Skip to main content Accessibility help
Hostname: page-component-77c89778f8-9q27g Total loading time: 0 Render date: 2024-07-19T09:38:48.503Z Has data issue: false hasContentIssue false


Published online by Cambridge University Press:  05 September 2016

Karen Henson
City University of New York
Get access
Technology and the Diva
Sopranos, Opera, and Media from Romanticism to the Digital Age
, pp. 201 - 217
Publisher: Cambridge University Press
Print publication year: 2016

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)


Primary Sources

Abbate, Carolyn. “The Parisian ‘Vénus’ and the ‘Paris’ Tannhäuser.” Journal of the American Musicological Society, 36 (1983), 73123.CrossRefGoogle Scholar
Abbate, Carolyn Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton University Press, 1991.Google Scholar
Abbate, CarolynOpera; or, the Envoicing of Women,” in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Solie, Ruth A.. Berkeley and Los Angeles: University of California Press, 1993, 225–58.Google Scholar
Abbate, Carolyn In Search of Opera. Princeton University Press, 2001.Google Scholar
Abbate, CarolynMusic – Drastic or Gnostic?Critical Inquiry, 30 (2004), 503–36.CrossRefGoogle Scholar
Abbate, Janet. Inventing the Internet. Cambridge, MA: MIT Press, 1999.Google Scholar
Adorno, Theodor W.Opera and the Long-Playing Record” (1969), in Essays on Music, ed. Leppert, Richard, new trans. by Gillespie, Susan H.. Berkeley and Los Angeles: University of California Press, 2002, 283–6.Google Scholar
Agrati, Florence. “Léopold Reutlinger: La Représentation photographique de la femme du spectacle à Paris, 1875–1917.” Master's thesis, Université de Paris iv (La Sorbonne), 2006, 2 vols.Google Scholar
Alligoridès, Anne, ed. Nadar, l'oeil lyrique. Paris: Éditions CNMHS, 1992.Google Scholar
Altman, Rick. Sound Theory, Sound Practice. New York: Routledge, 1992.Google Scholar
Altman, Rick Silent Film Sound. New York: Columbia University Press, 2004.Google Scholar
Ambroise-Rendu, Anne-Claude. “Du dessin de presse à la photographie (1878–1914): Histoire d'une mutation technique et culturelle.” Revue d'histoire moderne et contemporaine, 39 (1992), 628.CrossRefGoogle Scholar
Anderson, Gillian B.Geraldine Farrar and Cecil B. DeMille: The Effect of Opera on Film and Film on Opera in 1915,” in Carmen: From Silent Film to MTV, ed. Perriam, Christopher and Davies, Ann. Amsterdam: Rodopi, 2005, 2335.CrossRefGoogle Scholar
Anzalone, John ed. Jeering Dreamers: Villiers de l'Isle-Adam's “L’Ève future” at our Fin de Siècle. Amsterdam: Rodopi, 1996.CrossRefGoogle Scholar
Art by Telephone: An Exhibition. Chicago: Museum of Contemporary Art, 1969.Google Scholar
Aspden, Suzanne. The Rival Sirens: Performance and Identity on Handel's Operatic Stage. Cambridge University Press, 2013.CrossRefGoogle Scholar
Auslander, Philip. Liveness: Performance in a Mediatized Culture. New York: Routledge, 1999.Google Scholar
Balme, Christopher B., Fischer-Lichte, Erika, and Grätzel, Stephan, eds. Theater als Paradigma der Moderne?: Positionen zwischen historischer Avantgarde und Medienzeitalter. Tübingen and Basel: Francke, 2003.Google Scholar
Bara, Olivier, and Nesci, Catherine, eds. Écriture, performance et théâtralité dans l'oeuvre de George Sand. Grenoble: Éditions littéraires et linguistiques de l'Université de Grenoble, 2014.Google Scholar
Barnes, Jennifer J. Television Opera: The Fall of Opera Commissioned for Television. Woodbridge, Suffolk: Boydell & Brewer, 2003.Google Scholar
Barthes, Roland. Mythologies, trans. Lavers, Annette. New York: Noonday Press, 1972.Google Scholar
Barthes, Roland S/Z, trans. Howard, Richard. New York: Farrar, Straus, and Giroux, 1975.Google Scholar
Barthes, Roland “The Grain of the Voice,” in Image – Music – Text, trans. Heath, Stephen. London: Fontana, 1977, 179–89.Google Scholar
Barthes, Roland A Lover's Discourse. Fragments, trans. Howard, Richard. New York: Hill and Wang, 1978.Google Scholar
Barthes, Roland The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Howard, Richard. Berkeley and Los Angeles: University of California Press, 1985.Google Scholar
Barthes, Roland Camera Lucida: Reflections on Photography, trans. Howard, Richard. London: Vintage, 2000.Google Scholar
Bates, Elena, O'Crean, Maureen, Thompson, Molly, and Vaile, Carilyn. I Am Diva! Every Woman's Guide to Outrageous Living. New York: Little, Brown & Co., 2003.Google Scholar
Baumann, Margret, and Gold, Helmut. Mensch Telefon. Aspekte telefonischer Kommunikation. Heidelberg: Museumstiftung Post und Telekommunikation and Braus, 2000.Google Scholar
Beal, Amy C. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification. Berkeley and Los Angeles: University of California Press, 2006.CrossRefGoogle Scholar
Bellman, Jonathan. “The Hungarian Gypsies and the Poetics of Exclusion,” in The Exotic in Western Music, ed. Bellman, Jonathan. Boston: Northeastern University Press, 1997, 74103.Google Scholar
Benjamin, Walter. “A Small History of Photography” (1931), in One-Way Street and Other Writings, ed. Sontag, Susan, trans. Jephcott, Edmund and Shorter, Kingsley. London: Verso, 1979, 240–57.Google Scholar
Benjamin, WalterThe Work of Art in the Age of Mechanical Reproduction” (1936), in Illuminations, ed. Arendt, Hannah, trans. Zorn, Harry. New York: Schocken, 1988, 217–51.Google Scholar
Benjamin, Walter Berlin Childhood around 1900. Cambridge, MA: Harvard University Press, 2006.Google Scholar
Berenson, Edward, and Giloi, Eva, eds. Constructing Charisma: Celebrity, Fame, and Power in Nineteenth-Century Europe. New York and Oxford: Berghahn Books, 2010.Google Scholar
Bergman, Gösta M. Lighting in the Theatre. Stockholm: Almqvist and Wiksell International, 1977.Google Scholar
Berman, Marshall. All That Is Solid Melts into Air: The Experience of Modernity. New York: Viking Penguin, 1988.Google Scholar
Bernheimer, Martin. “Sound and Fury.” Opera News, 65 (2000), 20.Google Scholar
Bijker, Wiebe E., Hughes, Thomas P., and Pinch, Trevor. The Social Construction of Technological Systems: New Directions in the Sociology and History of Technology. Anniversary edition, Cambridge, MA: MIT Press, 2012.Google Scholar
Borchmeyer, Dieter. Drama and the World of Richard Wagner, trans. Ellis, Daphne. Princeton University Press, 2003.Google Scholar
Bourgeron, Jean-Pierre. Les Reutlinger: Photographes à Paris, 1850–1917. Paris: J.-P. Bougeron, 1979.Google Scholar
Branger, Jean-Christophe. “Manon” de Jules Massenet, ou Le Crépuscule de l'opéra-comique. Metz: Serpenoise, 1999.Google Scholar
Branger, Jean-ChristopheLa Duse lyrique.” L'Avant-scène Opéra [on Massenet's Sapho and La Navarraise], 217 (2003), 5053.Google Scholar
