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[null,"1.","Record Nr.",null,"UNISA996708276003316"]
[null,null,"Autore",null,"Albanese Angela"]
[null,null,"Titolo",null,"Opera Across Borders : Word, Image, Scene, and Digital Transformations"]
[null,null,"Pubbl/distr/stampa",null,"LaVergne, : De Gruyter, 2026"]
[{"$nulls":4},"Berlin/Boston : , : Walter de Gruyter GmbH, , 2026"]
[{"$nulls":4},"©2026"]
[null,null,"ISBN",null,"3-11-221794-2"]
[{"$nulls":4},"3-11-221775-6"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (280 pages)"]
[null,null,"Collana",null,"Transcodification: Arts, Languages and Media Series"]
[null,null,"Classificazione",null,"LIT000000MUS020000SOC000000"]
[null,null,"Soggetti",null,"Nonfiction"]
[{"$nulls":4},"History"]
[{"$nulls":4},"Literary Criticism"]
[{"$nulls":4},"Music"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Title from eBook information screen.."]
[null,null,"Nota di contenuto",null,"Intro -- Opera across Borders -- Contents -- Introduction: A Diachronic Journey Across the Borders of the Operatic Genre -- References -- Opera as a Popular Genre? Verdi Parodies at the San Carlino Theatre in Naples -- 1 Was Opera Ever for Everyone? -- 2 The San Carlo Theatre, Verdi's Works, and Censorship -- 3 The Other Side of the Coin: The San Carlino Theatre -- 4 Pasquale Altavilla, Antonio Petito, and the Parodies of Opera -- 5 A Parody of Il Trovatore: Na famiglia 'ntusiasmata pe la bella museca de lo Trovatore -- 6 A Parody of Aida: Aida dint' 'a casa 'e Donna Tolla Pandola -- 7 Conclusions -- References -- Un bagno freddo o Una notte fortunata: An Unknown and Unpublished Source for the Reconstruction of Neapolitan Musical Theatre in the Late 1 9th Century -- 1 Introduction -- 2 The \"Frenchification\" of Neapolitan Stages -- 3 Naples and the French Operetta -- 4 Camillo de Nardis and his Bagno freddo -- 5 The Libretto and the Music -- 6 Conclusions -- References -- Pietro Platania's Spartaco: A Forgotten Success Between Erudition and Verismo -- 1 Introduction -- 2 Genesis of the Opera -- 3 Spartaco at the Teatro San Carlo in Naples -- 4 Spartaco at the Costanzi in Rome -- 5 Attempts at other Performances of Spartaco -- 6 Spartaco at the Dal Verme in Milan -- 7 An Overview of the Opera -- 7.1 An Overview -- 7.2 Spartaco: The "]
[{"$nulls":4},"Plot -- 7.3 The Romanza di Spartaco -- 7.4 The Romanza di Ocnomaro -- 8 Analytical Considerations and Conclusions -- References -- Sources -- Spartacus 2.0: Rewriting and Remediation of a Forgotten Opera from the Late 19th-Century Neapolitan School -- 1 Introduction: Rethinking Opera through Remediation and Participation -- 2 Platania's Spartaco in Historical and Cultural Context -- 3 Project Objectives and Methodology -- 5 Audience Interaction: Mobile-Web Interfaces and Live Decision-Making."]
