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Rachel Cowgill, David Cooper, Clive Brown, eds. Art and Ideology in European Opera: Essays in Honour of Julian Rushton (Woodbridge, UK: Boydell & Brewer, 2010). xv+413 pp. £60.00.

Published online by Cambridge University Press:  08 January 2013

Jann Pasler*
University of California, San Diego


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1 Rushton, Julian, ‘Music and Drama at the Académie Royale de Musique 1774–1789’ (D.Phil. thesis, Oxford, 1970)Google Scholar

2 Berlioz, Huit Scènes de Faust (Kassel: Barenreiter, 1970)Google Scholar

3 Rushton, Julian, ‘Berlioz, French or German: Nationalist or Internationalist?’, The Hector Berlioz Website: Berlioz Bicentenary Special – Celebrating 2003 (2003), Scholar

4 Most of the references come from Nejedly, Ceska moderni opera po Smetanovi (Prague: J. Otto, 1911). The original texts are available on the publisher's website:

5 See his ‘The Voice he Loved: Mezzo-Soprano Roles in Les Troyens’, Berlioz Society Bulletin 173 (April 2007): 26–35.

6 See his ‘Elgar, Kingdom, and Empire’, Elgar Society Journal 14 (November 2006), 15–26 and Europe, Empire, and Spectacle in Nineteenth-Century British Music, ed. Rachel Cowgill and Julian Rushton (Aldershot: Ashgate, 2006).

7 This chapter first appeared (in a fuller version) in Cambridge Opera Journal 17 (2005): 105–39. It received the H. Colin Slim Award from the American Musicological Society in 2007.

8 For a similar analysis of the importance of the Russo-Japanese war, see my ‘Political Anxieties and Musical Reception: Japonisme and the Problem of Assimilation’, Madama Butterfly: L'orientalisme di fine secolo, l'approccio pucciniano, la ricezione, ed. Arthur Groos and Virgilio Bernardoni (Florence: Leo S. Olschki, 2008), 17–53, and on the revisions, see Linda Fairtile, ‘Revising Cio-Cio San,’ in ibid, 301–15.