has genesis and program notes, p.469–478; The Second Hurricaneis covered
on p.303–310. Backnotes, strong bibliography of about 150 entries, expansive
index.- Warrick, Kimberly Joanna. “A Stylistic Analysis of Aaron Copland’s Two
Operas: The Second Hurricaneand The Tender Land.” Ph.D. diss., U. of
Northern Colorado, 1995. 154p.
Pietro Antonio Coppola (1793–1877)
La pazza per amoreand excerpts from Il postiglione di Longjumeauxare in IO–1810,
v.5.
Peter Cornelius (1824–1874)
- Federhofer, Hellmut, and Kurt Oehl. Peter Cornelius als Komponist, Dichter,
Kritiker und Essayist.Studien zur Musikgeschichte des 19. Jahrhunderts, 48.
Regensburg: Bosse, 1977. 237p. ML410 .C77 P47.
A collection of 20 essays by various authors. These are on the operas: Egon
Voss, “Der Barbier von Bagdad als komischer Oper”; Erwin Koppen, “Der
Cid in thematologischer Sicht”; and Anna Amalie Abert, “Zu Cornelius’ Oper
Gunlöd.” - Wagner, Günter. Peter Cornelius: Verzeichnis seiner musikalischen und liter-
arischen Werke. Mainzer Studien zur Musikwissenschaft, 13. Tutzing: Schnei-
der, 1986. 532p. ML134 .C67 A2.
A thorough worklist, with musical incipits, bibliographic data, locations, com-
ments, and lists of secondary literature. Index. - Lawton, Orville Timothy. “The Operas of Peter Cornelius.” Ph.D. diss., U. of
Florida, 1988. 325p.
Francesco Corselli (ca.1702–1778)
- Strohm, Reinhard. “Francesco Corselli’s Operas for Madrid.” In Teatro y
música(#2667), 79–106.
The Italian composer joined the royal court of Spain, gaining, according to
most music historians, “instant invisibility.” But he was important, and his
surviving works (Farnace,1739, and Achille in Sciro,1744) show the rele-
vance of the Italian tradition to Spanish music and musical theater. Technical
discussion with musical examples.
Cesar Cui (1835–1918)
- Taruskin, Richard. “Kuchkism in Practice: Two Operas by Cui.” In Opera and
Drama in Russia(#2648), 341–426.
A valuable account of the Kuchka movement, which was based on the princi-
ple that music and text are equal. Actually the text was primary, since music
had to correspond to its meaning, and operatic form depends on text. Genesis
of William Ratcliff,with detailed analysis of music and libretto, music exam-
ples (some illegibly printed), performance information, and (negative) recep-
148 Opera