Braun, Ernest, and Macdonald, Stuart. Revolution in Miniature: The History and Impact of Semiconductor Electronics. Updated and rev. ed., Cambridge University Press, 1982.Google Scholar
Brix, Michael, ed. Maria Callas: Aufführungen – Performances. Munich: Schirmer-Mosel, 1994.Google Scholar
Bronfen, Elisabeth, and Straumann, Barbara. Die Diva: Eine Geschichte der Bewunderung. Munich: Schirmer-Mosel, 2002.Google Scholar
Brooks, Erin. “‘Une Culture classique supérieure’: Saint-Saëns et l'esthétique antique,” in Figures de l'Antiquité dans l'opéra français: des “Troyens” de Berlioz à “Oedipe” d'Enesco, ed. Branger, Jean-Christophe and Giroud, Vincent. Saint-Étienne: Publications de l'Universitéde Saint-Étienne, 2008, 235–58.Google Scholar
Brown, Kimberly Nichele. Writing the Black Revolutionary Diva: Women's Subjectivity and the Decolonizing Text. Bloomington and Indianapolis: Indiana University Press, 2010.Google Scholar
Brownstein, Rachel M. Tragic Muse: Rachel of the Comédie-Française. Durham: Duke University Press, 1995.Google Scholar
Buckland, Sidney, and Chimènes, Myriam, eds. Francis Poulenc: Music, Art and Literature. Aldershot, UK: Ashgate, 1999.Google Scholar
Burns, Lori, and Lafrance, Mélisse. Disruptive Divas: Feminism, Identity, and Popular Music. New York: Routledge, 2002.Google Scholar
Burton, Deborah, Nicassio, Susan Vandiver, and Ziino, Agostino, eds. Tosca's Prism: Three Moments in Western Cultural History. Boston: Northeastern University Press, 2004.Google Scholar
Burton, Richard D.E. Francis Poulenc. Bath: Absolute Press, 2004.Google Scholar
Butt, John. Playing with History: The Historical Approach to Musical Performance. Cambridge University Press, 2002.CrossRefGoogle Scholar
Camera Obscura, 65 (2007), special issue “Fabulous! Divas, Part 1,” ed. Alexander Doty, 1172.Google Scholar
Camera Obscura, 67 (2008), special issue “Fabulous! Divas, Part 2,” ed. Alexander Doty, 1199.Google Scholar
Cannon, Robert. “Opera and the Audio Recording Industry,” in Opera in the Media Age: Essays on Art, Technology and Popular Music, ed. Fryer, Paul. Jefferson, NC: McFarland, 2014, 89115.Google Scholar
Castel, Robert. The Regulation of Madness: Origins of Incarceration in France. Berkeley and Los Angeles: University of California Press, 1988.Google Scholar
Castle, Terry. “In Praise of Brigitte Fassbaender (A Musical Emanation),” in The Apparitional Lesbian: Female Sexuality and Modern Culture. New York: Columbia University Press, 1993, 200–38. Reprinted in En Travesti: Women, Gender Subversion, Opera, ed. Corinne E. Blackmer and Patricia Juliana Smith. New York: Columbia University Press, 1995, 20–58.Google Scholar
Cavell, Stanley. Pursuits of Happiness: The Hollywood Comedy of Remarriage. Cambridge, MA: Harvard University Press, 1981.Google Scholar
Celletti, Rodolfo. A History of Bel Canto, trans. Fuller, Frederick. Oxford University Press, 1991.Google Scholar
Certeau, Michel de. The Practice of Everyday Life, trans. Rendall, Steven. Berkeley and Los Angeles: University of California Press, 1984.Google Scholar
Chabrol, Marguerite. “Héritages du théâtre français chez George Cukor: Paris – Broadway – Hollywood,” in Les Archives de la mise en scène. Hypermédialités du théâtre, ed. Larrue, Jean-Marc and Pisano, Giusy. Lille: Presses universitaires du Septentrion – Centre culturel de Cerisy-la-Salle, 2014, 273–92.Google Scholar
Charle, Christophe. Théâtres en capitales, naissance de la société du spectacle à Paris, Berlin, Londres et Vienne, 18601914. Paris: Albin Michel, 2008.Google Scholar
Charnon-Deutsch, Lou. The Spanish Gypsy: The History of a European Obsession. University Park, PA: Pennsylvania State University Press, 2004.Google Scholar
Cheng, William. Sound Play: Video Games and the Musical Imagination. Oxford University Press, 2013.Google Scholar
Chevalley, Sylvie. Rachel “J'ai porté mon nom aussi loin que j'ai pu.” Paris: Calmann-Lévy, 1989.Google Scholar
Chion, Michel. Voice in Cinema, ed. and trans. Gorbman, Claudia. New York: Columbia University Press, 1999.Google Scholar
Citron, Marcia. Opera on Screen. New Haven: Yale University Press, 2000.Google Scholar
Citron, Marcia When Opera Meets Film. Cambridge University Press, 2010.CrossRefGoogle Scholar
Clément, Catherine. Opera, or the Undoing of Women, trans. Wing, Betsy. Minneapolis: University of Minnesota Press, 1988.Google Scholar
Condemi, Concetta. Les Cafés-Concerts, Histoire d'un divertissement. Paris: Quai Voltaire Histoire, 1992.Google Scholar
Cowgill, Rachel, and Poriss, Hilary, eds. The Arts of the Prima Donna in the Long Nineteenth Century. Oxford University Press, 2012.CrossRefGoogle Scholar
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press, 1990.Google Scholar
Crary, Jonathan Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge, MA: MIT Press, 1999.CrossRefGoogle Scholar
Crutchfield, Will. “A Mike at the Opera.” Opera News, 64 (1999), 1213.Google Scholar
Curtiss, Mina. Bizet and His World. London: Secker & Warburg, 1959.Google Scholar
Dalle Vacche, Angela. Diva: Defiance and Passion in Early Italian Cinema. Austin, TX: University of Texas Press, 2008.Google Scholar
Davies, Ann, and Powrie, Phil. Carmen on Screen: An Annotated Filmography and Bibliography. Woodbridge, Suffolk: Tamesis Books, 2006.Google Scholar
Davies, James Q.Gautier's ‘Diva’: The First French Uses of the Word,” in The Arts of the Prima Donna in the Long Nineteenth Century, ed. Cowgill, Rachel and Poriss, Hilary. Oxford University Press, 2012, 123–46.Google Scholar
DeKoven, Marianne. “Modernism and Gender,” in The Cambridge Companion to Modernism, ed. Levenson, Michael. Cambridge University Press, 2011, 212–31.Google Scholar
Didi-Huberman, Georges. The Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière, trans. Hartz, Alisa. Cambridge, MA: MIT Press, 2003.Google Scholar
Dolak, Gregor. Anna Netrebko: Opernstar der neuen Generation. Munich: Heyne, 2005.Google Scholar
Dolan, Emily I. The Orchestral Revolution: Haydn and the Technologies of Timbre. Cambridge University Press, 2013.CrossRefGoogle Scholar
Dolan, Emily I., and Tresch, John. “A Sublime Invasion: Meyerbeer, Balzac and the Opera Machine.” Opera Quarterly, 27 (2011), 431.CrossRefGoogle Scholar
Doty, Alexander. “Introduction: There's Something about Mary.” Camera Obscura, 65 (2007), special issue “Fabulous! Divas, Part 1,” 18. See also Camera Obscura.CrossRefGoogle Scholar
Doty, AlexanderIntroduction: The Good, the Bad, and the Fabulous; or, The Diva Issue Strikes Back.” Camera Obscura, 67 (2008), special issue “Fabulous! Divas, Part 3,” 1–9. See also Camera Obscura.Google Scholar
