Table of Contents

Sabine Lichtenstein: Introduction
Eddie Vetter: The Power of Music: Striggio and Monteverdi’s L’Orfeo
Jacques Boogaart: Octavia Reincarnated: Busenello’s and Monteverdi’s L’incoronazione di Poppea
Tim Carter: In the Operatic Workshop: The Case of Varesco’s and Mozart’s Idomeneo
Caryl Clark: The Librettist’s Dilemma in London: Badini’s and Haydn’s Orfeo ed Euridice
Irmlind Capelle: “But There Is another Intrigue and a Comic Element Placed Alongside”: Hans Sachs – the Relation of Lortzing’s Opera to Deinhardstein’s Drama
Heather Hadlock: “Ce bal est original!”: Classical Parody and Burlesque in Orphée aux enfers by Crémieux, Halévy and Offenbach
John Neubauer: Burning the Heretics and Saving Don Carlos: Méry’s, Du Locle’s and Verdi’s Don Carlos
Katherine Syer: Tracing Wotan’s Incendiary Past: The Evolution of Storms and Fire in Wagner’s Der Ring des Nibelungen
Vincent Giroud: Manon at the Opera: From Prévost’s Manon Lescaut to Auber’s Manon Lescaut and Massenet’s Manon
Kasper van Kooten: “Closed, Efficient, Terrible!”: Reflections on the Genesis and Dramaturgy of Illica’s, Giacosa’s and Puccini’s Madama Butterfly
Helga Hushahn: The End of a Line: Strauss’ and Hofmannsthal’s Elektra
Sabine Lichtenstein: “Something Uncommonly German”: Hans Pfitzner’s Palestrina, Eine Musikalische Legende
Loes Dommering-van Rongen: The Musical Personality of Don Quixote: Manuel de Falla’s El Retablo de Maese Pedro
Michal Grover-Friedlander: Transformations of the Killing of a Boy: Weill’s and Brecht’s Der Jasager
Ruth HaCohen: A Theological Midrash in Search of Operatic Action: Moses und Aron by Arnold Schoenberg
C.C. Barfoot: The Making of a Victim: From Crabbe’s The Borough to Slater’s and Britten’s Peter Grimes
Claudia di Luzio: Opera on Opera: Luciano Berio’s Opera
Notes on Contributors