Del i serien Clemson University Press: Studies in British Musical Cultures

Opera and British Print Culture in the Long Nineteenth Century

Inbunden, Engelska, 2023

2 369 kr

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Winner of the 2024 H. Robert Cohen/RIPM Award from the American Musicological SocietyRecently, studies of opera, of print culture, and of music in Britain in the long nineteenth century have proliferated. This essay collection explores the multiple point of interaction among these fields. Past scholarship often used print as a simple conduit for information about opera in Britain, but these essays demonstrate that print and opera existed in a more complex symbiosis.This collection embeds opera within the culture of Britain in the long nineteenth century, a culture inundated by print. The essays explore: how print culture both disseminated and shaped operatic culture; how the businesses of opera production and publishing intertwined; how performers and impresarios used print culture to cultivate their public persona; how issues of nationalism, class, and gender impacted reception in the periodical press; and how opera intertwined with literature, not only drawing source material from novels and plays, but also as a plot element in literary works or as a point of friction in literary circles.As the growth of digital humanities increases access to print sources, and as opera scholars move away from a focus on operas as isolated works, this study points the way forward to a richer understanding of the intersections between opera and print culture.

Produktinformation

Utgivningsdatum2023-03-15
Mått163 x 239 x undefined mm
FormatInbunden
SpråkEngelska
SerieClemson University Press: Studies in British Musical Cultures
Antal sidor392
FörlagClemson University Digital Press
ISBN9781638040422

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Musikvetenskap inom Kultur

Christina Fuhrmann is Professor of Music at Baldwin Wallace University Conservatory of Music and edits BACH: Journal of the Riemenschneider Bach Institute. Her research has been published in venues such as The Oxford Handbook of the British Musical, Nineteenth-Century Music Review, and The Encyclopedia of Romantic Literature. Her book, Foreign Opera at the London Playhouses, from Mozart to Bellini (Cambridge University Press, 2015) received the Diana McVeagh Prize for Best Book on British Music, awarded biennially by the North American British Music Studies Association. Alison Mero holds a PhD from Indiana University. Her research focuses on the discourse surrounding English-language opera in the nineteenth century. She has published in Notes and has an essay in Musicians of Bath and Beyond edited by Nicholas Temperley (Boydell, 2016). Currently she is executive managing editor at Clemson University Press where she acquires titles in music and manages production for all of Clemson’s academic books.

IntroductionChristina Fuhrmann and Alison MeroI. The Interdependence of Print and Opera1. Peter Horton, “‘Mr Hawes is Mr Hawes’: Opera and Music Publishing in early Nineteenth-Century London”2. Christina Fuhrmann, “Giovanni in Print”II. Shaping a Public Persona3. Jennifer Hall-Witt, “Authoring the Managerial Memoir: Print Culture and John Ebers’s Seven Years of the King’s Theatre (1828)”4. Matildie Wium, “‘Domestic Affliction’ and a ‘Relaxed Throat’: Reporting on the Tribulations of Mary Shaw”III. Shaping National Identity5. Jennifer Oates, “The ‘Failure’ of Provincial Opera: Nineteenth-Century Opera and Print Culture in Edinburgh”6. Timothy Love, “Opera Stage as Cultural Battlefield: Opera in Nineteenth-Century Ireland”7. Maria McHale, “Opera in Dublin in the Long Nineteenth Century: Identity, Nationalism, and Internationalism”IV. Shaping Taste8. Michelle Meinhart, “A ‘Cosy Corner Chat’ about Opera: Fashioning New Femininities in The Gentlewoman and The Lady, 1885–1914”9. Charles McGuire, “Wagner, the British Press, and Taste Education at the British Musical Festival, 1883–1914”V. Operatic Literature, Literary Opera10. Julia Grella O’Connell, “Decadence, Literary Wagnerism, and Victorian Religious Conversion in Popular Print Culture: Two Novels by George Moore”11. James Grande, “Music and Magazines: Dissenting from Opera in the Print Public Sphere”12. Phyllis Weliver, “Wanting More: Oliver Twist as Beggar’s Opera”AfterwordLeanne Langley