Drake, James A. Rosa Ponselle: A Centenary Biography. Portland, OR: Amadeus Press, 1997.Google Scholar
Dyer, Richard. Only Entertainment. New York: Routledge, 1992.Google Scholar
Earl, John.Landscape in the Theatre: Historical Perspective.” Landscape Research, 16 (1991), 21–9.CrossRefGoogle Scholar
Eidsheim, Nina Sun. Sensing Sound: Singing and Listening as Vibrational Practice. Durham: Duke University Press, 2015.Google Scholar
Engh, Barbara. “Adorno and the Sirens. Tele-Phono-Graphic Bodies,” in Embodied Voices: Representing Female Vocality in Western Culture, ed. Dunn, Leslie C. and Jones, Nancy A.. Cambridge University Press, 1994, 120–35.Google Scholar
Erfen, Irene, ed., in collaboration with the Wartburg-Stiftung, Eisenach. “…der Welt noch den Tannhäuser schuldig.” Richard Wagner: Tannhäuser und der Sängerkrieg auf Wartburg. Regensburg: Schnell and Steiner, 1999.Google Scholar
Esse, Melina. “A Note from the Guest Editor.” Opera Quarterly, 26 (2010), special issue “Mediating Opera,” 13. See also Opera Quarterly.CrossRefGoogle Scholar
Esse, MelinaDon't Look Now: Opera, Liveness, and the Televisual.” Opera Quarterly, 26 (2010), special issue “Mediating Opera,” 8195. See also Opera Quarterly.CrossRefGoogle Scholar
Everist, Mark. Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris. Burlington, VT: Ashgate, 2005.Google Scholar
Faulstich, Werner, and Korte, Helmut, eds. Der Star: Geschichte, Rezeption, Bedeutung. Munich: Fink, 1997.Google Scholar
Fauser, Annegret. Musical Encounters at the 1889 Paris World's Fair. Rochester University Press, 2005.Google Scholar
Fauser, AnnegretVisual Pleasures – Musical Signs: Dance at the Paris Opéra.” South Atlantic Quarterly, 104 (2005), 99121.CrossRefGoogle Scholar
Feldman, Martha. The Castrato: Reflections on Natures and Kinds. Berkeley and Los Angeles: University of California Press, 2015.CrossRefGoogle Scholar
Fields, Jill. “Erotic Modesty: (Ad)dressing Female Sexuality and Propriety in Open and Closed Drawers, USA, 1800–1930.” Gender & History, 14 (2002), 492515.CrossRefGoogle Scholar
Fink, Robert. “‘A Pox on Manfredini’: The Long-Playing Record, the Baroque Revival, and the Birth of Ambient Music,” in Repeating Ourselves: American Minimal Music as Cultural Practice. Berkeley and Los Angeles: University of California Press, 2005, 169207.CrossRefGoogle Scholar
Fischer, Claude S. America Calling: A Social History of the Telephone to 1940. Berkeley and Los Angeles: University of California Press, 1992.CrossRefGoogle Scholar
Fischer-Lichte, Erika. Ästhetik des Performativen. Frankfurt am Main: Suhrkamp, 2004. Available in English as The Transformative Power of Performance: A New Aesthetics, trans. Jain, Saskya Iris. New York: Routledge, 2008.Google Scholar
Foucault, Michel. History of Madness, trans. Murphy, Jonathan and Khalfa, Jean. 1961, New York Routledge, 2006.Google Scholar
Freud, Sigmund. Civilization and Its Discontents, ed. and trans. Strachey, James. New York: W. W. Norton, 1989.Google Scholar
Freund, Gisèle. Photography & Society. Boston: David R. Godine, 1980.Google Scholar
Frigau Manning, Céline. Chanteurs en scène. L'oeil du spectateur au Théâtre-Italien (1815–1848). Paris: Champion, 2014.Google Scholar
Fryer, Paul. The Opera Singer and Silent Film. Jefferson, NC: McFarland, 2005.Google Scholar
Fryer, Paul ed. Opera in the Media Age: Essays on Art, Technology and Popular Culture. Jefferson, NC: McFarland, 2014.Google Scholar
Gach, Gary and Coyote, Peter, eds. What Book? Buddha Poems from Beat to Hiphop. Berkeley and Los Angeles: University of California Press, 2005.Google Scholar
Galler, Sonja, and Risi, Clemens. “Singstimme/Gesangstheorien,” in Lexikon Theatertheorie, ed. Fischer-Lichte, Erika, Kolesch, Doris, and Warstat, Matthias. Stuttgart: Metzler, 2005, 302–5.Google Scholar
Gay, Peter. The Bourgeois Experience: Victoria to Freud. Oxford University Press, 1984, 2 vols.Google Scholar
Gelatt, Roland. The Fabulous Phonograph 1877–1977. 2nd rev. ed., London: Macmillan, 1977), 55129.Google Scholar
Gerhard, Anselm. The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century, trans. Whittall, Mary. Chicago and London: University of Chicago Press, 1998.Google Scholar
Germain, Pierre. Adrienne Le Couvreur. Paris: Fernand Lanore, 1983.Google Scholar
Gerould, Daniel. “Villiers de l'Isle-Adam and Science Fiction.” Science Fiction Studies, 11 (1984), 318–23.Google Scholar
Gervai, András. “A Screen Moralist.” Hungarian Quarterly, 43 (2002).Google Scholar
Gilbert, Sandra M., and Gubar, Susan. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press, 1979.Google Scholar
Gillis, Patrick. “‘Journal de bord’ ou la partition annotée par Massenet.” L'Avant-scène Opéra [on Manon], 123 (1989), 2833.Google Scholar
Gillis, Patrick‘Journal de bord,’ ou la partition [d'Esclarmonde] annotée par Massenet.” L'Avant-scène Opéra [on Esclarmonde and Grisélidis], 148 (1992), 32–3.Google Scholar
Goehr, Lydia. The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music. Oxford University Press, 2007.CrossRefGoogle Scholar
Goetz, Christopher G., Bonduelle, Michel, and Gelfand, Toby, eds. Charcot: Constructing Neurology. Oxford University Press, 1995.CrossRefGoogle Scholar
Goetz, Olivier. “La Chanson, ‘spectacle’ de la Belle-Epoque,” in Le Spectaculaire dans les arts de la scène du Romantisme à la Belle Epoque, ed. Moindrot, Isabelle. Paris: CNRS Éditions, 2006, pp. 147–56.Google Scholar
Goldstein, Jan. Console and Classify: The French Psychiatric Profession in the Nineteenth Century. Chicago and London: University of Chicago Press, 2001.Google Scholar
Gossett, Philip. Divas and Scholars: Performing Italian Opera. Chicago and London: University of Chicago Press, 2006.CrossRefGoogle Scholar
Grotjahn, Rebecca, Schmidt, Dörte, and Seedorf, Thomas, eds. Diva – Die Inszenierung der übermenschlichen Frau. Interdisziplinäre Untersuchungen zu einem kulturellen Phänomen des 19. und 20. Jahrhunderts. Schliengen: Argus, 2011.Google Scholar
Grover-Friedlander, Michal. Vocal Apparitions: The Attraction of Cinema to Opera. Princeton University Press, 2005.CrossRefGoogle Scholar
Guillain, Georges. J.-M. Charcot, 1825–1893: His Life – His Work, trans. Bailey, Pearce. New York: Paul B. Hoeber, Inc., 1959.Google Scholar
Gumbrecht, Hans Ulrich. Production of Presence: What Meaning Cannot Convey. Stanford University Press, 2004.Google Scholar
Gundle, Stephen. “Mapping the Origins of Glamour: Giovanni Boldini, Paris and the Belle Époque.” Journal of European Studies, 29 (1999), 269–95.CrossRefGoogle Scholar
Hadlock, Heather. “Peering into The Queen's Throat.” Cambridge Opera Journal, 5 (1993), 265–75.Google Scholar
