Research Article
‘La cantante delle passioni’: Giuditta Pasta and the idea of operatic performance
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- 11 September 2007, pp. 107-138
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‘In Italy we don’t have the means for illusion’: Grand opéra in nineteenth-century Bologna
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- 17 October 2007, pp. 199-222
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Introduction: Divo worship
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- 01 March 2007, pp. 1-9
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The opera of the film? Eugen d’Albert’s Der Golem
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- 11 September 2007, pp. 139-166
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The pathological voice of Gilbert-Louis Duprez
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- 01 March 2007, pp. 11-31
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The best of all possible worlds: The Eldorado episode in Leonard Bernstein’s Candide
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- 17 October 2007, pp. 223-248
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‘A sort of guerrilla’: Che at the opera
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- 11 September 2007, pp. 167-193
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The disappearing danseur
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- 01 March 2007, pp. 33-57
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Killing time: Contemporary representations of opera in British culture
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- 17 October 2007, pp. 249-270
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Book Review
Beth L. Glixon and Jonathan E. Glixon. Inventing the Business of Opera: The Impresario and His World in Seventeenth-Century Venice. New York: Oxford University Press, 2006. pp. 424
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- 17 October 2007, pp. 271-275
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Steve Swayne . How Sondheim Found His Sound. Ann Arbor: University of Michigan Press, 2005. pp. 336
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- 11 September 2007, pp. 195-198
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Research Article
Verdi, Victor Maurel and fin-de-siècle operatic performance
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- 01 March 2007, pp. 59-84
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Response: Men with a past
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- 01 March 2007, pp. 85-89
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Book Review
Edmund Goehring. Three Modes of Perception in Mozart: The Philosophical, Pastoral, and Comic in ‘Così fan tutte’. Cambridge: Cambridge University Press, 2004. pp. xvi+280
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- 01 March 2007, pp. 91-96
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The Cambridge Companion to Twentieth-Century Opera, ed. Mervyn Cooke . Cambridge: Cambridge University Press, 2005. pp. xlvii+374
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- 01 March 2007, pp. 97-105
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