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100   $a20140512d2014||||  u||            |
101 0 $aeng
200 10$a"Music's Obedient Daughter"$b[electronic resource] $eThe Opera Libretto from Source to Score
210   $aAmsterdam $cEditions Rodopi$d2014
215   $a1 online resource (505 p.)
300   $aDescription based upon print version of record.
311   $a90-420-3808-X 
327   $aCover; Tittle Page; Copyright Page; Table of Contents; Introduction; The Power of Music: Striggio and Monteverdi's L'Orfeo; Octavia Reincarnated:Busenello's and Monteverdi's L'incoronazione di Poppea; In the Operatic Workshop:The Case of Varesco's and Mozart's Idomeneo; The Librettist's Dilemma in London:Badini's and Haydn's Orfeo ed Euridice; "But There Is another Intrigue and a Comic Element PlacedAlongside":Hans Sachs - the Relation of Lortzing's Opera to Deinhardstein'sDrama; "Ce bal est original!":Classical Parody and Burlesque in Orphe?e aux enfers by Cre?mieux,Hale?vy and Offenbach
327   $aBurning the Heretics and Saving Don Carlos: Me?ry's, Du Locle's and Verdi's Don Carlos Tracing Wotan's Incendiary Past:The Evolution of Storms and Fire in Wagner's Der Ring des Nibelungen; Manon at the Opera:From Pre?vost's Manon Lescaut to Auber's Manon Lescaut andMassenet's Manon; "Closed, Efficient, Terrible!":Reflections on the Genesis and Dramaturgy of Illica's, Giacosa's and Puccini's Madama Butterfly; The End of a Line:Strauss' and Hofmannsthal's Elektra; "Something Uncommonly German":Hans Pfitzner's Palestrina, Eine Musikalische Legende
327   $aThe Musical Personality of Don Quixote:Manuel de Falla's El Retablo de Maese Pedro Transformations of the Killing of a Boy:Weill's and Brecht's Der Jasager; A Theological Midrash in Search of Operatic Action:Moses und Aron by Arnold Schoenberg; The Making of a Victim:From Crabbe's The Borough to Slater's and Britten'sPeter Grimes; Opera on Opera:Luciano Berio's Opera; Notes on Contributors; Index
330   $aA libretto is an indispensable part of an opera as a musical genre: with few exceptions, operas have been the subject of musicological studies, and instrumental versions of sung or unsung opera numbers may be heard, but we never listen to libretto texts being performed without the music. Thus as a literary form the libretto is a highly specific genre with its own particular attributes. This volume offers an approach to the libretto through the discussion of these attributes in many different examples. It explores what may be expected of a librettist in response to the demands of the genre's
606   $aMusic industry
606   $aOpera -- History
606   $aOpera
615  4$aMusic industry.
615  4$aOpera -- History.
615  4$aOpera.
676   $a782.104
700   $aLichtenstein$b Sabine$01481137
701   $aLichtenstein$b Sabine$g(Sabine Klara),$f1947-$01481137
801  0$bAU-PeEL
801  1$bAU-PeEL
801  2$bAU-PeEL
906   $aBOOK
912   $a9910809346103321
996   $a"Music's Obedient Daughter"$94017330
997   $aUNINA