Hadlock, Heather Mad Loves: Women and Music in Offenbach's “Les Contes d'Hoffmann.” Princeton University Press, 2000.Google Scholar
Hadlock, Heather “Opera and Gender Studies,” in The Cambridge Companion to Opera Studies, ed. Till, Nicholas. Cambridge University Press, 2012, 257275.CrossRefGoogle Scholar
Hamilton, Peter, and Hargreaves, Roger, eds. The Beautiful and the Damned: The Creation of Identity in Nineteenth Century Photography. London: Lund Humphries and The National Portrait Gallery, 2001.Google Scholar
Hansen, Jack Winsor. The Sibyl Sanderson Story: Requiem for a Diva. Pompton Plains, NJ: Amadeus Press, 2005.Google Scholar
Harada, Kai. “Opera's Dirty Little Secret.” Live Design Online, March 1, 2001, Scholar
Haraway, Donna. Simians, Cyborgs, and Women: The Reinvention of Nature. New York: Routledge, 1991.Google Scholar
Haraway, Donna The Companion Species Manifesto: Dogs, People, and Significant Otherness. Chicago: Prickly Paradigm Press, 2003.Google Scholar
Hargreaves, Roger. “Putting Faces to the Names: Social and Celebrity Portrait Photography,” in The Beautiful and the Damned: The Creation of Identity in Nineteenth Century Photography, ed. Hamilton, Peter and Hargreaves, Roger. London: Lund Humphries and the National Portrait Gallery, 2001, 1656.Google Scholar
Hart, Jerome Alfred. Sardou and the Sardou Plays. 1913, rpt. Charleston, SC: Nabu Press, 2010.Google Scholar
Heidegger, Martin. Being and Time, trans. Macquarrie, John and Robinson, Edward. San Francisco: Harper, 1962.Google Scholar
Heilbrun, Françoise, ed. A History of Photography: The Musée d'Orsay Collection, 1839–1925, trans. Radzinowicz, David and Dusinberre, Deke. Paris: Skira Flammarion, 2009.Google Scholar
Henson, Karen. “Of Men, Women and Others: Exotic Opera in Late Nineteenth-Century France.” DPhil thesis, University of Oxford, 2000.Google Scholar
Henson, Karen Opera Acts: Singers and Performance in the Late Nineteenth Century. Cambridge University Press, 2015.CrossRefGoogle Scholar
Hickethier, Knut. “Vom Theaterstar zum Filmstar. Merkmale des Starwesens um die Wende vom neunzehnten zum zwanzigsten Jahrhundert,” in Der Star: Geschichte, Rezeption, Bedeutung, ed. Faulstich, Werner and Korte, Helmut. Munich: Fink, 1997, 2947.Google Scholar
Higashi, Sumiko. Cecil B. DeMille and American Culture: The Silent Era. Berkeley and Los Angeles: University of California Press, 1994.CrossRefGoogle Scholar
Hooks, Bell. “Third World Diva Girls: Politics of Feminist Solidarity,” in Yearning: Race, Gender, and Cultural Politics. Boston: South End Press, 1990, 89102.Google Scholar
Huebner, Steven. French Opera at the Fin de Siècle: Wagnerism, Nationalism, and Style. Oxford University Press, 1999.Google Scholar
Huebner, Steven “La Princesse paysanne du Midi,” in Music, Theater, and Cultural Transfer: Paris, 1830–1914, ed. Fauser, Annegret and Everist, Mark. Chicago and London: University of Chicago Press, 2009, 361–78.Google Scholar
Huelsenbeck, Richard, ed. Dada Almanach, trans. Green, Malcolm. London: Atlas Press, 1993.Google Scholar
Hügel, Hans-Otto. Handbuch Populäre Kultur. Stuttgart and Weimar: Metzler, 2003.CrossRefGoogle Scholar
Hughes, Thomas A. Networks of Power: Electrification in Western Society, 1880–1930. Baltimore: Johns Hopkins University Press, 1983.CrossRefGoogle Scholar
Husserl, Edmund. Husserliana. Gesammelte Werke, vol. x, Zur Phänomenologie des inneren Zeitbewusstseins (1893–1917), ed. Boehm, Rudolf. The Hague: Nijhoff, 1966.Google Scholar
Husserl, Edmund Husserliana. Gesammelte Werke, vol. xxxiii, Die Bernauer Manuskripte über das Zeitbewusstsein (1917/18), ed. Bernet, Rudolf and Lohmar, Dieter. Dordrecht: Kluwer, 2001.Google Scholar
Husserl, Edmund On the Phenomenology of the Consciousness of Internal Time (1893–1917), trans. Brough, John Barnett. Dordrecht: Kluwer Academic, 1991.CrossRefGoogle Scholar
Imdahl, Max. “Pose und Indoktrination. Zu Werken der Plastik und Malerei im Dritten Reich,” in Reflexion, Theorie, Methode. Gesammelte Schriften, ed. Boehm, Gottfried. Frankfurt am Main: Suhrkamp, 1996, vol. iii, 575–90.Google Scholar
Izzo, Francesco. “Divas and Sonnets: Poetry for Female Singers in Teatri, arti e letteratura,” in The Arts of the Prima Donna in the Long Nineteenth Century, ed. Cowgill, Rachel and Poriss, Hilary. Oxford University Press, 2012, 320.CrossRefGoogle Scholar
Jay, Martin, and Ramaswamy, Sumathi, eds. Empires of Vision: A Reader. Durham: Duke University Press, 2014.CrossRefGoogle Scholar
Joe, Jeongwon Joe. Between Opera and Cinema. New York: Routledge, 2002.Google Scholar
Joe, Jeongwon Joe Opera as Soundtrack. Farnham, Surrey: Ashgate, 2013.Google Scholar
Joe, Jeongwon, and Gilman, Sander L., eds. Wagner & Cinema. Bloomington and Indiana: Indiana University Press, 2010.Google Scholar
Jouanny, Sylvie. L'Actrice et ses doubles. Figures et représentations de la femme de spectacle à la fin du xixe siècle. Geneva: Droz, 2002.Google Scholar
Kac, Eduardo. “Aspects of the Aesthetics of Telecommunications,” in Siggraph Visual Proceedings, ed. Grimes, John and Lorig, Gray. New York: ACM, 1992, 4757.Google Scholar
Karantonis, Pamela, Placanica, Francesca, Sivuoja-Kauppala, Anne, and Verstraete, Pieter, eds. Cathy Berberian: Pioneer of Contemporary Vocality. Farnham, UK: Ashgate, 2014.Google Scholar
Kendall-Davies, Barbara. The Life and Work of Pauline Viardot Garcia. Newcastle, UK: Cambridge Scholars Publishing, 2012–13, 2 vols.Google Scholar
Kittler, Friedrich A.World-Breath: On Wagner's Media Technology,” in Opera Through Other Eyes, ed. Levin, David J.. Stanford University Press, 1993, 215–65.Google Scholar
Kittler, Friedrich A. Gramophone, Film, Typewriter, trans. Winthrop-Young, Geoffrey and Wutz, Michael. Stanford University Press, 1999.Google Scholar
Klein, Herman. The Reign of Patti. New York: Arno Press, 1977.Google Scholar
Koestenbaum, Wayne. The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire. New ed., New York: Da Capo, 2001.Google Scholar
Kramer, Lawrence. Opera and Modern Culture: Wagner and Strauss. Berkeley and Los Angeles: University of California Press, 2004.CrossRefGoogle Scholar
Kühnel, Jürgen. “István Szabó: Meeting Venus oder Der Sängerkrieg an der ‘Opéra Europa.’ Wagners Tannhäuser-Tragödie und ihr filmisches Satyrspiel,” in “…der Welt noch den Tannhäuser schuldig.” Richard Wagner: Tannhäuser und der Sängerkrieg auf Wartburg, ed. Erfen, Irene in collaboration with the Wartburg-Stiftung, Eisenach. Regensburg: Schnell and Steiner, 1999, 263–81.Google Scholar
Kutsch, K.J., and Riemens, Leo with Rost, Hansjörg. Großes Sängerlexikon. 4th revised and enlarged ed., Munich: K. G. Saur, 2012.Google Scholar
