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  3. Cambridge Studies in Opera

The potential for the study of opera and its cultural ramifications today is vast indeed. Cambridge Studies in Opera is pleased to offer a forum for this growing and lively area of contemporary scholarship. The series intends its methodological focus to be inclusive, ranging from musicological studies of composers and works or forms of analysis to the varieties of approaches that critical theories in other humanistic disciplines can now offer to the study of opera.

  • General Editors: Arthur Groos, Cornell University
  • Editorial Boards: Tim Carter, University of London, John Deathridge, University of London, James Hepokoski, University of Minnesota, Paul Robinson, Stanford University

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22 results in Cambridge Studies in Opera

Page 2 of 2

Three Modes of Perception in Mozart
  • The Philosophical, Pastoral, and Comic in Cosí fan tutte
  • Edmund J. Goehring
  • Published online:
    22 September 2009
    Print publication:
    11 November 2004
  • This 2004 book is a full-length, scholarly study of what is widely regarded as Mozart's most enigmatic opera and Lorenzo Da Ponte's most erudite text. Against the long-standing judgement that the opera uses a misguided confidence in reason to traduce feeling, Goehring's study shows how Cosi affirms comedy's regenerative powers and its capacity to grant access to modes of sympathy and understanding that are otherwise inaccessible. In making this argument, the book surveys a rich literary, operatic and intellectual territory. It offers fresh perspective on the relationships between text and tone in the opera, on the tension between comedy and philosophy and its representation in stage works and on the pastoral mode which the opera uses in subtle ways. Throughout, Goehring's argument is sustained by close readings of primary sources, many of them little known, and is richly illustrated with musical examples.

Opera and Drama in Eighteenth-Century London
  • The King's Theatre, Garrick and the Business of Performance
  • Ian Woodfield
  • Published online:
    22 September 2009
    Print publication:
    10 May 2001
  • In this study, Ian Woodfield explores the cultural and commercial life of Italian opera in late eighteenth-century London. It was a period when theatre and opera worlds mixed, venues were shared, and agents and managers collaborated and competed. Through primary sources, many analysed for the first time, Woodfield examines such issues as finances, recruitment policy, the handling of singers and composers, links with Paris and Italy, and the role of women in opera management. These key topics are also placed within the context of a personal dispute between two of the most important managers of the day, the woman writer Frances Brooke and the actor David Garrick, which influenced the running of the major venues, the King's Theatre, Drury Lane and Covent Garden. Woodfield has also uncovered new information concerning the influential role of the eighteenth-century music historian and critic Charles Burney, as artistic advisor to the King's Theatre.

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