Goldin, Daniela. “Aspetti della librettistica italiana fra 1770 e 1830,” 2435; “Il barbiere di
Sivigliada Beaumarchais all’ opera buffa,” 1376; “Drammaturgia e linguaggio della
Bohèmedi Puccini,” 1470; “Il Macbethverdiano: Genesi e linguaggio di un libretto,”
1893; “Mozart, Da Ponte, e il linguaggio dell’opera buffa,” 243
Goldoni, Carlo. Memoirs of Goldoni, Written by Himself: Forming a Complete History of
His Life and Writings, 253
Goldovsky, Boris, and Arthur Schoep. Bringing Soprano Arias to Life, 363
Goldowsky, Boris. Bringing Opera to Life: Operatic Acting and Stage Direction, 286
Goldschmidt, Hugo. “Claudio Monteverdis Oper: Il ritorno d’Ulisse in patria,” 1250; Die
italienische Gesangsmethode des XVII. Jahrhunderts und ihre Bedeutung für die Gegen-
wart, 361; Die Musikästhetik des 18. Jahrhundert und ihre Beziehung zu seinen Kun-
stschaffen, 419; Studien zur Geschichte der italienishcen Oper im 17. Jahrhundert, 2446
Gombert, Karl Erwin. “Leonoraby William Henry Fry and Rip van Winkleby George
Frederick Bristow: Examples of Mid-Nineteenth-Century American Opera,” 612
Gomes Vaz de Carvalho, Itala. Vida de Carlos Gomes, 914
Gómez de la Serna, Gaspar. Gracias y desgracias del Teatro Real, 2679
Gonnenwein, Wolfgang, ed. Die Oper in Stuttgart: 75 Jahre Littmann-Bau, 2411
González, Jorge Antonio. Composición operística en Cuba, 2199
Gooch, Bryan N. S., and David Thatcher. A Shakespeare Music Catalogue, 224
Gordon, Eric A. Mark the Music: The Life and Work of Marc Blitzstein, 591
Goslich, Siegfried. Die deutsche romantische Oper, 2354; “Germany,” 58
Gossett, Philip. “Anna Bolena” and the Artistic Maturity of Gaetano Donizetti, 789; “The
Arias of Marzelline: Beethoven as a Composer of Opera,” 498; “The Chorus in Risorgi-
mentoOpera,” 2474; “The Composition of Ernani,” 1877; “Gioachino Rossini and the
Conventions of Composition,” 1577; “Music at the Théâtre-Italien,” 2322; “The
Operas of Rossini: Problems of Textual Criticism in Nineteenth-Century Opera,” 1576;
“The Overtures of Rossini,” 1578; Review of Charles Osborne, Letters of Giuseppe
Verdi, 1820; “Le sinfonie di Rossini,” 1578; “The Tragic Finale of Tancredi,” 1593;
“Verdi, Ghislanzoni, and Aida: The Uses of Convention,” 246
Göttinger Händel Beiträge, 955
Gourret, Jean. Dictionnaire des cantatrices de l’Opéra de Paris, 2284; Dictionnaire des
chanteurs de l’Opéra de Paris, 2285; Histoire des salles de l’Opéra de Paris, 2286; Les
hommes qui on fait l’Opéra, 1669–1984, 2283
Gräbner, Eric Hans. “Berlioz and the French Operatic Tradition,” 559
Graf, Georg. Jean-Philippe Rameau in seiner Oper “Hippolyte et Aricie”: Eine musikkri-
tische Würdigung, 1553
Gran Teatro La Fenice, 2585
Grandini, Alfredo. Cronache musicali del Teatro Petrarca di Arezzo: Il primo cinquanten-
nio (1833–1882), 2484
Gras, Alfred H. “A Study of Der Freischütz by Carl Maria von Weber,” 2096
Grave, Floyd K., and Margaret G. Grave. Franz Joesph Haydn: A Guide to Research, 1010
Gräwe, Karl Dietrich. “Sprache, Musik und Szene in Ariadne auf Naxosvon Hugo von
Hofmannsthal und Richard Strauss,” 1712
Grayson, David A. “Waiting for Golaud: The Concept of Time in Pelléas,” 735; The Gen-
esis of Debussy’s “Pelléas et Mélisande,” 736; “The Libretto of Debussy’s Pelléas et
Mélisande,” 736
Green, Douglas M. “A False Start for Lulu:An Early Version of the Prologue,” 529
Green, Rebecca. “Representing the Aristocracy: The Operatic Haydn and Le pescatrici,”
1014
Greenfield, Howard. Puccini, 1451
Greenspan, Charlotte. “The Operas of Vincenzo Bellini,” 513
Greenwald, Helen M. “Character Distinction and Rhythmic Differentiation in Puccini’s
Operas,” 1463; “Dramatic Exposition and Musical Structure in Puccini’s Operas,”
1455; “Puccini, Il tabarro, and the Dilemma of Operatic Transposition,” 1499; “Real-
ism on the Opera Stage: Belasco, Puccini, and the California Sunset,” 1464; “Recent
Puccini Research,” 1437; “Verdi’s Patriarch and Puccini’s Matriarch: ‘Through the
Looking Glass and What Puccini Found There,’” 1501
Index of Authors and Main Entries 581