Lacombe, Hervé. The Keys to French Opera in the Nineteenth Century, trans. Schneider, Edward. Berkeley and Los Angeles: University of California Press, 2001.Google Scholar
Landes, David. The Unbound Prometheus: Technical Change and Industrial Development in Western Europe from 1750 to the Present. 2nd ed., Cambridge University Press, 2003.CrossRefGoogle Scholar
Laqueur, Thomas W. Making Sex: Body and Gender from the Greeks to Freud. Cambridge, MA: Harvard University Press, 1990.Google Scholar
Larousse, Pierre. Grand Dictionnaire universel encyclopédique du xixe siècle: français, historique, geographique, mythologique, bibliographique. Paris: Administration du Grand Dictionnaire universel, 1866–1873, 15 vols.Google Scholar
Lastra, James. Sound Technology and the American Cinema. New York: Columbia University Press, 2000.CrossRefGoogle Scholar
Lathers, Marie. The Aesthetics of Artifice: Villiers's “L’Ève future.” Chapel Hill: University of North Carolina Department of Romance Languages, 1996.Google Scholar
Legrand, Raphaëlle, and Wild, Nicole. Regards sur l'opéra-comique: Trois siècles de vie théâtrale. Paris: CNRS Éditions, 2002.Google Scholar
Leonardi, Susan J., and Pope, Rebecca A.. The Diva's Mouth: Body, Voice, Prima Donna Politics. New Brunswick, NJ: Rutgers University Press, 1996.Google Scholar
Leroi-Gourhan, André. Gesture and Speech, trans. Berger, Anna Bostock. Cambridge, MA: MIT Press, 1993.Google Scholar
Letellier, Robert Ignatius, ed. and trans. The Diaries of Giacomo Meyerbeer, Volume 3: The Years of Celebrity, 1850–1856. Madison, NJ: Fairleigh Dickinson University Press, 2002.Google Scholar
Letellier, Robert Ignatius The Operas of Giacomo Meyerbeer. Madison, NJ: Fairleigh Dickinson University Press, 2006.Google Scholar
Leveratto, Jean-Marc. “Le sexe en scène. L'emploi de travesti féminin dans le théâtre français du xixe siècle,” in Le Spectaculaire dans les arts de la scène du Romantisme à la Belle Epoque, ed. Moindrot, Isabelle. Paris: CNRS Éditions, 2006, 271–9.Google Scholar
Leveratto, Jean-MarcLa Réception du théâtre de Sardou aux Etats-Unis,” in Victorien Sardou, le théâtre et les arts, ed. Moindrot, Isabelle. Paris: Presses universitaires de Rennes, 2011, 357–69.Google Scholar
Levin, David Michael, ed. Modernity and the Hegemony of Vision. Berkeley and Los Angeles: University of California Press, 1993.Google Scholar
Lindekens, René. “Analyse structurale de la Stripsody de Cathy Berberian.” Communications, 24 (1976), 140–76.CrossRefGoogle Scholar
Lobel, M. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. New Haven: Yale University Press, 2002.Google Scholar
Lunefeld, Peter. “In Search of the Telephone Opera: From Communications to Art.” Afterimage, 25 (1997), 812.Google Scholar
Lyotard, Jean-François. “Newman: The Instant,” in The Lyotard Reader, ed. Benjamin, Andrew. Oxford: Blackwell, 1989, 240–9.Google Scholar
McCauley, Elizabeth Anne. A. A. E. Disdéri and the Carte de Visite Portrait Photograph. New Haven: Yale University Press, 1985.Google Scholar
McCauley, Elizabeth Anne Industrial Madness: Commercial Photography in Paris, 1848–1871. New Haven: Yale University Press, 1994.Google Scholar
McClary, Susan. Feminine Endings: Music, Gender, and Sexuality, with a new introduction. Minneapolis: University of Minnesota Press, 2002, 80111.Google Scholar
McClary, Susan Georges Bizet: “Carmen.” Cambridge University Press, 1992.CrossRefGoogle Scholar
McClary, SusanTerminal Prestige: The Case of Avant-Garde Music Composition,” in Keeping Score: Music, Disciplinarity, Culture, ed. Schwarz, David, Kassabian, Anahid, and Siegel, Lawrence. Charlottesville: University Press of Virginia, 1997, 5474.Google Scholar
McLuhan, Marshall. Counterblast, with a foreword by Gordon, W. Terrence. 1954, Berkeley: Gingko Press, 2011.Google Scholar
McLuhan, MarshallGordon, W. Terrence Understanding Media: The Extensions of Man. 1965, Cambridge, MA: MIT Press, 1994.Google Scholar
MacKenzie, Donald, and Wajcman, Judy. The Social Shaping of Technology. Milton Keynes, UK: Open University Press, 1999.Google Scholar
Markham, Michael. “Sarrasine's Failure, Campaspe's Lament: Solo Song and the Ends of Material Reproduction.” Opera Quarterly, 26 (2010), special issue “Mediating Opera,” 441. See also Opera Quarterly.CrossRefGoogle Scholar
Marks, Martin. Music and the Silent Film: Contexts and Case Studies, 1895–1924. Oxford University Press, 1997.CrossRefGoogle Scholar
Marshall, P. David. Celebrity and Power: Fame in Contemporary Culture. Minneapolis: University of Minnesota Press, 1997.Google Scholar
Martin, Roxane. La Féerie romantique sur les scènes parisiennes: 1791–1864. Paris: Champion, 2007.Google Scholar
Martin-Fugier, Anne. Comédienne. De Mlle Mars à Sarah Bernhardt. Paris: Seuil, 2001.Google Scholar
Matlock, Jann. Scenes of Seduction: Prostitution, Hysteria, and Reading Difference in Nineteenth-Century France. New York: Columbia University Press, 1994.Google Scholar
Mayer, David.The Actress as Photographic Icon: From Early Photography to Early Film,” in The Cambridge Companion to the Actress, ed. Gale, Maggie B. and Stokes, John. Cambridge University Press, 2007, 7494.CrossRefGoogle Scholar
Meehan, Kate. “Beatles Arias: Cathy Berberian Sings the Beatles,” in Cathy Berberian: Pioneer of Contemporary Vocality, ed. Karantonis, Pamela, Placanica, Francesca, Sivuoja-Kauppala, Anne, and Verstraete, Pieter. Farnham, UK: Ashgate, 2014, 169–82.Google Scholar
Mehring, Walter. “Welcome to the Machine: The Representation of Technology in Zeitopern.” Cambridge Opera Journal, 11 (1999), 159–77.CrossRefGoogle Scholar
Mellers, Wilfred. Francis Poulenc. Oxford University Press, 1993.CrossRefGoogle Scholar
Merleau-Ponty, Maurice. Phenomenology of Perception, trans. Smith, Colin. New York: Routledge, 2002.CrossRefGoogle Scholar
Micale, Mark S.The Salpêtrière in the Age of Charcot: An Institutional Perspective on Medical History in the Late Nineteenth Century.” Journal of Contemporary History, 20 (1985), 703–31.CrossRefGoogle ScholarPubMed
Mila, Massimo. “Un re in ascolto: una vera opera,” in Berio, ed. Restagno, Enzo. Turin: Edizionidi Torino, 1995, 107–12.Google Scholar
Mirzoeff, Nicholas. The Right to Look: A Counterhistory of Visuality. Durham: Duke University Press, 2011.Google Scholar
Mitchell, Dolores. “The ‘New Woman’ as Prometheus: Women Artists Depict Women Smoking.” Woman's Art Journal, 12 (1991), 39.CrossRefGoogle Scholar
Moindrot, Isabelle. “Figures de l'opera seria dans Consuelo et La Comtesse de Rudolstadt.” Les Amis de George Sand, 34 (2012), 121–38.Google Scholar
Mongrédien, Jean. La Musique en France des Lumières au Romantisme. Paris: Flammarion, 1986.Google Scholar
