This volume takes an interdisciplinary approach to studying a wide range of subjects associated with the creation, performance and reception of 'opera' in varying social and historical contexts from the eighteenth to the twentieth centuries. Each essay addresses migrations between genres, cultures, literary and musical works, modes of expression, media of presentation and aesthetics. Although the directions the contributions take are diverse, they converge in significant ways, particularly with the rebuttal of the notion of the singular nature of the operatic work. The volume strongly asserts that works are meaningfully transformed by the manifold circumstances of their creation and reception, and that these circumstances have an impact on the life of those works in their many transformations and on a given audience's experience of them. Topics covered include transformations of literary sources and their migration into the operatic genre; works that move across geographical and social boundaries into different cultural contexts; movements between media and/or genre as well as alterations through interpretation and performance of the composer's creation; the translation of spoken theatre to lyric theatre; the theoretical issues contingent on the rendering of 'speech' into 'song'; and the transforming effects of aesthetic considerations as they bear on opera. Crossing over disciplinary boundaries between music, literary studies, history, cultural studies and art history, the volume enriches our knowledge and understanding of the operatic experience and the works. The book will therefore appeal to those working in the field of music, literary and cultural studies, and to those with a particular interest in opera and musical theatre.

This volume takes an interdisciplinary approach to studying a wide range of subjects associated with the creation, performance and reception of 'opera' in varying social and historical contexts from the eighteenth to the twentieth centuries. Each essay addresses migrations between genres, cultures, literary and musical works, modes of expression, media of presentation and aesthetics. Although the directions the contributions take are diverse, they converge in significant ways, particularly with the rebuttal of the notion of the singular nature of the operatic work. The volume strongly asserts that works are meaningfully transformed by the manifold circumstances of their creation and reception, and that these circumstances have an impact on the life of those works in their many transformations and on a given audience's experience of them. Topics covered include transformations of literary sources and their migration into the operatic genre; works that move across geographical and social boundaries into different cultural contexts; movements between media and/or genre as well as alterations through interpretation and performance of the composer's creation; the translation of spoken theatre to lyric theatre; the theoretical issues contingent on the rendering of 'speech' into 'song'; and the transforming effects of aesthetic considerations as they bear on opera. Crossing over disciplinary boundaries between music, literary studies, history, cultural studies and art history, the volume enriches our knowledge and understanding of the operatic experience and the works. The book will therefore appeal to those working in the field of music, literary and cultural studies, and to those with a particular interest in opera and musical theatre.

This volume spotlights the visual arts, vision, and blindness during the Enlightenment in France, Britain, and Germany. The essays range from exploring the musical and cultural impact of an eighteenth-century virtuoso violinist to analyzing lotteries as romance in eighteenth-century England.

Contributors and Contents:

Mary Sheriff, The King, the Trickster and the Gorgon: On the Illusions of Rococo ArtBeverly Wilcox, The Hissing of Monsieur PaginJessica Richard, Lotteries and the Romance of Chance in Eighteenth-Century EnglandEmrys D. Jones, 'Friendship like mine / Throws all Respects behind it': Male Companionship and the Cult of Frederick, Prince of WalesDavid Hagan, Threading the Needle: Problems in Reading Dennis Diderot's "La lettre sur les aveugles"Josephine Touma, From the Playhouse to the Page: Some Visual Sources for Watteau's Theatrical UniverseDaniel O'Quinn, Diversionary Tactics and Coercive Acts: John Burgoyne's "Fete Champetre"Shelley King, Portrait of a Marriage: John and Amelia Opie and the Sister ArtsDavid Fairer, Where Fuming Trees Refresh the Thirsty AirDorothea Von Mucke, Iconic Turn and the Power of Images: Goethe's "Elective Affinities"Laure Marcellesi, Louis-Sebastien Mercier: Prophet, Abolitionist, Colonialist

This study recognizes the broad impact of opera in early-modern French culture. Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to the aesthetic and political agendas of the time; and the long-term development of opera in eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Enlightenment concerns with sensibility and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theatre and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth.

The search for the origins of language was one of the most pressing philosophical issues of the eighteenth century. What has often escaped notice, however, is the fact that music figures prominently in this search. This study analyses instances of thinking or reasoning about music and music theory as they appear within the logical and narrative structure of contemporary texts, including writings by Rousseau, Diderot, Rameau and Condillac. These can only be properly understood as part of an interdisciplinary project, as situated within a field of larger cultural issues and concerns. The author is interested in the ways in which music functions within this discursive framework to facilitate links between language and meaning, and between conceptions of an original society and an ideal social order.

The search for the origins of language was one of the most pressing philosophical issues of the eighteenth century. It has escaped notice, however, that music figured prominently in that search. This study analyzes reflections on music and music theory as they appear within the logical and narrative structure of texts by, for example, Rousseau, Diderot, Rameau and Condillac, and considers the ways in which music facilitates links between language and meaning, between conceptions of an original society and an ideal social order.

This is the first study to recognize the wider picture of opera within early-modern French culture. Downing Thomas considers the place of music within a cultural environment--the employment of music by Louis XIV as a symbol of absolutism; the use of music as a statement against the monarchy; and the long-term development of opera as a reflection of humanism. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth.