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Author:   Karen Henson (City University of New York)
Publisher:   Cambridge University Press
Imprint:   Cambridge University Press
Dimensions:   Width: 18.00cm , Height: 1.60cm , Length: 25.50cm
Weight:   0.660kg
ISBN:  

9780521198066

ISBN 10:   0521198062
Pages:   224
Publication Date:   12 September 2016
Audience:   College/higher education ,  Tertiary & Higher Education
Format:   Hardback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

A chronology Hannah Clancy, David Gutkin and Lucie Vágnerová; Introduction: of modern operatic mythologies and technologies Karen Henson; 1. Mythologies of the diva in nineteenth-century French theater Isabelle Moindrot; 2. Coloratura and technology in the mid nineteenth-century mad scene Sean M. Parr; 3. Photographic diva: Massenet's relationship with the soprano Sibyl Sanderson Karen Henson; 4. 'Pretending to be wicked': divas, technology, and the consumption of Bizet's Carmen Susan Rutherford; 5. The silent diva: Farrar's Carmen Melina Esse; 6. The domestic diva: toward an operatic history of the telephone Lydia Goehr; 7. The absent diva: notes toward a life of Cathy Berberian Arman Schwartz; 8. The televisual apotheosis of the diva in István Szabó's Meeting Venus Heather Hadlock; 9. Diva poses by Anna Netrebko: on the perception of the extraordinary in the twenty-first century Clemens Risi; Afterword: opera, media, technicity Jonathan Sterne.

Reviews

'Is a 'diva' a coddled megastar, or an archetype of female power? Is 'technology' a euphemism for the modern world's threat to artistic tradition, or a synonym for craft and innovation? The essays in this book will leave opera-lovers questioning their assumptions - and turning the page to read more.' Anne Midgette, classical music critic, The Washington Post 'What can, what should, technology do for the diva? Can such a starry, extravagant symbol find a place within our imaginings of industrial and post-industrial modernity? This engaging collection of essays, which ranges over two hundred years of opera, offers a fascinating and surprisingly positive answer.' Roger Parker, King's College London

Advance praise: 'Is a 'diva' a coddled megastar, or an archetype of female power? Is 'technology' a euphemism for the modern world's threat to artistic tradition, or a synonym for craft and innovation? The essays in this book will leave opera-lovers questioning their assumptions - and turning the page to read more.' Anne Midgette, classical music critic, The Washington Post Advance praise: 'What can, what should, technology do for the diva? Can such a starry, extravagant symbol find a place within our imaginings of industrial and post-industrial modernity? This engaging collection of essays, which ranges over two hundred years of opera, offers a fascinating and surprisingly positive answer.' Roger Parker, King's College London

Author Information

Karen Henson is Associate Professor at the Frost School of Music, University of Miami. She trained at the University of Oxford and in Paris, and her work has been supported by fellowships and awards from The British Academy, the Stanford Humanities Center, and the Radcliffe Institute for Advanced Study, Harvard University. Henson's research focuses on nineteenth-century opera, singers and opera performance, and opera and technology. She is the author of Opera Acts: Singers and Performance in the Late Nineteenth Century (Cambridge, 2015). She is currently working on a book about opera and early sound recording.

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