Moon, Michael, and Sedgwick, Eve Kosofsky. “Divinity: A Dossier, A Performance Piece, A Little-Understood Emotion.” Discourse, 13 (1990–1), 1239.Google Scholar
Mordden, Ethan. Demented: The World of the Opera Diva. New York: Watts, 1984.Google Scholar
Morris, Christopher. Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg. Cambridge University Press, 2002.Google Scholar
Morris, ChristopherDigital Diva: Opera on Video.” Opera Quarterly, 26 (2010), special issue “Mediating Opera,” 96119. See also Opera Quarterly.CrossRefGoogle Scholar
Morris, Christopher “‘Too Much Music’: The Media of Opera,” in The Cambridge Companion to Opera Studies, ed. Till, Nicholas. Cambridge University Press, 2012, 95116.CrossRefGoogle Scholar
Morris, Mitchell. “Tristan's Wounds: On Homosexual Wagnerians at the Fin de Siècle,” in Queer Episodies in Music and Modern Identity, ed. Fuller, Sophie and Whitesell, Lloyd. Urbana: University of Illinois Press, 2002, 271–92.Google Scholar
Münker, Stefan, and Roesler, Alexander, eds. Telefonbuch. Frankfurt am Main: Suhrkamp, 2000.Google Scholar
Musser, Charles. “The May Irwin Kiss: Performance and the Beginnings of Cinema,” in Visual Delights Two: Exhibition and Reception, ed. Toulmin, Vanessa and Popple, Simon. Eastleigh, Hampshire: John Libbey, 2005, 96115.Google Scholar
Nancy, Jean-Luc. The Birth to Presence, trans. Holmes, Brian. Stanford University Press, 1993.Google Scholar
Nietzsche, Friedrich. On the Genealogy of Morality, ed. Ansell-Pearson, Keith. Cambridge University Press, 1994.Google Scholar
Nisnevich, Anna. “Temporary Floods, Eternal Returns: Opera, Technology, and History in Two Films of Alexander Sokurov.” Opera Quarterly, 26 (2010), special issue “Mediating Opera,” 4262. See also Opera Quarterly.CrossRefGoogle Scholar
Noble, David F. America By Design: Science, Technology, and the Rise of Corporate Capitalism. New York: Knopf, 1977.Google Scholar
Nyman, Michael. Experimental Music: Cage and Beyond. Cambridge University Press, 1999.Google Scholar
Ockman, Carol. “When Is a Jewish Star Just a Star? Interpreting Images of Sarah Bernhardt,” in The Jew in the Text: Modernity and the Construction of Identity, ed. Nochlin, Linda and Garb, Tamar. London: Thames & Hudson, 1995), 121–39.Google Scholar
Opera Quarterly, 26 (2010), special issue “Mediating Opera,” ed. Esse, Melina, 1119.CrossRefGoogle Scholar
Osmond-Smith, David. “From Myth to Music: Lévi-Strauss's Mythologiques and Berio's Sinfonia.” Musical Quarterly, 67 (1981), 230–60.Google Scholar
Osmond-Smith, David, and Attinello, Paul. “Gay Darmstadt: Flamboyance and Rigor at the Summer Courses for New Music.” Contemporary Music Review, 26 (2007), 105–14.CrossRefGoogle Scholar
Otter, Chris. The Victorian Eye: A Political History of Light and Vision in Britain, 1800–1910. Chicago and London: University of Chicago Press, 2008.CrossRefGoogle Scholar
Parakilas, James. “How Spain Got a Soul,” in The Exotic in Western Music, ed. Bellman, Jonathan. Boston: Northeastern University Press, 1998, 137–93.Google Scholar
Parr, Sean M. “Melismatic Madness: Coloratura and Female Vocality in Mid Nineteenth-Century French and Italian Opera.” PhD dissertation, Columbia University, 2009.Google Scholar
Parr, Sean M.Dance and the Female Singer in Second Empire Opera.” 19th-Century Music, 36 (2012), 101–21.CrossRefGoogle Scholar
Paulin, Scott D.Richard Wagner and the Fantasy of Cinematic Unity,” in Music and Cinema, ed. Buhler, James, Flinn, Caryl, and Neumeyer, David. Hanover, NH: Wesleyan University Press, 2000, 5884.Google Scholar
Paull, Jennifer. Cathy Berberian and Music's Muses. Vouvry: Amoris, 2007.Google Scholar
Pavis, Patrice. “Voice,” in Dictionary of the Theatre: Terms, Concepts, and Analysis, trans. Shantz, Christine. University of Toronto Press, 1998, 435.CrossRefGoogle Scholar
Pels, Dicks, and Crébas, Aya. “Carmen – or the Invention of a New Feminine Myth” (1988), reprinted in The Body: Social Process and Cultural Theory, ed. Featherstone, Mike, Hepworth, Mike, and Turner, Bryan S.. London: Sage, 1991, 339–70.Google Scholar
Penzel, Frederick Penzel. Theatre Lighting Before Electricity. Middletown, CT: Wesleyan University Press, 1978.Google Scholar
Pérez, Héctor Julio Pérez, ed. Opera and Video: Technology and Spectatorship. Bern: Peter Lang, 2012.CrossRefGoogle Scholar
Perrot, Philippe. Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century, trans. Bienvenu, Richard. Princeton University Press, 1994.Google Scholar
Pestalozza, Luigi. “Impegno ideologico e tecnologia elettronica nelle opere degli anni Sessanta,” in Nono, ed. Restagno, Enzo. Turin: Edizioni di Torino, 1987, 143–56.Google Scholar
Peters, John Durham. The Marvelous Clouds: Toward an Elemental Theory of Media. Chicago and London: University of Chicago Press, 2015.CrossRefGoogle Scholar
Piekut, Benjamin. Experimentalism Otherwise: The New York Avant-Garde and its Limits. Berkeley and Los Angeles: University of California Press, 2011.Google Scholar
Poizat, Michel. The Angel's Cry: Beyond the Pleasure Principle in Opera, trans. Denner, Arthur. Ithaca: Cornell University Press, 1992.Google Scholar
Polo, Claudia. “Stanza degli specchi o dell'eco? Verdi generazione YouTube,” in Verdi Reception, ed. Frassà, Lorenzo and Niccolai, Michaela. Turnhout, Belgium: Brepols, 2013, 305–11.Google Scholar
Poriss, Hilary. Changing the Score: Arias, Prima Donnas, and the Authority of Performance. Oxford University Press, 2009.CrossRefGoogle Scholar
Poriss, HilaryDivas and Divos,” in The Oxford Handbook of Opera, ed. Greenwald, Helen. Oxford University Press, 2014, 373–94.Google Scholar
Porter, Roy. “Madness and Its Institutions,” in Medicine in Society, ed. Wear, Andrew. Cambridge University Press, 1992, 277301.CrossRefGoogle Scholar
Pugliese, Romana Margherita Pugliese. “The Origins of Lucia di Lammermoor's Cadenza.” Cambridge Opera Journal, 16 (2004), 2342.CrossRefGoogle Scholar
Rachel, Une vie pour le théâtre (1821–1858). Paris: Musée d'art et d'histoire du judaïsme and Société Nouvelle Adam Biro, 2004.Google Scholar
Raitt, Alan. Villiers de l'Isle-Adam et le mouvement symboliste. 2nd ed., Paris: Corti, 1986.Google Scholar
Reißinger, Marianne. Anna Netrebko: Ein Porträt. Reinbek: Rowohlt, 2005.Google Scholar
Ridout, Nicholas. “Opera and the Technologies of Theatrical Production,” in The Cambridge Companion to Opera Studies, ed. Till, Nicholas. Cambridge University Press, 2012, 159–76.Google Scholar
Ripa, Yannick. Women and Madness: The Incarceration of Women in Nineteenth-Century France, trans. du Peloux Menagé, Catherine. Oxford: Polity Press, 1990.Google Scholar
