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19th-Century Music (2017) 41 (1): 31–47.
Published: 01 July 2017
... reformers who saw in the composer an exemplar of the European ideas needed to fix Spanish problems. Thus, when Wagner's operas were first staged in Spain, the Teatro Real de Madrid stressed Wagner's continuity with operas of the past; however, critics and audiences engaged with the works as difficult forms...
19th-Century Music (2012) 36 (2): 191–203.
Published: 01 November 2012
...Brianna Wells The Metropolitan Opera's Live in HD series has sparked interdisciplinary interest in understanding opera in twenty-first-century contexts. This article posits that the Live in HD series creates an intermedial experience for its viewers, one that forms new relationships between...
19th-Century Music (2010) 33 (3): 195–231.
Published: 01 March 2010
... Paris Opééra was based as much on ballet-pantomime as on opera, and until 1830 both genres would share the stage in a single evening. Although the aesthetic impulses behind grand opééra made programming new opera and ballet henceforth impossible, the state required the Opééra to maintain the balance...
19th-Century Music (2009) 33 (2): 81–109.
Published: 01 November 2009
...Melina Esse The preponderance of gothic themes in Italian operas of the early nineteenth century is often cited as one of the few ways essentially conservative Italian composers flirted with the Romantic revolution sweeping the rest of Europe. By 1838, the very ubiquity of these tropes led the...
19th-Century Music (2007) 31 (2): 113–130.
Published: 01 November 2007
..., the musical theater librettist and screenwriter Frederique Rosine de Gresac (1866/7-1943). The letters and other sources constitute an important resource for not only nineteenth-century opera and operatic performance but also the early American musical, film studies, the history of women, even the...