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Verdi's operas - composed between 1839 and 1893 - portray a striking diversity of female protagonists: warrior women and peacemakers, virgins and courtesans, princesses and slaves, witches and gypsies, mothers and daughters, erring and idealised wives, and, last of all, a feisty quartet of Tudor townswomen in Verdi's final opera, Falstaff. Yet what meanings did the impassioned crises and dilemmas of these characters hold for the nineteenth-century female spectator, especially during such a turbulent span in the history of the Italian peninsula? How was opera shaped by society - and was society similarly influenced by opera? Contextualising Verdi's female roles within aspects of women's social, cultural and political history, Susan Rutherford explores the interface between the reality of the spectators' lives and the imaginary of the fictional world before them on the operatic stage.

Verdi, Giuseppe --- Women in opera --- Opera --- 19th century --- Women in opera. --- Verdi, Giuseppe, --- Opera. --- Operas (Verdi, Giuseppe). --- 1800-1899. --- Verdi, Giuseppe Fortunino Francesco

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It has long been argued that opera is all about sex. Siren Songs is the first collection of articles devoted to exploring the impact of this sexual obsession, and of the power relations that come with it, on the music, words, and staging of opera. Here a distinguished and diverse group of musicologists, literary critics, and feminist scholars address a wide range of fascinating topics--from Salome's striptease to hysteria to jazz and gender--in Italian, English, German, and French operas from the eighteenth to the twentieth centuries. The authors combine readings of specific scenes with efforts to situate these musical moments within richly and precisely observed historical contexts. Challenging both formalist categories of musical analysis and the rhetoric that traditionally pits a male composer against the female characters he creates, many of the articles work toward inventing a language for the study of gender and opera. The collection opens with Mary Ann Smart's introduction, which provides an engaging reflection on the state of gender topics in operatic criticism and musicology. It then moves on to a foundational essay on the complex relationships between opera and history by the renowned philosopher and novelist Catherine Clément, a pioneer of feminist opera criticism. Other articles examine the evolution of the "trouser role" as it evolved in the lesbian subculture of fin-de-siècle Paris, the phenomenon of opera seria's "absent mother" as a manifestation of attitudes to the family under absolutism, the invention of a "hystericized voice" in Verdi's Don Carlos, and a collaborative discussion of the staging problems posed by the gender politics of Mozart's operas. The contributors are Wye Jamison Allanboork, Joseph Auner, Katherine Bergeron, Philip Brett, Peter Brooks, Catherine Clement, Martha Feldman, Heather Hadlock, Mary Hunter, Linda Hutcheon and Michael Hutcheon, M.D., Lawrence Kramer, Roger Parker, Mary Ann Smart, and Gretchen Wheelock.

Feminism and music --- Sex in opera --- Women in opera --- Opera --- Sexuality in opera --- Music and feminism --- Music --- Congresses --- Women in opera - Congresses. --- Sex in opera - Congresses. --- Feminism and music - Congresses. --- Opera's --- Seksualiteit --- Uitvoeringspraktijk

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China --- Folk drama, Chinese --- Popular culture --- Theater --- Women in opera --- S11/0710 --- S11/0720 --- S16/0300 --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Chinese folk drama --- Chinese drama --- Nuo operas --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Opera --- History and criticism --- China: Social sciences--Women: general and before 1949 --- China: Social sciences--Women's emancipation movement: general and before 1949 --- China: Literature and theatrical art--Traditional theatre: studies --- Shanghai (China) --- Changhaï (China) --- Ṣămhayi (China) --- Shang-hai (China) --- Shang hai shi (China) --- Shanghai --- Shanghai Municipality (China) --- Shanghai Shi (China) --- Shanghai Shi ren min zheng fu (China) --- Shankhaĭ (China) --- Xangai (China) --- 上海 (China) --- Social life and customs --- Women in opera. --- History and criticism. --- Chang-hai (China) --- Schanghai (China) --- 上海市(China) --- 上海市人民政府 (China) --- Шанхай (China) --- Śangqai (China)

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Is The Marriage of Figaro just about Figaro? Is Don Giovanni's story the only one-or even the most interesting one-in the opera that bears his name? For generations of critics, historians, and directors, it's Mozart's men who have mattered most. Too often, the female characters have been understood from the male protagonist's point of view or simply reduced on stage (and in print) to paper cutouts from the age of the powdered wig and the tightly cinched corset. It's time to give Mozart's women-and Mozart's multi-dimensional portrayals of feminine character-their due. In this lively book, Kristi Brown-Montesano offers a detailed exploration of the female roles in Mozart's four most frequently performed operas, Le nozze di Figaro, Don Giovanni, Così fan tutte, and Die Zauberflöte. Each chapter takes a close look at the music, libretto text, literary sources, and historical factors that give shape to a character, re-evaluating common assumptions and proposing fresh interpretations.Brown-Montesano views each character as the subject of a story, not merely the object of a hero's narrative or the stock figure of convention. From amiable Zerlina, to the awesome Queen of the Night, to calculating Despina, all of Mozart's women have something unique to say. These readings also tackle provocative social, political, and cultural issues, which are used in the operas to define positive and negative images of femininity: revenge, power, seduction, resistance, autonomy, sacrifice, faithfulness, class, maternity, and sisterhood. Keenly aware of the historical gap between the origins of these works and contemporary culture, Brown-Montesano discusses how attitudes about such concepts-past and current-influence our appreciation of these fascinating representations of women.

Operas --- Women in opera. --- Opera --- Opera characters --- Operatic characters --- Characters. --- Characters --- Mozart, Wolfgang Amadeus, --- Mozart, Wolfgang Amadeus --- academia. --- academic studies. --- class in opera. --- cosi fan tutte. --- die zauberflote. --- don giovanni. --- famous opera. --- femininity. --- feminism in classical music. --- feminist studies. --- heros narrative. --- historical gap. --- le nozze di gargo. --- libretto text. --- literary analysis. --- male protagonist. --- marriage of figaro. --- maternity. --- men who wrote women well. --- mozart and women. --- multi-dimensional female characters. --- music appreciation. --- music history. --- political issues within opera. --- provocative social issues. --- sisterhood.