Rishoi, Niel. Edita Gruberova: Ein Portrait. Zürich and Mainz: Atlantis, 1996.Google Scholar
Risi, Clemens. “Die bewegende Sängerin. Zu stimmlichen und körperlichen Austausch-Prozessen in Opernaufführungen,” in Klang und Bewegung. Beiträge zu einer Grundkonstellation, ed. Brüstle, Christa and Riethmüller, Albrecht. Aachen: Shaker, 2004, 135–43.Google Scholar
Risi, ClemensHören und Gehört werden als körperlicher Akt. Zur feedback-Schleife in der Oper und der Erotik der Sängerstimme,” in Wege der Wahrnehmung. Authentizität, Reflexivität und Aufmerksamkeit im zeitgenössischen Theater, ed. Fischer-Lichte, Erika, Gronau, Barbara, Schouten, Sabine, and Weiler, Christel. Berlin: Theater der Zeit, 2006, 98113.Google Scholar
Roberts, Mary Louise. Disruptive Acts: The New Woman in Fin-de-Siècle France. Chicago and London: University of Chicago Press, 2002.CrossRefGoogle Scholar
Ronell, Avital. The Telephone Book: Technology – Schizophrenia – Electric Speech. Lincoln: University of Nebraska Press, 1989.Google Scholar
Roselt, Jens.Aufführungsparalyse,” in Theater als Paradigma der Moderne?: Positionen zwischen historischer Avantgarde und Medienzeitalter, ed. Balme, Christopher B., Fischer-Lichte, Erika, and Grätzel, Stephan. Tübingen and Basel: Francke, 2003, 145–53.Google Scholar
Roselt, Jens.Erfahrung im Verzug,” in Kunst der Aufführung–Aufführung der Kunst, ed. Fischer-Lichte, Erika, Risi, Clemens, and Roselt, Jens. Berlin: Theater der Zeit, 2004, 2739.Google Scholar
Roselt, Jens. Phänomenologie des Theaters. Munich: Fink, 2008.CrossRefGoogle Scholar
Rosselli, John. Singers of Italian Opera: The History of a Profession. Cambridge University Press, 1995.Google Scholar
Roucher, Eugénia. “Étoile,” in Dictionnaire de la danse, ed. Le Moal, Philippe. Paris: Larousse, 2008, 731.Google Scholar
Rowden, Clair. Republican Morality and Catholic Tradition in the Opera: Massenet's “Hérodiade” and “Thaïs.” Weinsberg: Lucie Galland, 2004.Google Scholar
Rowden, ClairOpera, Caricature, and the Unconscious: Jules Massenet's Thaïs, A Case Study,” Music in Art: International Journal for Music Iconography, 34 (2009), 274–89.Google Scholar
Rustemeyer, Ruth. “Geschlechtsspezifische Rollen bei Medienstars,” in Der Star: Geschichte, Rezeption, Bedeutung, ed. Faulstich, Werner and Korte, Helmut. Munich: Fink, 1997, 99113.Google Scholar
Rutherford, Susan. The Prima Donna and Opera, 1815–1930. Cambridge University Press, 2006.Google Scholar
Schiffer-Ekhart, Armgard. Sebastianutti & Benque: Fünf Fotografen, vier Generationen, drei Kontinente. Graz: Landesmuseum Joanneum, 1997.Google Scholar
Schivelbusch, Wolfgang. Disenchanted Night: The Industrialization of Light in the Nineteenth Century, trans. Davies, Angela. Berkeley and Los Angeles: University of California Press, 1988.Google Scholar
Schmidt Horning, Susan. Chasing Sound: Technology, Culture, and the Art of Studio Recording from Edison to the LP. Baltimore: Johns Hopkins University Press, 2013.CrossRefGoogle Scholar
Schroeder, David P. Cinema's Illusions, Opera's Allure: The Operatic Impulse in Film. New York: Continuum, 2002.Google Scholar
Schwartz, Arman. “Prospero's Isle and the Sirens’ Rock.” Cambridge Opera Journal, 15 (2003), 81106.CrossRefGoogle Scholar
Schwartz, Vanessa R. Spectacular Realities: Early Mass Culture in Fin-de-Siècle Paris. Berkeley and Los Angeles: University of California Press, 1998.Google Scholar
Segal, Naomi. The Unintended Reader: Feminism and “Manon Lescaut.” Cambridge University Press, 1986.Google Scholar
Senelick, Laurence. “Eroticism in Early Theatrical Photography.” Theatre History Studies, 11 (1991), 149.Google Scholar
Senici, Emanuele. “Porn Style? Space and Time in Live Opera Videos.” Opera Quarterly, 26 (2010), special issue “Mediating Opera,” 6380. See also Opera Quarterly.CrossRefGoogle Scholar
Sennett, Richard. The Fall of Public Man. London: Faber, 1993.Google Scholar
Sheppard, W. Anthony. “Review of the First Season of Metropolitan Opera HD Simulcasts.” American Music, 25 (2007), 383–7.Google Scholar
Showalter, Elaine. The Female Malady: Women, Madness, and English Culture, 1830–1980. Harmondsworth: Penguin, 1985.Google Scholar
Sieffert Rigaud, Yvette. “Pauline Viardot: Mythe et Réalité.” Thèse d’État, Université de Rouen, 1991.Google Scholar
Sivuoja-Kauppala, Anne. “Cathy Berberian's Notes on Camp,” in Cathy Berberian: Pioneer of Contemporary Vocality, ed. Karantonis, Pamela, Placanica, Francesca, Sivuoja-Kauppala, Anne, and Verstraete, Pieter. Farnham, UK: Ashgate, 2014, 121–50.Google Scholar
Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover, NH: Wesleyan University Press, 1998.Google Scholar
Smart, Mary Ann. “The Silencing of Lucia.” Cambridge Opera Journal, 4 (1992), 119–41.CrossRefGoogle Scholar
Smart, Mary AnnDalla tomba uscita: Representations of Madness in Nineteenth-Century Italian Opera,” PhD dissertation, Cornell University, 1994.Google Scholar
Smart, Mary AnnThe Lost Voice of Rosine Stoltz.” Cambridge Opera Journal, 6 (1994), 3150. Reprinted in En travesti: Women, Gender Subversion, Opera, ed. Corinne E. Blackmer and Patricia Juliana Smith. New York: Columbia University Press, 1995, 169–89.CrossRefGoogle Scholar
Smart, Mary Ann Mimomania: Music and Gesture in Nineteenth-Century Opera. Berkeley and Los Angeles: University of California Press, 2004.CrossRefGoogle Scholar
Solomon-Godeau, Abigail. “The Legs of the Countess.” October, 39 (1986), 65108. Reprinted in Fetishism as Cultural Discourse, ed. Apter, Emily and Pietz, William (Ithaca: Cornell University Press, 1993), 266306.Google Scholar
Sommer, Carlo Michael. “Stars als Mittel der Identitätskonstruktion. Überlegungen zum Phänomen des Star-Kults aus sozialpsychologischer Sicht,” in Der Star: Geschichte, Rezeption, Bedeutung, ed. Faulstich, Werner and Korte, Helmut. Munich: Fink, 1997, 114–24.Google Scholar
Spicer, Joaneath. “The Renaissance Elbow,” in A Cultural History of Gesture, ed. Bremmer, Jan and Roodenburg, Herman. Ithaca: Cornell University Press, 1991, 84128.Google Scholar
Springer, Kimberly. “Divas, Evil Black Bitches, and Bitter Black Women: African American Women in Postfeminist and Post-Civil-Rights Popular Culture,” in Interrogating Postfeminism: Gender and the Politics of Popular Culture, ed. Tasker, Yvonne and Negra, Diane. Durham: Duke University Press, 2007, 249–76.Google Scholar
Steegmuller, Francis. Jean Cocteau: A Biography. Boston: Nonpareil, 1986.Google Scholar
Steichen, James. “The Metropolitan Opera Goes Public: Peter Gelb and the Institutional Dramaturgy of The Met: Live in HD.” Music and the Moving Image, 2 (2009), 2430.CrossRefGoogle Scholar
Steichen, JamesHD Opera: A Love/Hate Story,” Opera Quarterly, 27 (2011), 443–59.CrossRefGoogle Scholar
