The Oxford Handbook of the Operatic Canon

Note to the reader Contributors Acknowledgements General Introduction Idiosyncrasies of the operatic canon Cormac Newark and William Weber Part 1. History, geography Introduction to Chapters 1 and 2 Foundations: France and Italy in the eighteenth century Michel Noiray and Franco Piperno Chapater 1. The practical and symbolic functions of pre-Rameau opera at the Paris Opéra before Gluck Michel Noiray Chapter 2. Italian opera and the concept of "canon" in the late eighteenth century Franco Piperno Introduction to Chapters 3 and 4 From royal authority to public taste in Berlin, 1740-1815 John Mangum and Katherine Hambridge Chapter 3. The repertory of the Italian Court Opera in Berlin, 1740-1786 John Mangum Chapter 4. Catching up and getting ahead: The opera house as temple of art in Berlin c. 1800 Katherine Hambridge Introduction to Chapters 5 and 6 Operatic practices at the London Opera: Pasticcio to repertory to canon? Michael Burden and Jennifer Hall-Witt Chapter 5. From recycled performances to repertoire at the King's Theatre in London, 1705-1820 Michael Burden Chapter 6. Repertory opera and canonic sensibility at the London opera, 1820-1860 Jennifer Hall-Witt Introduction to chapters 7 and 8 From capital-city opera house to provincial theaters in France Patrick Taïeb, Sabine Teulon Lardic and Yannick Simon Chapter 7. The evolution of French opera repertories in provincial theaters: Three epochs, 1770-1900 Patrick Taïeb and Sabine Teulon Lardic Chapter 8. The mingling of opera genres: Canonic opera at the Théâtre des Arts in Rouen, 1882-1897 Yannick Simon Introduction to chapters 9 and 10 The Italian opera world and its canons Carlotta Sorba and Jutta Toelle Chapter 9. Theaters, markets, and canonic implications in the Italian opera system, 1820-1880 Carlotta Sorba Chapter 10. Operatic canons and repertories in Italy around 1900 Jutta Toelle Introduction to chapters 11 and 12 Opera in the Western Hemisphere, 1811-1910: New York, Buenos Aires, and Montevideo Karen Ahlquist and Benjamin Walton Chapter 11. International opera in nineteenth-century New York: Core repertories and canonic values Karen Ahlquist Chapter 12. Canons of real and imagined opera: Buenos Aires and Montevideo, 1810-1860 Benjamin Walton Introduction to chapters 13 and 14 Tension between national and cosmopolitan canons in England and Russia William Weber and Rutger Helmers Chapter 13. The survival of English opera in nineteenth-century concert life William Weber Chapter 14. National and international canons of opera in Tsarist Russia Rutger Helmers Part 2. Other views, other canons Introduction to chapters 15 and 16 Singers and the operatic canon Kimberley White and Hilary Poriss Chapter 15. Setting the standard: Singers, theater practices, and the operatic canon in nineteenth-century France Kimberley White Chapter 16. Redefining the standard: Pauline Viardot and Gluck's Orphée Hilary Poriss Introduction to chapters 17 and 18 Uses of the operatic canon Cormac Newark and Mark Berry Chapter 17. Canons of the Risorgimento then and now Cormac Newark Chapter 18. "Blow the opera houses into the air": Wagner, Boulez, and modernist canons Mark Berry Introduction to chapters 19 and 20 Re-writing the operatic canon Flora Willson and William Gibbons Chapter 19. Phantoms at the Opéra: Meyerbeer and de-canonization Flora Willson Chapter 20. The uses and disadvantages of opera history: Unhistorical thinking in fin-de-siècle Paris William Gibbons Introduction to chapters 21 and 22 Contiguous genres: Operetta and American musicals Micaela Baranello and Raymond Knapp Chapter 21. Viennese operetta canon formation and the journey to prestige Micaela Baranello Chapter 22. Canons of the American musical Raymond Knapp Introduction to chapters 23 and 24 Twentieth-century reproductive technology and the operatic canon Karen Henson and Hugo Shirley Chapter 23. Sound recording and the operatic canon: Three "drops of the needle" Karen Henson Chapter 24. Opera on film and the canon Hugo Shirley Introduction to chapters 25 and 26 Views of the operatic canon from the industry John Rockwell and Kasper Holten Chapter 25. Critical reflections on the operatic canon John Rockwell Chapter 26. Inside and outside the operatic canon, on stage and in the boardroom Kasper Holten Bibliography