The Politics of Opera in Handel’s Britain - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-v

Figures

pp vi-vi

Tables

pp vii-viii

Preface

pp ix-x

Notes on sources

pp xi-xi

Frontispiece

pp xii-xii

1 - Introduction

pp 1-11

2 - Opera and political allegory:

pp 12-56

3 - Politics in the Royal Academy of Music

pp 57-93

4 - The opera house, allegory, and the political opposition

pp 94-125

5 - Handel’s Second Academy

pp 126-149

6 - Rival opera companies and Farinelli in Madrid

pp 150-179

7 - Politics, theater, and opera in the 1730s

pp 180-209

8 - The opera stage as political history

pp 210-246

Epilogue

pp 247-249

Appendices

pp 250-281

Appendix 1: - Political affiliation and principal offices of shareholders of the Royal Academy of Music, c.1717–22

pp 250-257

Appendix 2: - Operas premiered at the Royal Academy of Music

pp 258-267

Appendix 3: - Directors of the Opera of the Nobility with political allegiances in June 1733

pp 268-271

Appendix 4: - Operas (and other works) premiered by the Opera of the Nobility

pp 272-276

Appendix 5: - Hanoverian celebratory pieces

pp 277-281

Notes

pp 282-371

Select bibliography

pp 372-400

Index

pp 401-408