Paperback : $79.97
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable
insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the
Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience.Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven
through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with
her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself.The Arts of the Prima
Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural
studies, as well as to the shelves of opera singers and enthusiasts.
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable
insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the
Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience.Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven
through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with
her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself.The Arts of the Prima
Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural
studies, as well as to the shelves of opera singers and enthusiasts.
Introduction
Rachel Cowgill and Hilary Poriss
PART ONE: PROMOTION AND IMAGE-MAKING
Chapter 1. Divas and Sonnets: Poetry for Female Singers in Teatri
arti e letteratura
Francesco Izzo
Chapter 2. Idealizing the Prima Donna in Mid-Victorian London
Roberta Montemorra Marvin
Chapter 3. Prima Donnas and the Performance of Altruism
Hilary Poriss
Chapter 4. Staging Scandal with Salome and Elektra
Joy H. Calico
Chapter 5. Screening the Diva
Mary Simonson
Chapter 6. The Prima Donna's Art of Politics
James R. Currie
INTERLUDE 1: The Prima Donna Creates
Julian Rushton
PART TWO: FANTASY AND REPRESENTATION
Chapter 7. Gautier's "Diva": The First French Use of the Word
James Q. Davies
Chapter 8. Artistic Experiment and the Reevaluation of the Prima
Donna in George Moore's Evelyn Innes
Grace Kehler
Chapter 9. Ars moriendi: Reflections on the Death of Mimi
Helen Greenwald
Chapter 10. Lakmé's Echoing Jewels
Gurminder Kaur Bhogal
INTERLUDE 2: Breath's End: Opera and Mortality
Terry Castle
PART THREE: CULTURES OF CELEBRITY
Chapter 11. "Attitudes with a Shawl": Performance, Femininity, and
Spectatorship at the Italian Opera in Early Nineteenth-Century
London
Rachel Cowgill
Chapter 12. From Diva to Drama Queen
Tracy C. Davis
Chapter 13. The Prima Donna as Opera Impresario: Emma Carelli and
the Teatro Costanzi, 1911-1926
Susan Rutherford
Chapter 14. "In Imitation of My Negro Mammy": Alma Gluck and the
American Prima Donna
Susan C. Cook
Chapter 15. "The Finest Voice of the Century": Clara Butt and Other
Concert-Hall and Drawing-Room Singers of Fin-de-siècle Britain
Sophie Fuller
Chapter 16. Galli-Curci Comes to Town: The Prima Donna's Presence
in the Age of Mechanical Reproduction
Alexandra Wilson
Index
Rachel Cowgill is Professor of Music at Cardiff University, and
editor of the Journal of the Royal Musical Association. Her
research encompasses British music and musical cultures, Italian
opera, Mozart reception, and gender and sexuality, and has appeared
in Cambridge Opera Journal, JRMA, Early Music, Musical Times, and
collections from Ashgate, Berliner Wissenschafts-Verlag, Oxford
University Press,
and Princeton University Press. Rachel co-edited Europe, Empire,
and Spectacle in Nineteenth-Century British Music (Ashgate, 2006),
Music in the British Provinces, 1690-1914 (Ashgate, 2007), and Art
and Ideology in European Opera (Boydell & Brewer, 2010).
Hilary Poriss is Associate Professor at Northeastern University,
Boston. Her research interests focus on Italian opera, performance
practice, diva culture, and the aesthetics of nineteenth-century
musical culture. She is the author of Changing the Score: Arias,
Prima Donnas, and the Authority of Performance (Oxford University
Press, 2009); and co-editor, with Roberta Montemorra Marvin of
Fashions and Legacies of Nineteenth-Century Italian Opera
(Cambridge
University Press, 2010). She has published articles and reviews in
19th-Century Music, Cambridge Opera Journal, Verdi Forum, and
Nineteenth-Century Music Review.
"Take a handful of enduring diva myths; add a large bunch of
creative risk-takers; mix with intellectual vigour; watch the myths
fade. This essay collection from Cowgill and Poriss is as exciting
as it is addictive, re-evaluating the prima donna-real, fictional,
or both-as a compelling cultural force." --Katharine Ellis,
Professor of Music at Royal Holloway, University of London
"Opera scholarship is no longer fixated on the composer and his/her
efforts. Performers have become a center of interest, but what is a
prima donna? or even a diva? While these essays, collected and
superbly edited by Rachel Cowgill and Hilary Poriss, provide no
universal answers, their authors raise questions that will guide
thinking for many years." --Philip Gossett, Robert W. Reneker
Distinguished Service Professor Emeritus, The University of
Chicago
"Thorough research is evident, and excellent footnotes accompany
each essay...Highly recommended." --Choice
"An impressive collection of essays that will guide scholarship on
vocal artists for years
to come, and perhaps inspire more research on operatic centers not
covered by
the book...Will be of interest not only to musicologists and opera
scholars, but also to anyone interested in those fascinating women
who, evening after evening, brought opera to life." --Notes
 |
Ask a Question About this Product More... |
|
