Opera and British Print Culture in the Long Nineteenth Century

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

‘Langley’s afterword mirrors the content of the book; her own multifaceted career positions her at the intersection of an array of disciplines, each of which—as this excellent volume exemplifies—contributes, in her words, to a “genuine expansion of knowledge".’ Chloe Valenti, University of Cambridge