Overview
Winner of the 2024 H. Robert Cohen/RIPM Award from the American Musicological Society Recently, studies of opera, of print culture, and of music in Britain in the long nineteenth century have proliferated. This essay collection explores the multiple point of interaction among these fields. Past scholarship often used print as a simple conduit for information about opera in Britain, but these essays demonstrate that print and opera existed in a more complex symbiosis. This collection embeds opera within the culture of Britain in the long nineteenth century, a culture inundated by print. The essays explore: how print culture both disseminated and shaped operatic culture; how the businesses of opera production and publishing intertwined; how performers and impresarios used print culture to cultivate their public persona; how issues of nationalism, class, and gender impacted reception in the periodical press; and how opera intertwined with literature, not only drawing source material from novels and plays, but also as a plot element in literary works or as a point of friction in literary circles. As the growth of digital humanities increases access to print sources, and as opera scholars move away from a focus on operas as isolated works, this study points the way forward to a richer understanding of the intersections between opera and print culture.
Full Product Details
Author: Christina Fuhrmann , Alison Mero
Publisher: Clemson University Digital Press
Imprint: Clemson University Digital Press
ISBN: 9781638040422
ISBN 10: 1638040427
Pages: 392
Publication Date: 15 March 2023
Audience:
Professional and scholarly
,
Professional & Vocational
Format: Hardback
Publisher's Status: Active
Availability: In Print 
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Table of Contents
Introduction Christina Fuhrmann and Alison Mero I. The Interdependence of Print and Opera 1. Peter Horton, “‘Mr Hawes is Mr Hawes’: Opera and Music Publishing in early Nineteenth-Century London” 2. Christina Fuhrmann, “Giovanni in Print” II. Shaping a Public Persona 3. Jennifer Hall-Witt, “Authoring the Managerial Memoir: Print Culture and John Ebers’s Seven Years of the King’s Theatre (1828)” 4. Matildie Wium, “‘Domestic Affliction’ and a ‘Relaxed Throat’: Reporting on the Tribulations of Mary Shaw” III. Shaping National Identity 5. Jennifer Oates, “The ‘Failure’ of Provincial Opera: Nineteenth-Century Opera and Print Culture in Edinburgh” 6. Timothy Love, “Opera Stage as Cultural Battlefield: Opera in Nineteenth-Century Ireland” 7. Maria McHale, “Opera in Dublin in the Long Nineteenth Century: Identity, Nationalism, and Internationalism” IV. Shaping Taste 8. Michelle Meinhart, “A ‘Cosy Corner Chat’ about Opera: Fashioning New Femininities in The Gentlewoman and The Lady, 1885–1914” 9. Charles McGuire, “Wagner, the British Press, and Taste Education at the British Musical Festival, 1883–1914” V. Operatic Literature, Literary Opera 10. Julia Grella O’Connell, “Decadence, Literary Wagnerism, and Victorian Religious Conversion in Popular Print Culture: Two Novels by George Moore” 11. James Grande, “Music and Magazines: Dissenting from Opera in the Print Public Sphere” 12. Phyllis Weliver, “Wanting More: Oliver Twist as Beggar’s Opera” Afterword Leanne Langley
Reviews
"‘Langley’s afterword mirrors the content of the book; her own multifaceted career positions her at the intersection of an array of disciplines, each of which—as this excellent volume exemplifies—contributes, in her words, to a “genuine expansion of knowledge"".’ Chloe Valenti, University of Cambridge"
‘Langley’s afterword mirrors the content of the book; her own multifaceted career positions her at the intersection of an array of disciplines, each of which—as this excellent volume exemplifies—contributes, in her words, to a “genuine expansion of knowledge"".’ Chloe Valenti, University of Cambridge ‘...Together, the essays in this volume illuminate how opera – ‘a living, performative art’ – was brought to life and into the homes of thousands through the “static” medium of newspapers and periodicals, librettos and scores, playbills and many other forms of print culture. Each of the book’s twelve chapters contributes significantly to the scholarship of nineteenth-century opera, highlighting a series of interactions between opera and print including how performers and impresario leveraged an array of publications to shape their public personas; how opera became intertwined with literature, serving as sources of inspiration and points of contention in literary circles; and how issues of nationalism, class, and gender permeated various forms of writing about opera composers, music, and performances.' American Musicological Society
Author Information
Christina Fuhrmann is Professor of Music at Baldwin Wallace University Conservatory of Music and edits BACH: Journal of the Riemenschneider Bach Institute. Her research has been published in venues such as The Oxford Handbook of the British Musical, Nineteenth-Century Music Review, and The Encyclopedia of Romantic Literature. Her book, Foreign Opera at the London Playhouses, from Mozart to Bellini (Cambridge University Press, 2015) received the Diana McVeagh Prize for Best Book on British Music, awarded biennially by the North American British Music Studies Association. Alison Mero holds a PhD from Indiana University. Her research focuses on the discourse surrounding English-language opera in the nineteenth century. She has published in Notes and has an essay in Musicians of Bath and Beyond edited by Nicholas Temperley (Boydell, 2016). Currently she is executive managing editor at Clemson University Press where she acquires titles in music and manages production for all of Clemson’s academic books.
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