In this lavishly illustrated volume the history and social context of opera is explored by a group of leading British and American scholars, under the editorship of Roger Parker. The core of the book is a historical survey of opera, from its beginnings in Florence four hundred years ago, up to opera in the 1990s. The greatest coverage is given to the nineteenth century, the time during which most of the operas performed today were composed. There are also chapters on the history of staging, on opera singers, on opera as a social occasion through the ages, and a chronology. Although all major composers of opera are mentioned, and their works discussed, the various chapters concentrate less on simple historical narrative and more on the complex development of opera, especially on its relationship with the other arts and its place within the broader world of culture and politics. The numerous illustrations -- nearly three hundred, some thirty of which are in colour -- serve the vital purpose of underlining the richly visual nature of opera: the manner in which it communicates so vividly through staging and costume, and the spectacular way in which it often reflects the cultural concerns of the age. Rather than simply illustrating the text, the pictures work as a kind of parallel history, supplementing and enriching the verbal narrative. The contributors are all experts in their chosen areas, but all of them have remained alive to the basic attraction of opera: its extravagant appeal to both the senses and the intellect, and its seemingly inexhaustible power to move and astonish us.
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From Library Journal
There are few one-volume histories of opera available, and none includes the up-to-date information contained here. Nine leading authorities (all contributors to The New Grove Dictionary of Opera, 4 vols., LJ 2/15/93) provide insightful chapters on periods in opera history, from a thorough account of opera in the 17th century through the works of present-day composers such as Philip Glass and John Adams. Because it is intended for the general reader, this work has no musical examples or footnotes and is therefore less useful as a reference source than other works such as Donald J. Grout's A Short History of Opera (Columbia Univ. Pr., 1965. 2d ed.). The chapters are not organized in a strictly chronological format but are built around a series of concepts or arguments, presented with a wealth of supporting information, making the index (not seen) essential to finding answers to specific questions. For both the casual and informed reader, however, the more than 250 illustrations-many rare, and all appearing with detailed captions-will be of particular interest. There is also a notable chapter on staging, and the fascinating opera trivia (from traffic jams and ticket scalpers to a history of lavatories) found in John Rosselli's chapter, "Opera as Social Occasion," will hold readers' attention. Attractively priced, this unique reader is highly recommended for both academic and public libraries.
Kate McCaffrey, Onondaga Cty. P.L., Syracuse, N.Y.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Kate McCaffrey, Onondaga Cty. P.L., Syracuse, N.Y.
Copyright 1994 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Booklist
Hardly any excuse is viable for a public library's passing on purchasing this beautiful and edifying oversize book on an art form more popular than ever, considering the number of companies flourishing across the country and the large audiences they draw. This sumptuous book--the adept partnership of text and illustrations is one of its calling cards--has not an A-Z arrangement, but is a collection of essays presenting a chronological account of major and even minor movements and composers and works in the history of opera from its inception in Florence in the mid-1590s. The last three chapters are topical summaries: on the staging of opera, significant opera singers, and opera as a social occasion. The contributors of all the essays are specialists in their fields, though their audience is definitely the general reader; but this is not to be mistaken for a coffee-table book long on looks while short on substance. There's lots of well-presented information here. Brad Hooper
--This text refers to an out of print or unavailable edition of this title.
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First Sentence
FEW genres in the history of music have their origins fixed with such apparent precision as opera: we know when and where the first through-composed music-dramas appeared on the stage-in Florence in the mid-1590s-and the precise political, social, and cultural contexts that gave them birth. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
FEW genres in the history of music have their origins fixed with such apparent precision as opera: we know when and where the first through-composed music-dramas appeared on the stage-in Florence in the mid-1590s-and the precise political, social, and cultural contexts that gave them birth. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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3.2 out of 5 stars
6 reviews
12 of 14 people found the following review helpful
4.0 out of 5 stars
A good general history of opera
Sep 29 2005
By Lisa Stidham
- Published on Amazon.com
Format:Paperback
This paperback edition of the Oxford Illustrated History of Opera is the same as the hardback edition. It's a very good general history of opera with great pictures. The authors are all experts on the eras they cover. I'm using it for my opera history class, adding readings from other sources that discuss the music in more detail because this one has no musical examples. My only complaint is that it took forever to get!
