriting War and Peace for the Soviet Opera Stage
Anna A Berman
Cambridge Opera Journal, 2014
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Opera as Literature and the Triumph of Music
Martin Adams
Cambridge University Press eBooks, 2017
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The Case of Wagner Against the Grain: The Disagreement Between Nietzsche and Adorno, and its Relevance Today
João Pedro Cachopo
Parrhesia: A Journal of Critical Philosophy, 2014
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Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Siècle Russia
Anna Fishzon
2013
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The Queering of the Opera
Derek L Williams
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Evgenii Onegin: The Art of Adaptation, Novel to Opera
Nicholas Zekulin
Canadian Slavonic Papers, 1987
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Richard Wagner and the Politics of Music-Drama
DR. MARK W BERRY
The Historical Journal, 2004
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Modernism after Wagner by Juliet Koss. University of Minnesota Press, Minneapolis, U.S.A., London, U.K., 2009. 416 pp., illus. Trade, paper. ISBN: 978-0-8166-5158-0; ISBN 978-0-8166-5159-7
Joy Calico
Leonardo, 2012
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The Fade Out: Metaphysics and Dialectics in Wagner
Eugene A Clayton Jr
The Fade Out: Metaphysics and Dialectics in Wagner, 2020
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Five Operas and a Symphony: Words and Music in Russian Culture. By Boris Gasparov. pp. xxii + 268. Russian Literature and Throught. (Yale University Press, New Haven and London, 2005, 30. ISBN 0-300-10650-5.)
Pauline Fairclough
Music and Letters, 2006
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‘Oh show us....’: Opera and/as Spectatorship in Aufstieg und Fall der Stadt Mahagonny
Kevin Amidon
Brecht Yearbook, 2004
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« Musical dramaturgy », The Oxford Handbook of Opera, ed. Helen Greenwald, Oxford : Oxford University Press, 2014, 177-205
Damien Colas Gallet
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The Labyrinth of the Soul:: Wagner’s Musical Lament
Miguel Ribeiro-Pereira
2016
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[Review of Hebert Lindenberger, Situating Opera: Period, Genre, Reception (Cambridge UP, 2010)], Modern Drama 55.2 (Summer 2012): 274–276.
Samuel Dwinell
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Emotional Truth in Opera Performance - Chapter 4 - Conclusion
Oliver Torr
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VLADO KOTNIK: The Adaptability of Opera: When Different Social Agents Come to Common Ground
Lia Lola Vlado Kotnik
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The Theater of Cruelty and Contemporary Opera
Milad Tangshir
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OPERA, SPECTACLE AND COMPOSITIONAL PROCESS
Mario Ferraro
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German Opera: From the Beginnings to Wagner (review)
Kevin Amidon
Notes, 2002
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Reading Right from Left: Hans Mayer and Postwar Wagner Reception (Article), Opera Quaterly 30.2/3 (2014): 228-245
Nicholas Vazsonyi
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Not Russian Enough? Nationalism and Cosmopolitanism in Nineteenth-Century Russian Opera. By Rutger Helmers
Nathan Seinen
Music and Letters, 2016
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Conversations with Francesca: Tchaikovsky, Liszt, and Wagner (And Zandonai and Granados and Rachmaninov) Go to Hell
Jess Tyre
2018
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Behind the Mask and Under the Surface: On Divertimento, Miklós Szentkuthy’s Mozart Novel
Tibor Pinter
2013
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"Infecting, Simulating, Judging: Tolstoy’s Search for an Aesthetic Standard"
Tatyana Gershkovich
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La Vraisemblance du merveilleux: Operatic Aesthetics in Cazotte's Fantastic Fiction
Tili Boon Cuillé
2005
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Emotional Truth in Opera Performance - Chapter 1
Oliver Torr
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Verdi and Wagner
Jesse Rosenberg
Notes, 1992
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From the Gesamtkunstwerk to the Music Drama
Sanna Pederson
The Total Work of Art: Foundations, Articulations, Inspirations , 2016
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Love in the time of Bismarck Roger Scruton, Death-Devoted Heart: Sex and the Sacred in Wagner's ‘Tristan and Isolde’ . Oxford: Oxford University Press, 2004. 248 pp
Karol Berger
Cambridge Opera Journal, 2006
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JOHN WARRACK GERMAN OPERA: FROM THE BEGINNINGS TO WAGNER Cambridge: Cambridge University Press, 2001 pp. xvi 447, ISBN 0 521 23532 4
David Buch
Eighteenth Century Music, 2004
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