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Burton D. Fisher's extremely popular Mini Guides feature Principal Characters in the Opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis of the opera.
"When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth‐century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life—one whose transgressions helped define the musical hierarchies of its day.
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Despite the massive influx of Hollywood movies and films from other European countries after World War II, Austrian film continued to be hugely popular with Austrian and German audiences. By examining the decisive role that popular cinema played in the turbulent post-war era, this book provides unique insights into the reconstruction of a disrupted society. Through detailed analysis of the stylistic patterns, narratives and major themes of four popular genres of the time, costume film, Heimatfilm, tourist film and comedy, the book explains how popular cinema helped to shape national identity, smoothed conflicted gender relations and relieved the Austrians from the burden of the Nazi past through celebrating the harmonious, charming, musical Austrian man.
The study of singers' art has emerged as a prominent area of inquiry within musicology in recent years. Female Singers on the French Stage, 1830–1848 shifts the focus from the artwork onstage to the labour that went on behind the scenes. Through extensive analysis of primary source documents, Kimberly White explores the profession of singing, operatic culture, and the representation of female performers on the French stage between 1830 and 1848, and reveals new perspectives on the social, economic, and cultural status of these women. The book attempts to reconstruct and clarify contemporary practices of the singer at work, including vocal training, débuts, rehearsals and performance schedules, touring, benefit concerts, and retirement, as well as the strategies utilized in publicity and image making. Dozens of case studies, many compiled from singers' correspondence and archival papers, shed light on the performers' successes and struggles at a time when Paris was the operatic centre of Europe.