Opera and Society in Italy and France from Monteverdi to Bourdieu

Half-title......Page 3
Series-title......Page 5
Title......Page 7
Copyright......Page 8
Dedication......Page 9
Contents......Page 11
Illustrations......Page 13
Tables......Page 14
Musical Examples......Page 15
Notes on Contributors......Page 17
Foreword......Page 23
Acknowledgments......Page 34
Introduction: Opera and the academic turns......Page 35
Opera and the Division of Academic labor......Page 36
History......Page 39
Sociology......Page 41
Literary criticism......Page 42
Musicology......Page 43
Approaching Opera after the turns......Page 47
Notes......Page 52
Part I The Representation of Social and Political Relations in Operatic Works......Page 61
Introduction to Part I......Page 63
1 Venice’s mythic empires: Truth and verisimilitude in
Venetian opera......Page 68
Truth and Verisimilitude......Page 70
Monarchy and Venetian Identity......Page 74
Notes......Page 82
2 Lully’s on-stage societies......Page 87
Alceste......Page 90
Atys......Page 92
Armide......Page 99
Notes......Page 101
3 Representations of le peuple in French opera,
1673–1764......Page 106
The problem of Le Peuple in Seventh-Century French Opera......Page 107
Genres......Page 109
Le peuple in the lyric tragedy......Page 111
The Operatic presence of Le Peuple: opposition and Analogy to the spoken theatre......Page 112
The concept of spectacle: Opposite functions of spectacle and drama......Page 113
Functions of the collective presence (chorus and dancers)......Page 114
Notes......Page 117
4 Women’s roles in Meyerbeer’s operas: How Italian
heroines are reflected in French grand opera......Page 121
Jakob meyer beer goes to italy......Page 124
Conventions for the characterizations women's voices portrated in italian opera during the primo ottocento......Page 126
Romilda e Costanza......Page 128
Semiramide reconosciuta (Semiramide Recognized)......Page 129
Emma di Resburgo......Page 132
Margherita d’Anjou......Page 133
L’esule di Granata (The Exile from Granada)......Page 134
Il crociato in Egitto......Page 136
Voice and characterization in meyerbeer's italian operas: travesti and disguise......Page 138
Meyerbeer’s Italian heroines reflected in his French grand operas......Page 141
Notes......Page 143
5 The effect of a bomb in the hall: The French “opera of
ideas” and its cultural role in the 1920s......Page 149
Notes......Page 162
Part II The Institutional Bases for the Production and Reception of Opera......Page 167
Introduction to Part II......Page 169
6 State and market, production and style: An
interdisciplinary approach to eighteenth-century
Italian opera history......Page 172
Government policy and the spread of opera to the periphery......Page 174
Opera as a means of social control and artistic innovation......Page 178
Conditions of production and musical style......Page 182
Notes......Page 190
7 Opera and the cultural authority of the capital city......Page 194
Notes......Page 210
8 “Edizioni distrutte” and the significance of operatic
choruses during the Risorgimento......Page 215
Verdi's 1848 activities: la battaglia di legnano......Page 219
Verdi's 1848 activities: "Suono La Tromba"......Page 223
Alberto Banti and the "Morphology of national Discourse"......Page 228
Hymns to plus ix and carlo alberto before the cinque giornate; rossini, natalucci, and magazzari......Page 231
"Edizioni distrutte" in the aftermath of the cinque giornate......Page 238
Notes......Page 266
9 Opera in France, 1870–1914: Between nationalism
and foreign imports......Page 277
Parisian creativity and its limits......Page 279
Export capacity......Page 286
The listening habitus......Page 292
Conclusion......Page 295
Notes......Page 296
10 Fascism and the operatic unconscious......Page 301
Opera and spectacle......Page 303
Turandot.com......Page 306
The operatic unconscious: Senso (visconti, 1954), the spider's stratagem (bertolucci, 1970)......Page 311
Notes......Page 321
Part III Theorizing Opera and the Social......Page 323
Introduction to Part III......Page 325
11 On opera and society (assuming a relationship)......Page 328
Notes......Page 345
12 Symbolic domination and contestation in
French music: Shifting the paradigm from
Adorno to Bourdieu......Page 346
Notes......Page 358
Music does not exist.........Page 364
The great divide......Page 366
A choice ally: the history of art......Page 369
Opera or music as an event......Page 371
The rise and fall of a repertoire......Page 374
Modernism......Page 377
Notes......Page 379
Conclusion: Towards a new understanding of the history of opera?......Page 385
Notes......Page 395
Bibliography......Page 398
Index......Page 429