Perhaps musicologists are so invested in researching historical context that we are missing opportunities to interpret how and why performances of historical works and genres are meaningful today. If so, Naomi André's important new contribution to opera scholarship fills a gap in musicological writing. She does not argue against the relevance of historical context or historically informed performance practice, but she makes a strong case for balancing our considerations of what historical works might have meant in the past with what they mean today. She calls this interpretive approach “engaged musicology” (p. 1), musicology that relies on historical research and knowledge but necessitates a new focus on the way the performance...

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