Marcia J. Citron is Lovett Distinguished Service Professor of Musicology at the Shepherd School of Music, Rice University. She is the author of Opera on Screen (2000), as well as numerous articles on the topic of opera and film, in journals including Musical Quarterly, Music and Letters, and the Journal of Musicology. Her other area of interest is women and gender in music, and she has written three books on this topic: Gender and the Musical Canon (1993), which won an award from the International Alliance for Women in Music; Letters of Fanny Hensel to Felix Mendelssohn (1987), which was awarded 'Outstanding Academic Book' by Choice magazine; and Cécile Chaminde: A Bio-Bibliography (1988).
Inhaltsangabe
Introduction Part I. Style: 1. Operatic style in Coppola's Godfather trilogy 2. Opera as fragment: 'Liebestod' and 'Nessun dorma' in Aria Part II. Subjectivity: 3. Subjectivity in the opera-films of Jean-Pierre Ponelle 4. Don Giovanni and subjectivity in Claude Chabrol's La Cérémonie Part III. Desire: 5. 'An honest contrivance': opera and desire in Moonstruck 6. The sound of desire: Così's 'Soave sia il vento' in Sunday, Bloody Sunday and Closer Epilogue Bibliography Filmography and videography.
Introduction Part I. Style: 1. Operatic style in Coppola's Godfather trilogy 2. Opera as fragment: 'Liebestod' and 'Nessun dorma' in Aria Part II. Subjectivity: 3. Subjectivity in the opera-films of Jean-Pierre Ponelle 4. Don Giovanni and subjectivity in Claude Chabrol's La Cérémonie Part III. Desire: 5. 'An honest contrivance': opera and desire in Moonstruck 6. The sound of desire: Così's 'Soave sia il vento' in Sunday, Bloody Sunday and Closer Epilogue Bibliography Filmography and videography.
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