Stern, Ellen, and Gwathmey, Emily. Once upon a Telephone: An Illustrated Social History. New York: HBJ, 1994.Google Scholar
Sterne, Jonathan. The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press, 2003.Google Scholar
Sterne, Jonathan MP3: The Meaning of a Format. Durham: Duke University Press, 2012.Google Scholar
Sterne, Jonathan‘What Do We Want?’ ‘Materiality’ ‘When Do We Want It?’ ‘Now!,’” in Media Technologies: Essays on Communication, Materiality and Society, ed. Gillespie, Tarleton, Foote, Kirsten and Boczkowski, Pablo. Cambridge, MA: MIT Press, 2014, 119–28.Google Scholar
Stokes, John. “Rachel Félix,” in Booth, Michael R., Stokes, John, and Bassnett, Susan, Three Tragic Actresses: Siddons, Rachel, Ristori. Cambridge University Press, 1996, 66116.Google Scholar
Symcox, Peter. “The Four Faces of Opera.” Opera Quarterly, 3 (1985), 118.CrossRefGoogle Scholar
Tambling, Jeremy. Opera, Ideology, and Film. New York: St Martin's Press, 1987.Google Scholar
Tambling, JeremyIntroduction: Opera in the Distraction Culture,” in A Night in at the Opera: Media Representations of Opera, ed. Tambling, Jeremy. London: J. Libbey, 1994, 124.Google Scholar
Taruskin, Richard. Text and Act: Essays on Music and Performance. Oxford University Press, 1995.Google Scholar
Taruskin, Richard The Oxford History of Western Music. Oxford University Press, 2005, 5 vols.Google Scholar
Thiele, Jens. “Künstlerisch-mediale Zeichen der Starinszenierung,” in Der Star: Geschichte, Rezeption, Bedeutung, ed. Faulstich, Werner and Korte, Helmut. Munich: Fink, 1997, 136–45.Google Scholar
Tomlinson, Gary. A Million Years of Music: The Emergence of Human Modernity. New York: Zone Books, 2015.CrossRefGoogle Scholar
Tomlinson, John. “Amplification in the Opera House.” Opera, 51 (2000), 768–75.Google Scholar
Tommasini, Anthony. “Wearing a Wire at the Opera, Secretly, of Course.” New York Times, June 28, 2013.Google Scholar
Tunbridge, Laura. “Opera and Materiality.” Cambridge Opera Journal, 26 (2014), 289–99.CrossRefGoogle Scholar
Turkle, Sherry. The Second Self: Computers and the Human Spirit. 20th anniversary ed., Cambridge, MA: MIT Press, 2005.CrossRefGoogle Scholar
Verstraete, Pieter. “Cathy Berberian's Stripsody – An Excess of Vocal Personas in Score and Performance,” in Cathy Berberian: Pioneer of Contemporary Vocality, ed. Karantonis, Pamela, Placanica, Francesca, Sivuoja-Kauppala, Anne, and Verstraete, Pieter. Farnham, UK: Ashgate, 2014, 6785.Google Scholar
Vila, Marie Christine. Cathy Berberian cant'actrice. Paris: Fayard, 2003.Google Scholar
Waldenfels, Bernhard. “Stimme am Leitfaden des Leibes,” in Medien/Stimmen, ed. Epping-Jäger, Cornelia and Linz, Erika. Cologne: DuMont, 2003, 1935.Google Scholar
Waleckx, Denis. “‘A Musical Confession’: Poulenc, Cocteau and La Voix humaine,” in Francis Poulenc: Music, Art and Literature, ed. Buckland, Sidney and Chimènes, Myriam. Aldershot, UK: Ashgate, 1999, 320–47.Google Scholar
Wells, Brianna. “‘Secret Mechanism’: Les Contes d'Hoffmann and the Intermedial Uncanny in the Metropolitan Opera's Live in HD Series.” 19th-Century Music, 36 (2012), 191203.CrossRefGoogle Scholar
White, Jonathan. “Opera, Politics and Television: Bel Canto by Satellite,” in A Night in at the Opera: Media Representations of Opera, ed. Tambling, Jeremy. London: J. Libbey, 1994, 267–98.Google Scholar
Whitesell, Lloyd. “Britten's Dubious Trysts.” Journal of the American Musicological Society, 56 (2003), 637–94.CrossRefGoogle Scholar
Wicke, Jennifer. “Celebrity Material: Materialist Feminism and the Culture of Celebrity.” South Atlantic Quarterly, 93 (1994), 751–78.CrossRefGoogle Scholar
Wilbourne, Emily. “Amor nello specchio (1622): Mirroring, Masturbation, and Same-Sex Love.” Women & Music, 13 (2009), 5465.CrossRefGoogle Scholar
Will, Richard. “Zooming in, Gazing Back: Don Giovanni on Television.” Opera Quarterly, (2011), 3265.CrossRefGoogle Scholar
Willem, Linda. “Almadóvar on the Verge of Cocteau's La Voix humaine.” Literature/Film Quarterly, 26 (1998), 142–7.Google Scholar
Willier, Stephen A. “Mad Scene,” in Grove Music Online, www.oxfordmusiconline.comGoogle Scholar
Wilson, Alexandra. The Puccini Problem: Opera, Nationalism and Modernity. Cambridge University Press, 2007.CrossRefGoogle Scholar
Worth, Susannah, and Sibley, Lucy R.. “Maja Dress and the Andalusian Image of Spain.” Clothing and Textiles Research Journal, 12 (1994), 5160.CrossRefGoogle Scholar
Yon, Jean-Claude. Jacques Offenbach. Paris: Gallimard, 2000.Google Scholar
Yon, Jean-Claude Une histoire du théâtre à Paris. De la Révolution à la Grande Guerre. Paris: Aubier, 2012.Google Scholar
Yon, Jean-Claude, ed. Le Théâtre français à l’étranger. Histoire d'une suprématie culturelle. Paris: Nouveau Monde, 2008.Google Scholar
Zamour, Françoise. “De Sardou à Lubitsch. Du vaudeville mélancolique à la comédie du remariage,” in Victorien Sardou, le théâtre et les arts, ed. Moindrot, Isabelle. Paris: Presses universitairesde Rennes, 2011, 231–41.Google Scholar

Secondary Sources

Anna Netrebko: Sempre Libera, Deutsche Grammophon b000295txc, 2004.Google Scholar
Anna Netrebko: Verdi, Deutsche Grammophon b0018735, 2013.Google Scholar
The Art of Singing: Golden Voices of the Century, NVC Arts b00004uf02, 2000.Google Scholar
Berio, Luciano. Requies, Voci, Corale, RCA Victor Red Seal 78982rc, 1990.Google Scholar
Bizet: “Carmen,” with Maria Callas, Nicolai Gedda, and the Orchestre du Théâtre national de l'Opéra de Paris, conducted by Georges Prêtre (1964), EMI Classics 5562812, 1997.Google Scholar
Cathy Berberian–Beatles Arias, Telescopic 700077649818, 2004.Google Scholar
Cecil B. DeMille Double Feature: “Carmen” [and] “The Cheat,” with the Olympia Chamber Orchestra conducted by Timothy Brock, Image id9227ds, 2001.Google Scholar
Massenet: Manon – The First Complete Recording (1923), Marston 52003, 1997.Google Scholar
Richard Strauss, Anna Netrebko: Vier letzte Lieder, Deutsche Grammophon b0021880, 2014.Google Scholar
Verdi: La traviata, Deutsche Grammophon b000f3taoe, 2006.Google Scholar
Anna Netrebko official website, www.annanetrebko.comGoogle Scholar
Association L'Art lyrique français, www.artlyrique.frGoogle Scholar
Digital collection of the Bibliothèque nationale de France, Paris, www.gallica.frGoogle Scholar
Edita Gruberová fan website, www.gruberova.comGoogle Scholar
McVeigh, Daniel P. “An Early History of the Telephone 1664–1865,” Scholar
Østergaard, Erik. “The History of Nipper and His Master's Voice,” Scholar
Oxford English Dictionary, www.oed.comGoogle Scholar
White, Thomas H. “United States Early Radio History,” earlyradiohistory.usGoogle Scholar