LEADER 00000cam a2200421Ii 4500 
001    on1050112630 
003    OCoLC 
005    20190429102547.0 
008    180828t20182018nyu      b    001 0 eng d 
020    9780999436608 
020    0999436600 
040    ZMS|beng|erda|cZMS|dZMS|dYUS|dCLU|dOCLCF|dGZT|dJHP|dWCH 
049    WCHA 
050  4 ML3858|b.O73 2018 
090    ML3858|b.O836 2018 
100 1  Osborne, Conrad L.,|0https://id.loc.gov/authorities/names/
       n86012847|eauthor. 
245 10 Opera as opera :|bthe state of the art /|cConrad L. 
       Osborne. 
250    First edition. 
264  1 New York, N.Y. :|bProposito Press,|c[2018] 
264  4 |c©2018 
300    xii, 827 pages ;|c24 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references and index. 
505 0  Fourteen essayettes about the artform -- Production 
       (direction and design) -- The intellectual background -- 
       Performance -- A review and some updates -- Epilogue -- 
       The backstories. 
520    "Opera, maintains the author of this comprehensive and 
       provocative volume, finds itself in an artistic 
       predicament that goes beyond previous generational 
       disruptions and "is our own, and special." Arguing that we
       cannot solve the problem unless we recognize and define it,
       and that we cannot hope to envision the artform's future 
       unless we first come to terms with its past, he examines 
       all elements of recent operatic practice as revealed in 
       performance--"Performance," he declares, "is our text." He
       asserts that with renewal of the repertory long at a 
       virtual standstill, we have tried to substitute auteurial 
       production methods and cultural revisionism in its place, 
       with disastrous results.  Accordingly, Opera as Opera 
       draws on performances encountered over an eighteen-year 
       period to first analyze styles and techniques of 
       production (direction and design), and then to trace, in 
       copious detail, the developments in the performing 
       disciplines of conducting, singing, and acting that have 
       loosened our connection to the canon. "The masterworks," 
       it flatly states, "are not before us." In a central 
       section, it also surveys the more general cultural 
       background of this situation, in particular the influence 
       of modern and postmodern philosophy and literary criticism,
       and the turn away from the master narrative which in the 
       author's view was the principal generating force behind 
       opera's greatest era.  Whether the reader's primary 
       interest is musical or theatrical, whether it lies with 
       intellectual and aesthetic matters or with into-the-weeds 
       discussion of the work of the performers who bring opera 
       to life, he or she will find much that will stimulate and 
       challenge in this deeply informed, incisively written 
       book."--Publisher's description. 
650  0 Opera.|0https://id.loc.gov/authorities/subjects/sh85094900
650  0 Opera|0https://id.loc.gov/authorities/subjects/sh85094900
       |xPerformance.|0https://id.loc.gov/authorities/subjects/
       sh00005754 
650  0 Opera|xProduction and direction.|0https://id.loc.gov/
       authorities/subjects/sh85094906 
650  7 Opera.|2fast|0https://id.worldcat.org/fast/1046145 
650  7 Performance.|2fast|0https://id.worldcat.org/fast/1057829 
650  7 Opera|xProduction and direction.|2fast|0https://
       id.worldcat.org/fast/1046164 
901    MARCIVE 20231220 
994    C0|bWCH