Opera

(Marvins-Underground-K-12) #1

Gibson, Elizabeth. “The Royal Academy of Music (1719–28) and Its Directors,” 950; The
Royal Academy of Music (1719–1728): The Institution and Its Directors, 2723
Gibson, Robert Wayne. “Meyerbeer’s Le prophète: A Study in Operatic Style,” 1199
Gier, Albert. “L’africaineund die Ideologie des Kolonialismus,” 1190; “Volkslied und
Bänkelsang: Einlagelieder von Grétry bis Jacques Offenbach,” 93
Gilbert, Janet Monteith. “Dialectic Music: An Analysis of Luigi Nono’s Intolleranza,”
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Gilbert, Steven E. The Music of Gershwin, 858
Giles, Peter. The Countertenor, 365; The History and Technique of the Counter-Tenor: A
Study of the Male High Voice Family, 365
Gilliam, Bryan. “Daphne’s Transformation,” 1694; “Richard Strauss’s Daphne: Opera
and Symphonic Continuity,” 1719; Richard Strauss’s “Elektra,” 1721; “Strauss’s Inter-
mezzo: Innovation and Tradition,” 1695
Gilman, Sander L. “Strauss and the Pervert,” 1744
Gilse van der Pals, Nikolai. N. A. Rimsky-Korsakow: Opernschaffe: Nebst Skizze über
Leben und Werken, 1561
Gioachino Rossini, 1792–1992: Il testo e la scena. Convegno Internazionale di Studi,
Pesaro, 25–28 giugno 1992, 1570
Giovale, F. “Ah, tu perdoni, ‘quel pianto il dice’: Note sul tema del sacrificio e del perdono
nei libretti belliniani de Felice Romani,” 504
Giovanella, Paola Daniela. “La storia e la favola dell’Oberto,” 266
Giovine, Alfredo. Bibliografia di teatri musicali italiani: Storia e cronologie, 2437; L’opera
in musica in teatri di Bari: Statistiche delle rappresentazioni dal 1830 al 1969, 2485; Il
Teatro Petruzzelli di Bari: Stagioni liriche dal 1963 al 1982, 2486
Girardi, Michele. “Donizetti e il grand opéra: Il caso de Les martyrs,” 809; “Fonti francesi
del Falstaff: Alcuni aspetti di drammaturgia musicale,” 1882; Puccini: L’arte interna-
tionale di un musicista italiano, 1450; Il Teatro La Fenice: Cronologia degli spettacoli,
1938–1991, 2588; “Verdi e Boito: Due artisti fra tradizione e rinnovamento,” 232
Giraud, Yves F.-A. La fable de Daphné, 228
Girdham, Jane Catherine. English Opera in Late Eighteenth-Century London: Stephen
Storace at Drury Lane, 2719; “Stephen Storace and the English Opera Tradition of the
Late Eighteenth Century,” 1687
Girdlestone, Cuthbert. Jean-Philippe Rameau: His Life and Work, 1538
Giuseppe Verdi Briefe, 1815
Glasow, E. Thomas. “Così fan tutte’s Sexual Rhythmics,” 1303
Glass, Frank W. The Fertilizing Seed: Wagner’s Concept of the Poetic Intent, 1984
Glass, Philip. Music by Philip Glass, 871; Opera on the Beach, 871
Glinka, Mikhail Ivanovich. Memoirs, 877
Glixon, Beth L. “Recitative in Seventeenth-Century Venetian Opera: Its Dramatic Function
and Musical Language,” 2582
Gloede, Wilhelm. “Zur Verhältnis zwischen den Anfangs und den Endtonarten in Wagners
Musikdramen,” 2013
Glover, Jane. Cavalli, 667; “The Venetian Operas,” 1223
Glowacki, John M. “The History of Polish Opera,” 2617
Gluck, Christoph Willibald. Alceste, 378; Sämtliche Werke, 879
Gluck e la cultura italiana nella Vienna del suo tempo, 885
Gluck Jahrbuch, 886
Godsalve, William H. L. Britten’s “A Midsummer Night’s Dream”: Making an Opera from
Shakespeare’s Comedy, 639
Godwin, Jocelyn. “Layers of Meaning in The Magic Flute,” 1339
Goehring, Edmund J., Jr. “The Comic Vision of Così fan tutte: Literary and Operatic Tra-
ditions,” 1305; “The Sentimental Muse of opera buffa,” 2141
Goertz, Harald. Musikhandbuch für Österreich, 2130
Gold, Edward. “Franz Lehar’s Operettas: An Analysis,” 1105
Goldberg, Louise. “Aspects of Dramatic and Musical Unity in Berlioz’s Les troyens,”
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566


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