Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-23T19:57:04.007Z Has data issue: false hasContentIssue false
  • English
  • Français

ARMGART'S VOICE PROBLEMS

Published online by Cambridge University Press:  09 March 2006

Grace Kehler
Grace Kehler
Affiliation:
McMaster University
Get access Rights & Permissions [Opens in a new window]

Abstract

In voices, time and accident may occasion great alteration.

—Charles Burney, The Present State of Music in France and Italy

Type
Research Article
Information
Victorian Literature and Culture , Volume 34 , Issue 1 , March 2006 , pp. 147 - 166
Copyright
© 2006 Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Abbate Carolyn. 1991. Unsung Voices: Opera and Musical Narrative in the Nineteenth Century. Princeton: Princeton UP
Algarotti Count Francesco. 1767. An Essay on the Opera. Glasgow: R. Urie
Ancillon Charles. 1718. Eunuchism Display'd. 1707. London: E. Curll
1851: Athenaeum 24 May: 562.
1860: Athenaeum 7 Jan. 23.
Attali Jacques. 1987. Noise: The Political Economy of Music. Trans. Brian Massumi. Minneapolis: U of Minnesota P
Barbier Patrick. 1996. The World of the Castrati: The History of an Extraordinary Operatic Phenomenon. Trans. Margaret Crosland. London: Souvenir P
Bashant Wendy. “Singing in Greek Drag: Gluck, Berlioz, George Eliot.” Blackmer and Smith 216– 41.
Beer Gillian. 1986. George Eliot. Key Women Writers Series. Ed. Sue Roe. Brighton: Harvester
Bennett Susan. 1999. “Genre Trouble: Joanna Baillie, Elizabeth Polack–Tragic Subjects, Melodramatic Subjects.” Women and Playwriting in Nineteenth-Century Britain. Ed. Tracy C. Davis and Ellen Donkin. Cambridge: Cambridge UP, 215– 32.
Berlioz Hector. 1884. Autobiography of Hector Berlioz, From 1803 to 1865, comprising his Travels in Italy, Germany, Russia, and England. Trans. Rachel Scott Russell Holmes and Eleanor Holmes. 2 vols. London: Macmillan
Berlioz Hector. 1973. Gluck and His Operas With an Account of Their Relation to Musical Art. Trans. Edwin Evans. Westport: Greenwood Trans. of A Travers Chants: Etudes Musicales, Adorations, Boutades et Critiques. 1915.
Bicknell John. 1774. Musical Travels through England. By Joel Collier. London: Kearsley
Blackmer Corinne E., and Patricia Juliana Smith, eds. 1995. En Travesti: Women, Gender, Subversion, Opera. New York: Columbia UP
Bodenheimer Rosemarie. 1990 “Ambition and its Audiences: George Eliot's Performing Figures.” Victorian Studies 34.1: 7– 33.Google Scholar
Booth Alison. 1992. Greatness Engendered: George Eliot and Virginia Woolf. Ithaca: Cornell UP
Brady Kristin. 1992. George Eliot. Women Writers Series. Houndmills: Macmillan
Brown Bruce Alan. 1991. Gluck and the French Theatre in Vienna. Oxford: Clarendon P
Brown Susan. 1995 “Determined Heroines: George Eliot, Augusta Webster, and Closet Drama by Victorian Women.” Victorian Poetry 33.1: 89– 109.Google Scholar
Bulman Joan. 1956. Jenny Lind: a Biography. London: James Barrie
Burney Charles. 1957. A General History of Music From the Earliest Ages to the Present Period. 1789. Vol. 2. Ed. Frank Mercer. New York: Dover
Burney Charles. 1969. The Present State of Music in France and Italy. 1773. New York: Broude Brothers
Burroughs Catherine B. 1997. Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers. Philadelphia: U of Pennsylvania P
Carlson Julie A. 1994. In the Theatre of Romanticism: Coleridge, Nationalism, Women. Cambridge: Cambridge UP
Casanova Giacomo. 1966. History of my Life. 1788–1798. 12 vols. Trans. Willard R. Trask. New York: Harcourt, Brace & World
Celletti Rodolfo. 1991. A History of Bel Canto. Trans. Frederick Fuller. Oxford: Clarendon
Chorley Henry F. 1926. Thirty Years' Musical Recollections. 1862. Ed. Ernest Newman. New York: Alfred A. Knopf
Christiansen Rupert. 1984. Prima Donna: A History. London: Bodley Head
Clayton Ellen Creathorne. 1972. Queens of Song: Being Memoirs of Some of the Most Celebrated Female Vocalists Who Have Performed On the Lyric Stage From the Earliest Days of Opera to the Present Time. 1865. Essay Index Reprint Series. Freeport: Books For Libraries
Clément Catherine. 1988. Opera, or the Undoing of Women. Fore. Susan McClary. Trans. Betsy Wing. Minneapolis: U of Minnesota P
Cox John Edward. 1872. Musical Recollections of the Last Half Century. 2 vols. London: Tinsley
Dahlhaus Carl. 1989. Nineteenth-Century Music. 1980. Trans. J. Bradford Robinson. Berkeley: U of California P
