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100   $a20050719d2006      uy         0
101 0 $aeng
135   $aurnn#---|u||u
181   $ctxt
182   $cc
183   $acr
200 10$aRemaking the song$b[electronic resource] $eoperatic visions and revisions from Handel to Berio /$fRoger Parker
205   $a1st ed.
210   $aBerkeley, Calif. $cUniversity of California Press$dc2006
215   $a1 online resource (178 p.)
225 1 $aErnest Bloch lectures
300   $aDescription based upon print version of record.
311 0 $a0-520-24418-4 
320   $aIncludes bibliographical references and index.
327   $tFront matter --$tContents --$tPreface And Acknowledgments --$t1. Remaking The Song --$t2. Of Andalusian Maidens And Recognition Scenes: Crossed Wires In Il Trovatore And La Traviata --$t3. Ersatz Ditties: Adriana Ferrarese's Susanna --$t4. In Search Of Verdi --$t5. Berio's Turandot: Once More The Great Tradition --$t6. Sudden Charms: The Progress Of An Aria --$tNotes --$tIndex
330   $aOpera performances are often radically inventive. Composers' revisions, singers' improvisations, and stage directors' re-imaginings continually challenge our visions of canonical works. But do they go far enough? This elegantly written, beautifully concise book, spanning almost the entire history of opera, reexamines attitudes toward some of our best-loved musical works. It looks at opera's history of multiple visions and revisions and asks a simple question: what exactly is opera? Remaking the Song, rich in imaginative answers, considers works by Handel, Mozart, Donizetti, Verdi, Wagner, Puccini, and Berio in order to challenge what many regard as sacroscant: the opera's musical text. Scholarly tradition favors the idea of great operatic texts permanently inscribed in the canon. Roger Parker, considering examples ranging from Cecilia Bartoli's much-criticized insistence on using Mozart's alternative arias in the Marriage of Figaro to Luciano Berio's new ending to Puccini's unfinished Turandot, argues that opera is an inherently mutable form, and that all of us-performers, listeners, scholars-should celebrate operatic revisions as a way of opening works to contemporary needs and new pleasures.
410  0$aErnest Bloch lectures.
606   $aOperas
606   $aMusic$xPhilosophy and aesthetics
610   $aadaptation.
610   $aadelia.
610   $aamato.
610   $aaria.
610   $aart criticism.
610   $aart.
610   $aazucena.
610   $abartoli.
610   $aberio.
610   $aboito.
610   $acabaletta.
610   $acomposers.
610   $adonizetti.
610   $adrama.
610   $aeurope.
610   $aferrarese.
610   $agypsies.
610   $ahandel.
610   $ail trovatore.
610   $ala traviata.
610   $amarriage of figaro.
610   $amozart.
610   $amusic history.
610   $amusic theory.
610   $anonfiction.
610   $aopera singers.
610   $aopera.
610   $aoperatic texts.
610   $aperformance.
610   $aperforming arts.
610   $apuccini.
610   $arevision.
610   $arigoletto.
610   $astage directors.
610   $asusanna.
610   $atheater.
610   $atheatrical music.
610   $aturandot.
610   $averdi.
610   $awagner.
615  0$aOperas.
615  0$aMusic$xPhilosophy and aesthetics.
676   $a782.1
700   $aParker$b Roger$f1951-$0749368
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910811113403321
996   $aRemaking the song$94032243
997   $aUNINA