The Ultimate Art
  Dedication
  Epigraph
  Preface

 collapse sectionChapter 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
 collapse sectionIndex
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 •E
 •F
 •G
 •H
 •I
 •J
 •K
 •L
 •M
 •N
 •O
 •P
 •Q
 •R
 •S
 •T
 •U
 •V
 •W
 •Y
 •Z
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