In late imperial China, opera transmitted ideas across the social hierarchy about the self, family, society, and politics. Beijing attracted a diverse array of opera genres and audiences and, by extension, served as a hub for the diffusion of cultural values. It is in this context that historian Andrea S. Goldman harnesses opera as a lens through which to examine urban cultural history. Her meticulous yet playful account takes up the multiplicity of opera types that proliferated at the time, exploring them as contested sites through which the Qing court and commercial playhouses negotiated influence and control over the social and moral order. Opera performance blurred lines between public and private life, and offered a stage on which to act out gender and class transgressions. This work illuminates how the state and various urban constituencies manipulated opera to their own ends, and sheds light on empire-wide transformations underway at the time.
New York City Opera Sings: Stories and Productions of the New York City Opera, 1944-79
Above all, Mad Scenes and Exit Arias is a story of money, ego, changes in institutional identity, competing forces of populism and elitism, and the ongoing debate about the role of the arts in society.
The New York City Opera: An American Adventure
Karen Halttunen has shown how much the “ contagious moral leprosy ” of the confidence man was feared . ? Halttunen has studied advice literature addressed to young people in early - nineteenth - century America .
Flying West to Go East: New York City Opera on Tour in Japan
This is a new release of the original 1934 edition.
A wide-ranging look at the interplay of opera and political ideas through the centuries The Politics of Opera takes readers on a fascinating journey into the entwined development of opera and politics, from the Renaissance through the turn ...
One of the most successful was the Pyne and Harrison Company, which traveled as far west as Madison, Wisconsin, giving five hundred opera performances and a hundred concerts in three years in the mid1850s. Unlike many theater troupes, ...
But he only notices one person—Carmen. And Carmen has given up on José—he’s not going to get her out of her tough neighborhood, el barrio, and into the action. Escamillo will. But José won’t let that happen.
Why did the audience's generally drunken, brawling behavior gradually improve? How and why did Verdi emerge as the city's favorite composer? These are the intriguing themes of George Martin's enlightening and wonderfully entertaining story.