Dowd Maureen A. 1998 “‘By the Delicate Hand of a Female’: Melodramatic Mania and Joanna Baillie's Spectacular Tragedies.” European Romantic Review 9.4: 469– 500.Google Scholar
DuPlessis Rachel Blau. 1985. Writing Beyond the Ending: Narrative Strategies of Twentieth-Century Women Writers. Bloomington: Indiana UP
Edwards H. Sutherland. 1978. The Prima Donna: Her History and Surroundings from the Seventeenth to the Nineteenth Century. 1888. 2 vols. Music Reprint Series. New York: Da Capo
Einstein Alfred. 1936. Gluck. Trans. Eric Blom. London: J. M. Dent
Eliot George. 1874. Armgart. The Legend of Jubal and Other Poems. Edinburgh: W. Blackwood 75– 148.
Eliot George. 1967. Daniel Deronda. 1876. Ed. Barbara Hardy. Harmondsworth: Penguin
1835: Examiner 21 June 388.
FitzLyon April. 1964. The Price of Genius: A Life of Pauline Viardot. London: John Calder
1830: Fraser's Magazine for Town and Country 51.
Gallagher Lowell. “Jenny Lind and the Voice of America.” Blackmer and Smith 190– 215.
Gilman Todd S. 1997. “The Italian (Castrato) in London.” The Work of Opera: Genre, Nationhood, and Sexual Difference. Ed. Richard Dellamora and Daniel Fischlin. New York: Columbia UP, 49– 70.
Grey Thomas S. 1995. Wagner's Musical Prose: Texts and Contexts. Cambridge: Cambridge UP
Grout Donald J. 1965. A Short History of Opera. 2nd ed. New York: Columbia UP
1910. Grove's Dictionary of Music and Musicians. Ed. J. A. Fuller Maitland. 5 vols. London: Macmillan,
1831: Harmonicon 9 108.
Heriot Angus. 1975. The Castrati in Opera. 1956. The History of Opera Series. London: Calder and Boyars
Howard Patricia, ed. 1981. C. W. von Gluck: Orfeo. Cambridge: Cambridge UP
Howard Patricia, ed. “From Orfeo to Orphée.” Howard 67– 83.
Howard Patricia, ed. “The Libretto.” Howard 10– 26.
Karl Frederick R. 1995. George Eliot: Voice of a Century. New York: Norton
Kelly Michael. 1975. Reminiscences. 1826. Ed. Roger Fiske. London: Oxford UP
Kimbell David. 1991. Italian Opera. Cambridge: Cambridge UP
Koestenbaum Wayne. 1993. The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire. New York: Poseidon P
Kristeva Julia. 1984. Revolution in Poetic Language. Trans. Margaret Waller. New York: Columbia UP
Leonardi Susan J. 1987 “To Have a Voice: The Politics of the Diva.” Perspectives on Contemporary Literature 13: 65– 72.Google Scholar
Leonardi Susan J., and Rebecca A. Pope. 1996. The Diva's Mouth: Body, Voice, Prima Donna Politics. New Brunswick: Rutgers UP
Marcello Benedetto. 1948: Il Teatro alla Moda. 1720. Trans. R. G. Pauly. Musical Quarterly. 34 371– 403, 35 (1949): 85– 105.
Mount-Edgcumbe Richard, 2d Earl of. 1973. Musical Reminiscenses of the Earl of Mount Edgcumbe Containing an Account of the Italian Opera in England from 1773 to 1834. 1834. Music Reprint Series. New York: Da Capo
1980. New Grove Dictionary of Music and Musicians. Ed. Stanley Sadie. 20 vols. London: Macmillan,
1992. New Grove Dictionary of Opera. Ed. Stanley Sadie. 4 vols. London: Macmillan,
O'Connor Erin. 2000. Raw Material: Producing Pathology in Victorian Culture. Durham: Duke UP
Paget Violet [Vernon Lee]. 1978. Studies of the Eighteenth Century in Italy. 1887. Music Reprint Series. New York: Da Capo
Pleasants Henry. 1981. The Great Singers From Jenny Lind to Callas and Pavarotti. Rev. ed. New York: Simon and Schuster
[1777?]. The Remarkable Trial of the Queen of Quavers and her Associates, for Sorcery, Witchcraft, and Enchantment. [London]: J. Bew,
Rosselli John. 1992. Singers of Italian Opera: The History of a Profession. Cambridge: Cambridge UP
Rutherford Susan. 1992. “The Voice of Freedom: Images of the Prima Donna.” The New Woman and her Sisters: Feminism and Theatre 1850–1914. Ed. Vivien Gardner and Susan Rutherford. Ann Arbor: U of Michigan P, 95– 113.
Stassinopoulos Arianna. 1981. Maria Callas: The Woman Behind the Legend. New York: Simon and Schuster
Stendhal [Marie-Henri Beyle]. 1970. Life of Rossini. 1824. Rev. ed. Trans. Richard N. Coe. London: Calder & Boyars
Streatfield R. A. 1917 “Handel, Rolli, and Italian Opera in London in the Eighteenth Century.” Musical Quarterly 3.3: 428– 45.Google Scholar
Tambling Jeremy. 1987. Opera, Ideology and Film. Manchester: Manchester UP
Tosi Pier Francesco. 1743. Observations on the Florid Song, or Sentiments on the Ancient and Modern Singers. 1723. 2nd ed. Trans. Mr Galliard. London: J. Wilcox
Watkins Daniel P. 1993. A Materialist Critique of English Romantic Drama. Gainesville: UP of Florida
Wilkes Thomas. 1759. A General View of the Stage. London: J. Coote