Chase, Gilbert. America’s Music, from the Pilgrims to the Present, 2741; The Music of
Spain, 2665
Chaves Júnior, Edgard de Brito. Memórias e glórias de um teatro: Sessenta anos de história
do Teatro Municipal de Rio de Janeiro, 2177
Chefs d’oeuvre classiques de l’opéra français. Publiés sous la direction de T. Michaelis, 2225
Cherney, Brian. Harry Somers, 1677
Chesi, Marcella. “Lettere indedite,” 770
Chiarelli, Alessandra. “L’incoronazione di Poppeao Il Nerone: Problemi di filologia tes-
tuale,” 1234
Chisholm, Duncan. “New Sources for the Libretto of Handel’s Joseph,” 950
Chorley, Henry F. Thirty Years’ Musical Recollections,2716*
Christian, Hans, and Harald Hoyer. Wiener Staatsoper, 1945–1980: Eine Dokumentation,
2151
Christiansen, Rupert. Prima Donna: A History, 181
Christout, Marie-Françoise. Le ballet de cour de Louis XIV, 1643–1672,2240; “L’influ-
ence vénitienne exercée par les artistes italiens sur les premiers spectacles à machines
montés à la Cour de France durant la Régence (1645–1650),” 2575
Chusid, Martin. “Apropos Aroldo, Stiffelio, and Le pasteur, with a List of 19th-Century
Performances of Aroldo,” 1930; A Catalogue of Verdi’s Operas, 1797; “Drama and the
Key of F Major in La traviata,” 1933; “Evil, Guilt and the Supernatural in Verdi’s Mac-
beth: Toward an Understanding of the Tonal Structure and Key Symbolism,” 1897;
“The Inquisitor’s Scene in Verdi’s Don Carlos: Thoughts on the Drama, Libretto, and
Music,” 1873; “The Tonality of Rigoletto,” 1917
Chylinska, Teresa. Karol Szymanowski: His Life and Works, 1771
Ciapparelli, Pier Luigi. “I luoghi del teatro a Napoli nel seicento: le sale private,” 2535
Ciotti, Ignazio. La vita artistica del Teatro Massimo di Palermo (1897–1937), 2553
Citron, M. J. “Schubert’s Seven Complete Operas: A Musico-Dramatic Study,” 1652
Clapham, John. Dvorák, 820; “Smetana’s Sketches for Daliborand The Secret,” 1675
Clark, Caryl Leslie. “The opera buffaFinales of Joseph Haydn,” 1035; “Recall and Reflex-
ivity in Così fan tutte,” 1268
Clark, Walter Aaron. Isaac Albéniz: A Guide to Research, 450; Isaac Albéniz: Portrait of a
Romantic, 451; “Spanish Music with a Universal Accent: Isaac Albéniz’s Opera Pepita
Jiménez,” 450
Clarke, Henry Leland. “Dr. John Blow (1649–1708), Last Composer of an Era,” 595
Claro, Samuel. “Música dramática en el Cuzco durante el siglo XVIII y catálogo de manu-
scritos de música del seminario de San Antonio Abad (Cuzco, Perú),” 2613
Claro Valdés, Samuel. Historia de la música en Chile, 2190
Clayton, Alfred Eberhard Stephan. “The Operas of Alexander Zemlinsky,” 2109
Clément, Catherine. Opera, or the Undoing of Women, 388;L’opéra, ou la defaite des
femmes, 388
Clément, Félix, and Pierre Larousse. Dictionnaire des opéras, 31
Clercx, Suzanne. Grétry, 1741–1813, 924
Clinkscale, Martha Novak. “Pier Francesco Cavalli’s Xerse,” 670
Coat, Gérard le. “L’expression des affects chez Jean-Joseph Mouret: Le triomphe des sens
come étude de cas,” 1254
Coe, Doug. “The Original Production Book for Otello: An Introduction,” 1909
Coeyman, Barbara. “Opera and Ballet in Seventeenth-Century French Theaters: Case
Studies of the Salle des Machines and the Palais Royal Theater,” 2267
Cohen, H. Robert, and Marie-Odile Gigou. One Hundred Years of Operatic Staging in
France (ca.1830–1930), 2279
Cohen, H. Robert. Les gravures musicales dans l’“Illustration.” 1843–1899, 2265; The
Original Staging Manuals for Ten Parisian Operatic Premieres, 1824–1843, 2300 ; The
Original Staging Manuals for Twelve Parisian Operatic Premieres, 2300
Cole, Malcolm S. “Mozart and Two Theaters in Josephinian Vienna,” 288
Collins, Michael. “An Introduction to Alessandro Scarlatti’s Tigrane,” 1622; “The Liter-
ary Background of Bellini’s I Capuleti ed I Montecchi,” 515; “L’orchestra nelle opera
teatrali di Vivaldi,” 1957
Index of Authors and Main Entries 569