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OverviewOpera for Everyone: The Industry’s Experiments with American Opera in the Digital Age draws on seven years of multi-sited ethnography to examine the acclaimed experimental productions of Los Angeles-based opera company The Industry. This work understands The Industry’s productions as part of an emerging wave of U.S. operas that integrate new media and interactive performance through means such as site-specificity and simulcast video, and then traces the company’s path from Crescent City (2012), the company’s first production, to Sweet Land (2020), the company’s final production before switching to a new production model. Steigerwald Ille argues that by moving opera outside of the opera house, The Industry’s productions expose the economic and aesthetic structures key to the circulation of operatic performance at the same time that they deploy opera as a tool for digital listening, community engagement, popular entertainment, and commentary on systemic racism and settler colonialism. Through ethnographic work with The Industry’s creators and performers, and close examination of the company’s first decade of work, this book reveals how The Industry paradoxically provides both a roadmap and boundary line for experimental and traditional companies trying to find new ways to approach operatic performance in the twenty-first century United States. Full Product DetailsAuthor: Megan Steigerwald IllePublisher: The University of Michigan Press Imprint: The University of Michigan Press ISBN: 9780472076642ISBN 10: 0472076647 Pages: 296 Publication Date: 30 April 2024 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Forthcoming Availability: In Print  Limited stock is available. It will be ordered for you and shipped pending supplier's limited stock. Table of ContentsAcknowledgments Introduction Introduction From Recession to Pandemic: Operatic Contexts Yuval Sharon and The Industry Methods: Precarity, Perspectives, and Critique Plan of Book Chapter 1: Opera as Mobile Music: Invisible Cities Introduction Experiencing Mediated Performance: Logistics Interpretive Ambiguity, Audience Agency Performance History and Digital Adaptation Writing for Headphones: Making Sound Design Visible New Rules of Spectatorship: Listening to Invisible Cities Audile Techniques and Consumerism Wagner’s Invisible Theater, Brecht’s headphones? Convention or Experimentation? Conclusions: Contradictory Spectatorships and the Operatic Genre Chapter 2: Operatic Economics: Liveness and Labor in Hopscotch Introduction Operatic Tradition on Wheels: The Production Fractured Logistics Hybrid Spectatorships The Labor of the Live Mediated Entertainment and Operatic Distance Look at Me! Isolation in Digital Performance Curation and Commodification Mediating Intimacy and Isolation Performers, Participants, and Power Participating in Precarity Commodities and Conclusions Chapter 3: Experiments with Institutionality: Galileo, War of the Worlds, and ATLAS Introduction Precarities and Production: Galileo and War of the Worlds Traditional Structures and Closed Systems Closed Institutional Precedents and Contemporary Manifestations New Approaches to Political Economy: Open Models of Production Open Institutional Lineages: Economic and Experimental Tensions War of the Institutional Frameworks? Coda: ATLAS Chapter 4: “What you remember doesn’t matter”: Toward an Anti-Colonial Opera Introduction Colonizer Opera New Models of Collaboration Experimenting with Form: From Workshop to Film Representing Individuals, Rejecting Tokenism, Re-envisioning Opera Moving Beyond Colonial Collaboration: Rehearsals Moving Beyond Colonial Collaboration: Performer Composition “If you’re going to change opera, you have to change it”: Lingering Colonial Hierarchies Conclusion: Colonial Hauntings, Anti-Colonial Ambiguities Epilogue Introduction Closing the Curtain on Sweet Land: March-November 2020 The Future of Opera for Everyone and The Industry’s Artistic Director Collective Everyone’s OperaReviews“Opera for Everyone is a substantive, enlightening, and important work of scholarship that lays the groundwork for further research in the lively field of opera studies. In her examination of The Industry, Steigerwald Ille draws on a multiplicity of voices—a strategy that complements the multivalent complexity of opera—and her sincere, thoughtful engagement with the ethics of contemporary opera production offers an excellent model for the study of performing arts in the twenty-first century.” —Ryan Ebright, Bowling Green State University “Compared to how abundantly pieces of contemporary musical theatre and opera are present on all kinds of scenes, the literature about this field is still meager. Opera For Everyone is extremely welcome as it illuminates the world and poetics of contemporary opera and it turns this interest into a dynamic book.” —Jelena Novak, CESEM (Center for Study of the Sociology and Aesthetics of Music), FCSH, Universidade NOVA de Lisboa “Opera for Everyone is a substantive, enlightening, and important work of scholarship that lays the groundwork for further research in the lively field of opera studies. In her examination of The Industry, Steigerwald Ille draws on a multiplicity of voices—a strategy that complements the multivalent complexity of opera—and her sincere, thoughtful engagement with the ethics of contemporary opera production offers an excellent model for the study of performing arts in the twenty-first century.” —Ryan Ebright, Bowling Green State University “Compared to how abundantly pieces of contemporary musical theatre and opera are present on all kinds of scenes, the literature about this field is still meager. Opera For Everyone is extremely welcome as it illuminates the world and poetics of contemporary opera and it turns this interest into a dynamic book.” —Jelena Novak, CESEM (Center for Study of the Sociology and Aesthetics of Music), FCSH, Universidade NOVA de Lisboa Author InformationMegan Steigerwald Ille is Assistant Professor of Musicology at the College-Conservatory of Music at the University of Cincinnati. 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