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Daniel-François-Esprit Auber, La muette de Portici - Oscar de la Torre ten, Angelina Ruzzafante sop, Angus Wood ten, Diego Torre ten, Wiard Witholt bar Opernchor des Anhaltischen Theaters, Helmut Sonne dir Anhaltische Philharmonie, Antony Hermus cond CPO 7776942, 2013 (2 CDs: 135 minutes), $32
Published online by Cambridge University Press: 27 October 2016
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References
1 Such questions of vocal fach and characterization extend back to the 1820s and 1830s. See Clark, Maribeth, ‘The Body and the Voice in La muette de Portici ’, in 19th-Century Music 27 (2003): 116–131 CrossRefGoogle Scholar, for documentation of how audiences reacted to the switch from Adolphe Nourrit’s lighter sound to Gilbert Duprez’s heavier sound.
2 Historical and aesthetic questions raised by cutting nineteenth-century operas are considered in detail in Gossett, Philip, Divas and Scholars: Performing Italian Opera (Chicago: University of Chicago Press, 2006): 241–289 CrossRefGoogle Scholar.
3 See Clark, ‘Body and the Voice’, and Smart, Mary Ann, Mimomania: Music and Gesture in Nineteenth-Century Opera (Berkeley: University of California Press, 2004): 32–68 CrossRefGoogle Scholar.
4 Gossett, Divas and Scholars, contains numerous examples. See also Hepokoski, James, ‘Staging Verdi’s Operas: The Single, “Correct” Performance’, in Verdi in Performance, ed. Alison Latham and Roger Parker (Oxford: Oxford University Press, 2001): 11–20 Google Scholar.
5 Documented in Fauser, Annegret, ‘ Cette musique sans tradition: Wagner’s Tannhäuser and Its French Critics’, in Music, Theater, and Cultural Transfer: Paris 1830–1914, ed. Annegret Fauser and Mark Everist (Chicago: University of Chicago Press, 2009): 228–255 CrossRefGoogle Scholar.
6 This position has been advanced in Taruskin, Richard, Text and Act: Essays on Music and Performance (New York: Oxford University Press, 1995)Google Scholar.