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Herbert Lindenberger is Avalon Professor of Humanities Emeritus at Stanford University. He is the author of Opera in History: From Monteverdi to Cage (1998), The Literature in History: On Genre, Values, Institutions (1990), Opera: The Extravagant Art (1984), and Saul's Fall: A Critical Fiction (1979).
Prologue. Why opera? Why (how, where) situate?
1. Anatomy of a war horse: Il trovatore from A to Z
2. On opera and society (assuming a relationship)
3. Opera and the novel: antithetical or complementary?
4. Opera by other means
5. Opera and/as lyric
6. From separatism to unity: aesthetic theorizing from Reynolds to Wagner
7. Toward a characterization of modernist opera
8. Anti-theatricality in twentieth-century opera
9. A brief consumer's history of opera
Epilogue. Why (what, how, if) opera studies?
Works cited.