ContentsContents: Introduction: Migrations and transformations, Roberta Montemorra Marvin; Venice: cradle of (operatic) convention, Ellen Rosand; 'Je vous répondrez au troisième couplet': 18th-century opéra comique and the demands of speech, Downing A. Thomas; From the Comédie-Française to the Opéra: Figaro at the crossroads, Tili Boon Cuillé; Ideological noises: opera criticism in early 18th-century France, Charles Dill; Transformations on stage only: Anfossi's Circe in Weimar, Waltraud Maierhofer; Roman republicanism and operatic heroines in Napoleonic Italy: Tarchi's La congiura pisoniana and Cimarosa's Gli Orazi e i Curiazi, Robert C. Ketterer; Ghostly voices: 'Gothic Opera' and the failure of Gounod's La Nonne sanglante, Anne Williams; Mozart productions and the emergence of Werktreue at London's Italian Opera House, 1780–1830, Rachel Cowgill; The mirror of art and scenes of recognition: Wagner and Mann, Grace Kehler; Burlesques, barriers, borders, and boundaries, Roberta Montemorra Marvin; Local color: the representation of race in Carmen and Carmen Jones, Robert L.A. Clark; Operatic school for scandal, David J. Levin; Why (what? How? If?) opera studies?, Herbert Lindenberger; Epilog, Downing A. Thomas; Index.
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