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TheCambridgeCompaniontoOperaStudies Withitspowerfulcombinationofmusicandtheatre,operaisoneof themostcomplexandyetimmediateofallartforms.Onceoperawas studiedonlyas‘astepchildofmusicology’,butinthepasttwo decadesoperastudieshasexperiencedanexplosionofenergywith theintroductionofnewapproachesdrawnfromdisciplinessuchas socialanthropologyandperformancestudiestomediatheory,genre theory,genderstudiesandreceptionhistory.Writtenbyleading scholarsinoperastudiestoday,thisCompanionoffersawide-ranging guidetoarapidlyexpandingfieldofstudy,andnewwaysofthinking aboutarichandintriguingartform,placingoperabackatthecentre ofourunderstandingofWesterncultureoverthepast400years.This bookgivesloversofoperaaswellasthosestudyingthesubjecta comprehensiveapproachtothemanyfacetsofoperainthepastand today. nicholastillisProfessorofOperaandMusicTheatreand LeverhulmeResearchFellowattheUniversityofSussex. CambridgeCompanionstoMusic Topics TheCambridgeCompaniontoBallet EditedbyMarionKant TheCambridgeCompaniontoBluesandGospelMusic EditedbyAllanMoore TheCambridgeCompaniontoChoralMusic EditedbyAndre´deQuadros TheCambridgeCompaniontotheConcerto EditedbySimonP.Keefe TheCambridgeCompaniontoConducting EditedbyJoseÁntonioBowen TheCambridgeCompaniontoEighteenth-CenturyOpera EditedbyAnthonyR.DelDonnaandPierpaoloPolzonetti TheCambridgeCompaniontoElectronicMusic EditedbyNickCollinsandJulioD’Escrivań TheCambridgeCompaniontoGrandOpera EditedbyDavidCharlton TheCambridgeCompaniontoJazz EditedbyMervynCookeandDavidHorn TheCambridgeCompaniontotheLied EditedbyJamesParsons TheCambridgeCompaniontoMedievalMusic EditedbyMarkEverist TheCambridgeCompaniontotheMusical,secondedition EditedbyWilliamEverettandPaulLaird TheCambridgeCompaniontoOperaStudies EditedbyNicholasTill TheCambridgeCompaniontotheOrchestra EditedbyColinLawson TheCambridgeCompaniontoPopandRock EditedbySimonFrith,WillStrawandJohnStreet TheCambridgeCompaniontoRecordedMusic EditedbyEricClarke,NicholasCook,DanielLeech-WilkinsonandJohnRink TheCambridgeCompaniontotheStringQuartet EditedbyRobinStowell TheCambridgeCompaniontoTwentieth-CenturyOpera EditedbyMervynCooke Composers TheCambridgeCompaniontoBach EditedbyJohnButt TheCambridgeCompaniontoBarto´k EditedbyAmandaBayley TheCambridgeCompaniontotheBeatles EditedbyKennethWomack TheCambridgeCompaniontoBeethoven EditedbyGlennStanley TheCambridgeCompaniontoBerg EditedbyAnthonyPople TheCambridgeCompaniontoBerlioz EditedbyPeterBloom TheCambridgeCompaniontoBrahms EditedbyMichaelMusgrave TheCambridgeCompaniontoBenjaminBritten EditedbyMervynCooke TheCambridgeCompaniontoBruckner EditedbyJohnWilliamson TheCambridgeCompaniontoJohnCage EditedbyDavidNicholls TheCambridgeCompaniontoChopin EditedbyJimSamson TheCambridgeCompaniontoDebussy EditedbySimonTrezise TheCambridgeCompaniontoElgar EditedbyDanielM.GrimleyandJulianRushton TheCambridgeCompaniontoGilbertandSullivan EditedbyDavidEdenandMeinhardSaremba TheCambridgeCompaniontoHandel EditedbyDonaldBurrows TheCambridgeCompaniontoHaydn EditedbyCarylClark TheCambridgeCompaniontoLiszt EditedbyKennethHamilton TheCambridgeCompaniontoMahler EditedbyJeremyBarham TheCambridgeCompaniontoMendelssohn EditedbyPeterMercer-Taylor TheCambridgeCompaniontoMonteverdi EditedbyJohnWhenhamandRichardWistreich TheCambridgeCompaniontoMozart EditedbySimonP.Keefe TheCambridgeCompaniontoArvoPa¨rt EditedbyAndrewShenton TheCambridgeCompaniontoRavel EditedbyDeborahMawer TheCambridgeCompaniontoRossini EditedbyEmanueleSenici TheCambridgeCompaniontoSchoenberg EditedbyJenniferShawandJosephAuner TheCambridgeCompaniontoSchubert EditedbyChristopherGibbs TheCambridgeCompaniontoSchumann EditedbyBeatePerrey TheCambridgeCompaniontoShostakovich EditedbyPaulineFaircloughandDavidFanning TheCambridgeCompaniontoSibelius EditedbyDanielM.Grimley TheCambridgeCompaniontoRichardStrauss EditedbyCharlesYoumans TheCambridgeCompaniontoVerdi EditedbyScottL.Balthazar Instruments TheCambridgeCompaniontoBrassInstruments EditedbyTrevorHerbertandJohnWallace TheCambridgeCompaniontotheCello EditedbyRobinStowell TheCambridgeCompaniontotheClarinet EditedbyColinLawson TheCambridgeCompaniontotheGuitar EditedbyVictorCoelho TheCambridgeCompaniontotheOrgan EditedbyNicholasThistlethwaiteandGeoffreyWebber TheCambridgeCompaniontothePiano EditedbyDavidRowland TheCambridgeCompaniontotheRecorder EditedbyJohnMansfieldThomson TheCambridgeCompaniontotheSaxophone EditedbyRichardIngham TheCambridgeCompaniontoSinging EditedbyJohnPotter TheCambridgeCompaniontotheViolin EditedbyRobinStowell The Cambridge Companion to OPERA STUDIES ............ edited by NicholasTill UniversityPrintingHouse,CambridgeCB28BS,UnitedKingdom CambridgeUniversityPressispartoftheUniversityofCambridge. ItfurtherstheUniversity’smissionbydisseminatingknowledgeinthepursuitof education,learningandresearchatthehighestinternationallevelsofexcellence. www.cambridge.org Informationonthistitle:www.cambridge.org/9780521855617 (cid:2)C CambridgeUniversityPress2012 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2012 PrintedandboundintheUnitedKingdombytheMPGBooksGroup AcataloguerecordforthispublicationisavailablefromtheBritishLibrary LibraryofCongressCataloguinginPublicationdata TheCambridgecompaniontooperastudies/editedbyNicholasTill. p. cm. Includesbibliographicalreferencesandindex. ISBN978-0-521-85561-7(hardback) 1.Opera. I.Till,Nicholas,1955– ML1700.C166 2012 782.1–dc23 2012013653 ISBN978-0-521-85561-7Hardback ISBN978-0-521-67169-9Paperback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracy ofURLsforexternalorthird-partyinternetwebsitesreferredtointhispublication, anddoesnotguaranteethatanycontentonsuchwebsitesis,orwillremain, accurateorappropriate. Contents Notesoncontributors [pageviii] Acknowledgements [xi] Introduction:operastudiestoday NicholasTill [1] • PartI Institutions 1 Opera,thestateandsociety ThomasErtman [25] 2 Thebusinessofopera NicholasPayne [53] 3 Theoperaticevent:operahousesandoperaaudiences NicholasTill [70] • PartII Constituents 4 ‘Toomuchmusic’:themediaofopera ChristopherMorris [95] 5 Voicesandsingers SusanRutherford [117] 6 Operaandmodesoftheatricalproduction SimonWilliams [139] 7 Operaandthetechnologiesoftheatricalproduction NicholasRidout [159] • PartIII Forms 8 Thedramaturgyofopera LaurelE.Zeiss [179] 9 Genreandpoetics AlessandraCampana [202] 10 Theoperaticwork:texts,performances,receptionsand repertories NicholasTill [225] • PartIV Issues 11 Operaandgenderstudies HeatherHadlock [257] 12 Operaandnationalidentity SuzanneAspden [276] 13 ‘Anexoticandirrationalentertainment’:operaandourothers; operaasother NicholasTill [298] Furtherreading [325] Index [338] [vii] Contributors Suzanne Aspden teaches in the Music Faculty at the University of Oxford. Her researchinterestscentreoneighteenth-centuryopera,andissuesofperformance andidentity.Shehasco-editedabookonword–musicinterrelationships,andis currentlycompletingabookonthereputedrivalryofthesingersFaustinaBordoni andFrancescaCuzzoniin1720sLondon.Hernextbookprojectconcernsopera andnationalidentityintheeighteenthcentury.Sheisco-editoroftheCambridge OperaJournal. Alessandra Campana is Assistant Professor of Music at Tufts University. She has publishedonMozart,Verdi,PucciniandBelliniintheCambridgeOperaJournal, Mozart Jahrbuch, Studi Verdiani and The Opera Quarterly. Recent publications include ‘To Look Again (At Don Giovanni)’ in The Cambridge Companion to Eighteenth-CenturyOpera(2009)and‘LookandSpectatorshipinManonLescaut’, inTheOperaQuarterly(2009).Sheiscurrentlycompletingabookonoperaand modern spectatorship in Italy between the 1870s and 1915 and is part of the editorialteamofthenewOperaQuarterly. ThomasErtmanisAssociateProfessorofSociologyatNewYorkUniversity,where he teaches courses on historical sociology and sociology of the arts. He is co- editor,alongwithVictoriaJohnsonandJaneFulcher,ofOperaandSocietyinItaly andFrancefromMonteverditoBourdieu(CambridgeUniversityPress,2007)and authorofBirthoftheLeviathan:BuildingStatesandRegimesinMedievalandEarly ModernEurope(CambridgeUniversityPress,1997).Heiscurrentlyresearchinga projectcomparingculturallifeinWeimarandThirdReichBerlin. HeatherHadlockisAssociateProfessorofMusicologyatStanfordUniversity.Sheis theauthorofMadLoves:WomenandMusicinOffenbach’s‘LesContesd’Hoffmann’ (PrincetonUniversityPress,2000),andhascontributedchapterstoTheCambridge