Braun, Werner. Vom Remter zum Gänsemarkt: Aus der Frühgeschichte der alten Ham-
burger Oper, 1677–1697, 2394
Braunbehrens, Volkmar. Maligned Master: The Real Story of Antonio Salieri, 1605
Brauner, Charles S. “‘No, no, Ninetta’: Observations on Rossini and the Eighteenth-
Century Vocabulary of opera buffa,” 1570; “Textual Problems in Bellini’s Normaand
Beatrice di Tenda,” 514
Brenner, Clarence Dietz. The Théâtre-Italien: Its Repertory, 1716–1793, 2323
Brenner, Rosamond. “Emotional Expression in Keiser’s Operas,” 1089; “The Operas of
Reinhard Keiser in Their Relationship to the Affektenlehre,” 1089
Brett, Philip. “Grimesand Lucretia,” 645
Brindicci, Monica, and Franco Mancini. “Cronologia degli spettacoli (1822–1860),” 777
Briscoe, James R. Claude Debussy: A Guide to Research, 729
British Broadcasting Corporation. Choral and Opera Catalogue, 119
British Catalogue of Music,13
British Music Yearbook,2702
The Britten Companion, 616
A Britten Source Book, 615
Britten’s “Gloriana”: Essays and Sources, 635
Brizi, Bruno. “Gli Orlandidi Vivaldi attraverso i libretti,” 1952; “Teoria e prassi melo-
drammatica di G. F. Busenello e L’incoronazione di Poppea,” 236
Broadbent, R. J. Annals of the Liverpool Stage, 2727
Brocca, Ambrogio. Il Teatro Carlo Felice: Cronistoria dal 7 aprile 1828 al 27 febbraio
1898, 2506
Brockman, William S. Music: A Guide to the Reference Literature, 7
Brockpähler, Renate. Handbuch zur Geschichte der Barockoper in Deutschland, 2349
Brockway, Wallace, and Herbert Weinstock. The World of Opera: The Story of Its Origins
and the Lore of Its Performance, 30
Brody, Elaine. “The King’s Henchman: Fifty Years Later,” 1772
Brook, Barry S., and Richard J. Viano. Thematic Catalogues in Music: An Annotated Bib-
liography, 10
Brookens, Karen. “A Comparative Study of Thea Musgrave’s Mary Queen of Scotsand
Gaetano Donizetti’s Maria Stuarda,” 806
Brophy, Brigid. “Figaro and the Limitations of Music,” 1329; Mozart the Dramatist: The
Value of His Operas to Him, to His Age, and to Us, 1279
Brosche, Günter, and Karl Dachs. Richard Strauss Autographen in München und Wien.
Verzeichnis, 1697
Brown, Bruce Alan. “Beaumarchais, Paisiello and the Genesis of Così fan tutte,” 1268;
“Éditions anciennes et modernes d’opéras-comiques: Problèmes et méthodologies,”
2246 ; Gluck and the French Theatre in Vienna, 896; “Gluck’s Recontre imprévueand
Its Revisions,” 913
Brown, Clive. Louis Spohr: A Critical Biography, 1678
Brown, David. Mikhail Glinka: A Biographical and Critical Study, 875; Tchaikovsky: A
Biographical and Critical Study, 1774
Brown, Howard Mayer, and Stanley Sadie. Performance Practice, 331
Brown, Howard Mayer. “How Opera Began: An Introduction to Jacopo Peri’s Euridice
(1600),” 1399; Review of Emil Vogel, Bibliografia dell amusica italiana..., 2424
Brown, Jennifer Williams. “Con nuove arie aggiunte—Aria Borrowing in the Venetian
Opera Repertory, 1672–1685,” 2583
Brown, Kristi Ann. “A Critical Study of the Female Characters in Mozart’s Don Giovanni
andDie Zauberflöte,” 1313
Brown, Leslie Ellen. “The tragédie lyriqueof André Campra and His Contemporaries,” 665
Brown, Malcolm Hamrick. “Prokofiev’s War and Peace: A Chronicle,” 1435
Brown, Matthew. “Isolde’s Narrative: From Hauptmotivto Tonal Model,” 2077
Brown, Maurice J. E. “Schubert’s Two Major Operas—A Consideration of the Possibility
of Actual Stage Productions,” 1650
Brown, Royal S. “The Three Faces of Lady Macbeth,” 1669
Index of Authors and Main Entries 565