London operatic adaptations have been maligned, but this comprehensive study demonstrates their importance to theatre, opera and canon formation.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Christina Fuhrmann is a Professor in the Department of Music at Ashland University, Ohio. Her publications include articles in Nineteenth-Century Music Review and Gender, Sexuality and Early Music and a volume on Romanticism and Opera. Her critical edition of Henry Bishop's adaptation of The Marriage of Figaro was published in 2012.
Inhaltsangabe
Introduction 1. A tale of two Boieldieus 2. The pippin and the pineapple: Rossini and Mozart 3. 'The flood-gates of foreign music': Der Freischütz 4. The search for Weber's successor 5. Mozart and Rossini revisited 6. Grand opera: competition and copyright 7. Of foreigners and fidelity Appendix 1. Operas adapted for the London playhouses, 1814-33 Appendix 2. Reviews of adaptations.
Introduction 1. A tale of two Boieldieus 2. The pippin and the pineapple: Rossini and Mozart 3. 'The flood-gates of foreign music': Der Freischütz 4. The search for Weber's successor 5. Mozart and Rossini revisited 6. Grand opera: competition and copyright 7. Of foreigners and fidelity Appendix 1. Operas adapted for the London playhouses, 1814-33 Appendix 2. Reviews of adaptations.
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