CompaniontoRossini(2003),Women’sVoicesAcrossMusicalWorlds(Northeastern UniversityPress,2003),Berlioz:PastPresent,Future(UniversityofRochesterPress, 2003),SirenSongs(PrincetonUniversityPress,2000)andMusicologyandSister Disciplines (Oxford University Press, 2000). She is Book Review Editor for the Cambridge Opera Journal, and is Chair of the American Musicological Society CommitteeontheStatusofWomen. ChristopherMorrisisLecturerinMusicatUniversityCollege,Cork(UCC).Heis amusicologistspecializinginopera,culturaltheory,Austro-Germanmodernism and film music. He worked for four years as Archivist of the Canadian Opera CompanybeforejoiningUCCin1998.HispublicationsincludeReadingOpera BetweentheLines:OrchestralInterludesandCulturalMeaningfromWagnertoBerg (CambridgeUniversityPress,2002)andheiscurrentlyworkingonabookentitled ModernismandtheCultofMountains:Music,Opera,Cinema,tobepublishedby Ashgate.HeisAssociateandReviewsEditorofTheOperaQuarterly. NicholasPayneistheDirectorofOperaEuropa,theleadingorganizationforprofes- sionaloperacompaniesthroughoutEurope.Hehasworkedinoperasincejoining [viii] ix Notesoncontributors CoventGardenattheendofthe1960s,andsubsequentlyworkedforfourdifferent UKoperacompaniesovertwenty-sevenconsecutiveyearsasFinancialController ofWelshNationalOpera,GeneralAdministratorofOperaNorth,Directorofthe Royal Opera Covent Garden, and General Director of English National Opera. NicholasPaynewritesandbroadcastsregularlyonoperaticandgeneralarts. NicholasRidoutisReaderinTheatreandPerformanceStudiesatQueenMary,Uni- versityofLondon.HispublicationsincludeTheatre&Ethics(PalgraveMacmillan, 2009),TheTheatreofSoc`ıetasRaffaelloSanzio(co-authoredwithClaudiaCastel- lucci,RomeoCastellucci,ChiaraGuidiandJoeKelleher;Routledge,2007),Stage Fright,AnimalsandOtherTheatricalProblems(CambridgeUniversityPress,2006) andContemporaryTheatresinEurope:ACriticalCompanion(co-editorwithJoe Kelleher;Routledge,2006).In2010–11hewasVisitingProfessorintheDepart- mentofTheatreArtsandPerformanceStudiesatBrownUniversityandaguest speakeratthefirstAndrewMellonSummerSchoolinTheatreandPerformance StudiesatHarvardUniversity. SusanRutherfordisSeniorLecturerinMusicattheUniversityofManchester.She studiedvoiceattheRoyalNorthernCollegeofMusicinbothundergraduateand postgraduateprogrammesbeforepursuinganacademiccareer.In2003,shewas awarded the biennial ‘Premio internazionale: “Giuseppe Verdi”’ by the Istituto NazionalediStudiVerdiani,Parma,andin2007receivedthePaulineAlderman Awardfor‘outstandingresearchonwomenandmusic’forhermonographThe PrimaDonnaandOpera,1815–1930(CambridgeUniversityPress,2006). Nicholas Till is Professor of Opera and Music Theatre and Leverhulme Research Fellow at the University of Sussex. He has previously worked as a director for operacompaniesintheUKandEurope,andasalibrettistanddirectorfornew worksperformedbytheRoyalOperaGardenVenture,EnglishNationalOpera StudioandStuttgartOpera,amongothers.HeistheauthorofMozartandthe Enlightenment(1992),haswrittenextensivelyoncontemporaryoperaandmusic theatre,andhastaughtinmanyfields,includingvisualartsandtheatre.AsDirector oftheCentreforResearchinOperaandMusicTheatreattheUniversityofSussex, heregularlycontributestalksandprogrammearticlestooperacompaniesinthe UK,EuropeandtheUSA,andisafrequentcontributortoradioandtelevision programmes.Heiscurrentlyworkingonabookabouttheoriginsofoperainthe seventeenthcentury. SimonWilliamsisProfessorandChairoftheDepartmentofDramaticArtatthe University of California, Santa Barbara. He has published widely in the fields ofEuropeancontinentaltheatre,thehistoryofacting,Shakespeareanperform- ance and operatic history. His major publications include German Actors of the Eighteenth and Nineteenth Centuries (Greenwood Press, 1985), Shakespeare on the German Stage, 1586–1914 (Cambridge University Press, 1990), Richard WagnerandFestivalTheatre(GreenwoodPress,1994)andRichardWagnerand theRomanticHero(CambridgeUniversityPress,2004).Heisalsoanactivedirec- torandreviewerofopera.Hiscurrentprojectsincludeco-editingAHistoryofthe GermanTheatreforCambridgeUniversityPressandstudiesofShakespeareinthe eighteenthcenturyandEuropeanoperainthenineteenth.