19 of 27 people found the following review helpful
3.0 out of 5 stars
A nicely illustrated doorstop
July 15 2005
By L. E. Cantrell
- Published on Amazon.com
Format:Paperback
The perpetrators of this volume make no bones about their belief that the most important word in its title is "illustrated".
I fully acknowledge that some of the illustrations are of considerable interest. There is, for example, a triple portrait of the librettist Metastasio, some doubtless once-famous soprano and the fabulous castrato, Farrinelli, that encapsulates an operatic age in a single image. (I was astonished to find that Farrinelli looked like a perfectly ordinary Joe who might be found lounging in the background of any of a hundred 18th Century paintings.) On the whole, however, I can't overcome the impression that the illustrations are more often picturesque than informative.
As something of a fan of opera, I actually sat down and read the text--not something often done, I imagine, nor a thing that I recommend to anyone who has claim to having a life. What a load of bumf--as we say here in the Frozen North. What a trove of uninteresting data on deservedly forgotten operas and theatrical practices. What dreary prose--a relentlessly bland and colorless splooge of critspeak.
There is distinctly an academic air to this book, whatever the actual professions of its assemblers may be, as amply demonstrated in its determination to expound on the painfully, deservedly, bleeding obscure while all but ignoring operas which actually get performed before paying audiences.
This is the sort of book that should be consulted in a public library, if for no other reason than its bulk and inconvenient heft demand that it be read on a library table. I can't imagine why anyone not in the throes of bibliomania would actually want to own such a book.
I fully acknowledge that some of the illustrations are of considerable interest. There is, for example, a triple portrait of the librettist Metastasio, some doubtless once-famous soprano and the fabulous castrato, Farrinelli, that encapsulates an operatic age in a single image. (I was astonished to find that Farrinelli looked like a perfectly ordinary Joe who might be found lounging in the background of any of a hundred 18th Century paintings.) On the whole, however, I can't overcome the impression that the illustrations are more often picturesque than informative.
As something of a fan of opera, I actually sat down and read the text--not something often done, I imagine, nor a thing that I recommend to anyone who has claim to having a life. What a load of bumf--as we say here in the Frozen North. What a trove of uninteresting data on deservedly forgotten operas and theatrical practices. What dreary prose--a relentlessly bland and colorless splooge of critspeak.
There is distinctly an academic air to this book, whatever the actual professions of its assemblers may be, as amply demonstrated in its determination to expound on the painfully, deservedly, bleeding obscure while all but ignoring operas which actually get performed before paying audiences.
This is the sort of book that should be consulted in a public library, if for no other reason than its bulk and inconvenient heft demand that it be read on a library table. I can't imagine why anyone not in the throes of bibliomania would actually want to own such a book.
7 of 10 people found the following review helpful
3.0 out of 5 stars
Way over-priced & over ornamented
Oct 7 2008
By Priscilla Stilwell
- Published on Amazon.com
Format:Paperback|Amazon Verified Purchase
Ever get the idea that an author is so enthralled with their own vast knowledge, that they have the uncontrollable urge to share it with everyone, wether it's wanted or not? Unfortunately, this is just such a book. It's designed to give a good, thorough survey of opera history. However, I have several problems with it:
1. The author uses such flowery language that between being nauseated by it, I'm just plain distracted. It's like reading the King James' version of the Bible if you're not used to it. The prose is so sweet that you get caught up in the verbiage, and are unable to gain any useful knowledge from it.
2. The organization of the text is appalling. There's very little rhyme or reason, other than a rough chronological order. Huge pockets of information are either completely skipped, or given such pathetic review, that much information is missed.
There are so many other books out there that will teach better and in an easier way. For professors considering a text for an Opera Lit/History class, please do yourself and your class a favor and pass this one over!
1. The author uses such flowery language that between being nauseated by it, I'm just plain distracted. It's like reading the King James' version of the Bible if you're not used to it. The prose is so sweet that you get caught up in the verbiage, and are unable to gain any useful knowledge from it.
2. The organization of the text is appalling. There's very little rhyme or reason, other than a rough chronological order. Huge pockets of information are either completely skipped, or given such pathetic review, that much information is missed.
There are so many other books out there that will teach better and in an easier way. For professors considering a text for an Opera Lit/History class, please do yourself and your class a favor and pass this one over!
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3.2 out of 5 stars
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