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Convivial beginnings. The symposium and the birth of opera ; The Renaissance banquet as multimedia art ; Orpheus at the cardinal's table ; Eating at the opera house -- "Tastes funny" : tragic and comic meals from Monteverdi to Mozart ; Comedy as embodiment in Monteverdi and Mozart ; The insatiable : tyrants and libertines ; Indulging in comic opera : gastronomy as identity -- The effects of feasting and fasting ; Coffee and chocolate from Bach to Puccini ; Verdi and the laws of gastromusicology ; The Callas diet.
Since its origin, opera has been identified with the performance and negotiation of power. Once theaters specifically for opera were established, that connection was expressed in the design and situation of the buildings themselves, as much as through the content of operatic works. Yet the importance of the opera house’s physical situation, and the ways in which opera and the opera house have shaped each other, have seldom been treated as topics worthy of examination. Operatic Geographies invites us to reconsider the opera house’s spatial production. Looking at opera through the lens of cultural geography, this anthology rethinks the opera house’s landscape, not as a static backdrop, but as an expression of territoriality. The essays in this anthology consider moments across the history of the genre, and across a range of geographical contexts—from the urban to the suburban to the rural, and from the “Old” world to the “New.” One of the book’s most novel approaches is to consider interactions between opera and its environments—that is, both in the domain of the traditional opera house and in less visible, more peripheral spaces, from girls’ schools in late seventeenth-century England, to the temporary arrangements of touring operatic troupes in nineteenth-century Calcutta, to rural, open-air theaters in early twentieth-century France. The essays throughout Operatic Geographies powerfully illustrate how opera’s spatial production informs the historical development of its social, cultural, and political functions.
From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragédie en musique). In Opera and the Political Imaginary in Old Regime France, however, Olivia Bloechl reveals another layer of French opera’s political theater. The make-believe worlds on stage, she shows, involved not just fantasies of sovereign rule but also aspects of government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus hailing glorious majesty. What’s more, opera’s creators dispersed sovereign-like dignity and powers well beyond the genre’s larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genre’s distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time. By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancienrégime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced, genre than previously thought.
Polzonetti reveals how revolutionary America inspired eighteenth-century European audiences, and how it can still inspire and entertain us.
The way in which religious people eat reflects not only their understanding of food and religious practice but also their conception of society and their place within it. This anthology considers theological foodways, identity foodways, negotiated foodways, and activist foodways in the United States, Canada, and the Caribbean. Original essays explore the role of food and eating in defining theologies and belief structures, creating personal and collective identities, establishing and challenging boundaries and borders, and helping to negotiate issues of community, religion, race, and nationality. Contributors consider food practices and beliefs among Christians, Jews, Muslims, and Buddhists, as well as members of new religious movements, Afro-Caribbean religions, interfaith families, and individuals who consider food itself a religion. They traverse a range of geographic regions, from the Southern Appalachian Mountains to North America's urban centers, and span historical periods from the colonial era to the present. These essays contain a variety of methodological and theoretical perspectives, emphasizing the embeddedness of food and eating practices within specific religions and the embeddedness of religion within society and culture. The volume makes an excellent resource for scholars hoping to add greater depth to their research and for instructors seeking a thematically rich, vivid, and relevant tool for the classroom.
Das Rheingold, Die Walküre, and Siegfried. Parsifal. Tristan und Isolde. Both revered and reviled, Richard Wagner conceived some of the nineteenth century’s most influential operas—and created some of the most indelible characters ever to grace the stage. But over the course of his polarizing career, Wagner also composed volumes of essays and pamphlets, some on topics seemingly quite distant from the opera house. His influential concept of Gesamtkunstwerk—the “total work of art”—famously and controversially offered a way to unify the different media of an opera into a coherent whole. Less well known, however, are Wagner’s strange theories on sexuality—like his ideas about erotic acoustics and the metaphysics of sexual difference. Drawing on the discourses of psychoanalysis, evolutionary biology, and other emerging fields of study that informed Wagner’s thinking, Adrian Daub traces the dual influence of Gesamtkunstwerk and eroticism from their classic expressions in Tristan und Isolde into the work of the generation of composers that followed, including Zemlinsky, d’Albert, Schreker, and Strauss. For decades after Wagner’s death, Daub writes, these composers continued to grapple with his ideas and with his overwhelming legacy, trying in vain to write their way out from Tristan’s shadow.
Did you know that the origins of Groundhog Day stem from a Catholic tradition? Or that the common pretzel was once a Lenten reward for the pious? Why Do Catholics Eat Fish on Friday is a fascinating guide to the roots of all-things-Catholic. This smart and concise guide will introduce readers to the hidden heritage in many commonplace things that make up contemporary life. The reader-friendly format and the illuminating entries will make this guide a perfect gift for Catholics and anyone who loves a bit of historic trivia. Table of Contents - Foreword * Time * Manners & Dining Etiquette * Food * Drink * Music & Theater * Sports & Games * Holidays & Festivities * Flowers & Plants * Insects, Animals, & More * American Places * International, National, & State Symbols * Clothes & Other Sundry Inventions * Education & Superstition * Art & Science * Law & Architecture * Epilogue: Words, Words, Words--Catholic, Anti-Catholic, and Post-Catholic
The perfect accompaniment to courses on eighteenth-century opera for both students and teachers, this Companion is a definitive reference resource.
This comprehensive research guide surveys the most significant published materials relating to Giuseppe Verdi. This new edition includes research since the publication of the first edition in 1998.
America’s best-known popular author of archaeology distills decades of experience in this brief guide designed to help others wanting to broaden the audience for their work. Brian Fagan’s no nonsense approach explains how to get started writing, how to use the tools of experienced writers to make archaeology come alive for the general public, and how to get your work revised and finished. He also describes the process by which publishers decide to accept your work, and the track your publication will follow after it is accepted by a press. Dealing with several genres of popular publication—articles, columns, trade books and textbooks—Fagan shows both the differences and similarities in the writing and the publication processes. While speaking directly to those interested in penning for a broad public, Fagan’s sage advice on writing and publishing will be of great value to all archaeologists and their students.