[{"$nulls":4},"5 Technology as Compositional Tool -- 6 Community Opera and Collaborative Creation -- 7 Ethical and Aesthetic Considerations -- 8 Conclusion: Towards a Digital Opera for the Present -- References -- Italian International Divas in 19th-Century London -- 1 Introduction -- 2 Italian Divas on the London Stage -- 3 Angelica Catalani -- 4 Giulia Grisi -- 5 Giuditta Pasta -- 6 Singers and Actresses Recite -- 7 Conclusions -- References -- L'Antologia di Spoon River a Milano: Actualizations and Reinterpretations of a \"Secular Oratorio\" -- 1 A \"Community\" and Its Anniversaries -- 2 Gino Negri in Postwar Milan -- 3 The Libretto and Musical References of a \"Secular Oratorio\" -- 4 The Mise-en-musique -- 5 The Staging -- 6 Collective Memory and Symbolic Construction of a Community in Milan -- References -- Opera for a Postmodern Generation: From Sellars' Don Giovanni and Così fan tutte to Serebrennikov -- 1 Introduction -- 2 Peter Sellars' Don Giovanni -- 3 Peter Sellars' Così fan tutte -- 4 Kirill Serebrennikov's Così fan tutte -- References -- Filmography -- Bringing Opera to Broader Audiences: Innovations and Emotions -- 1 Introduction -- 2 The Role of Technology and Innovations in Conveying Emotions and Democratizing Opera -- 2.1 The Phonograph: The First Step Towards Mass Access -- 2.2 The Radio Revolution: Bringing Opera to the Masses -- 2.3 Television and Cinema: Expanding Opera's Visual Reach -- 2.4 Digital Media and the Internet: A New Era of Global Access -- 3 The Emotive Power of Opera through its Language and Cross-Cultural Dimensions -- 3.1 Opera as a Global Language: The Universality of Emotion -- 3.2 The Role of Italian as the Lingua Franca of Opera -- 3.3 Subtitles and Translations: Breaking Down Language Barriers -- 3.4 Cross-Cultural Interpretations: How Opera Adapts to Different Cultures."]
[{"$nulls":4},"3.5 The Emotional Universality of Opera: Reaching a Younger, Global Audience -- 4 Contemporary Perspectives: Redynamizing Opera for New Audiences -- 4.1 Digital Transformation: Embracing New Media Platforms -- 4.2 Hybrid Performances: Merging Opera with Other Art Forms -- 4.3 Interactive and Immersive Experiences: Redefining the Opera House -- 4.4 Outreach and Education: Cultivating New Opera Audiences -- 4.5 Evolving the Operatic Repertoire and its Forms -- 5 Conclusions -- References -- Opera for All? Contemporary Strategies of Dissemination and Social Commitment of the Komische Oper Berlin as a Case Study -- 1 Opera in the City Today: Audience-Related Challenges for Contemporary Metropolitan Opera Houses -- 2 The Popular Vocation of the Komische Oper Berlin -- 3 Selam Opera! Operatic Music for Cultural Exchange -- 4 Fatma &amp -- Fatoş and Opernreise: An Operatic Travel Through Private and Collective Turkish and German Memories -- 5 Conclusions -- References -- The Global Utopia of Art: Operatic Containers, Broken Pacts, and the Politics of Dispersal -- 1 Introduction: The Global Utopia of Art -- 2 Media as Volumes: Binding, Sorting, and the Politics of Form -- 3 Invisible Cities: Operatic Drift and the Stationed Medium -- 4 Hopscotch: Ritual, Exhaustion, and the Architecture of the Few -- 5 Conclusion: The Fire and the Frame - On Maintenance, Mediation, and the Unfinished Pact -- References -- Scholarly Works -- Digital and Intermedial Works -- Christine Sun Kim's Face Opera II: Opera Beyond the Borders of Sound "]
[{"$nulls":4},"-- 1 Introduction -- 2 To Make Deaf P eople Part of the Western Musical World -- 3 Music Belongs to Whatever Culture it Comes From -- 4 Face Opera II -- 5 \"Sonic R upture\" -- 6 Conclusions: Beyond the Borders of Sound -- References -- Websites -- Opera and Race: A Bulletin on an American University Course -- 1 Introduction."]
[{"$nulls":4},"2 Why Race? A case study -- 3 An American Perspective -- 4 Course Requirements -- Comments on Discussion #1 -- Assignment #1 -- Comments on Assignment #1 -- Comments on Discussion #2 -- Assignment #2 -- Comments on Assignment #2 -- Assignment #3 -- Comments on Assignment #3 and Conclusions -- References -- Afterword: Polimnia and Opera for All between Musicology and Lifelong Learning. An Artistic Project for Social Change -- 1 Introduction -- 2 Community Music, Community Singing: An Overture for Duo -- 3 Community Opera: An Assolo -- 4 Polimnia: The Project in a Nutshell -- 5 Community Opera and Lifelong Learning: A Suite for All! -- 6 Conclusions -- References -- List of Contributors -- Index of Persons."]
[null,null,null,"Sommario/riassunto","The series explores the complexity and the interconnections of arts and languages by merging, comparing and contrasting themes from different sources, methodologies or fields of studies. Its main results derive from the \"Arts, Languages, and Media: Translation and Transcodification\" project but it is also open to monographs and edited volumes arisen from different contexts and projects."]