The Ultimate Art |
Dedication |
Epigraph |
Preface |
Chapter One— Introduction: The Difference Is They Sing |
• | I |
• | II |
• | III |
• | IV |
• | V |
• | VI |
• | VII |
• | VIII |
• | IX |
Chapter Two— Singing Greek Tragedy |
Chapter Three— When Opera Was Still Serious |
Chapter Four— Ariosto and His Children |
Chapter Five— Don Giovanni: The Impossible Opera |
Chapter Six— What Peter Sellars Did to Mozart |
Chapter Seven— Norma: The Case for Bel Canto |
Chapter Eight— Hugo Sung and Unsung: Or Why We Put Up with Dumb Opera Plots |
Chapter Nine— Sex and Religion in French Opera |
Chapter Ten— Nuremberg Used and Abused |
Chapter Eleven— Whatever Became of the Breastplates? |
Chapter Twelve— What Makes Otello Work? |
Chapter Thirteen— The Odd Couple: Offenbach and Hoffmann |
Chapter Fourteen— The Janácek Boom |
Chapter Fifteen— Herr von Words and Doctor Music |
Chapter Sixteen— The Twentieth Century Takes on Shakespeare |
Chapter Seventeen— Artists on the Opera Stage |
Suggestions for Further Reading |
Index |