1866;Music in the Theater: Essays on Verdi and Other Composers, 1807; “Osser-
vazioni sul processo compositivo in Verdi,” 1875; “La partitura del Massimo Pupienodi
Carlo Pallavicino (Venezia 1684),” 2575; “Per un’ esegesi della struttura drammatica
del Trovatore,” 1938;“Sorgete! Ombre serene!” L’aspetto visivo dello spettacolo ver-
diano, 1837
Petrocchi, Giorgio. “L’opera di Giacomo Puccini nel giudizio della critica,” 1467; Il teatro
a Roma nel settecento, 2568
Petty, Frederick C. Italian Opera in London, 1760–1800, 2714
Petty, Jonathan Christian, and Marshall Tuttle. “The Genealogy of Chaos: Multiple
Coherence in Wagnerian Music Drama,” 2014
Petzet, Michael, and Detta Petzet. Die Richard Wagner Bühne König Ludwigs II, 1998
Phillips, Edward R. Gabriel Fauré: A Guide to Research, 839
Phillips, Harvey E. The Carmen Chronicle: The Making of an Opera, 581
Phillips-Matz, Mary Jane. Verdi: A Biography, 1828
Piatier, François. Hector Berlioz “Benvenuto Cellini”: Ou, le myth de l’artiste, 562
“Il piccolo Marat”: Storia e rivoluzione nel melodramma verista, 1164
Ping-Robbins, Nancy R. Scott Joplin: A Guide to Research, 1085
Pino, Enrique del. Historia del teatro en Málaga durante el siglo XIX, 1792–1914, 2681*
Pinzauti, Leonardo. “Giacomo Puccini’s Tritticoand the Twentieth Century,” 1500; Il
Maggio Musicale fiorentino dalla prima alla trentesima edizione, 2500
Piovano, Francesco. “Baldassare Galuppi: Note bio-bibliographiche,” 851
Piperno, Franco. “L’anima pazza per amore, ossia il Paisiello contrafatto,” 1374; “Gli
interpreti buffi di Pergolesi: Note sulla diffusione de La serva padrona,” 1397
Pipers Enzyklopädie des Musiktheaters: Oper, Operette, Musical, Ballett, 25
Pirani, Federico. “Operatic Links between Rome and Vienna, 1776–1790,” 1268
Pirchan, Emil, et al. 300 Jahre Wiener Operntheater: Werk und Werden, 2136
Pirrotta, Nino, and Elena Povoledo. Li due Orfei, da Poliziano a Monteverdi, 2442; Music
and Theater from Poliziano to Monteverdi, 2442
Pirrotta, Nino. “Early Opera and Aria,” 654; “Metastasio and the Demands of His Liter-
ary Environment,” 2462; “Monteverdi and the Problems of Opera,” 1224; Music and
Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays,2443; “Le
prime opere di Antonio Cesti,” 680; “Temperaments and Tendencies in the Florentine
Camerata,” 655; “Theater, Sets and Music in Monteverdi’s Operas,” 1224
Pistone, Danièle. “Emmanuel Chabrier, Opera Composer,” 686
Pitou, Spire. The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Per-
formers, 2281
Pitts, Ruth Landis. “Don Juan Hidalgo, Seventeenth-Century Spanish Composer,” 1050
Pizzetti, Bruno. Ildebrando Pizzetti: Cronologia e bibliografia, 1417
Pizzetti, Ildebrando. “Contrappunto e armonia nell’opera di Verdi,” 1842
Platoff, John. “Catalogue Arias and the ‘Catalogue Aria,’” 1268; “A New History for
Martin’s Una cosa rara,” 1153; “Operatic Ensembles and the Problem of the Don Gio-
vanniSextet,” 2141
Plaut, Eric A. “Dwarfs, Giants, Dragons, and Other Body Distortions in Wagner’s
Operas,” 2049
Poizat, Michel. The Angel’s Cry: Beyond the Pleasure Principle in Opera, 407; Opéra, ou
le cri de l’ange, 407
Pokrovsky, Boris Alexandrovich, and Yuri Nikolayevich Grigorovich. The Bolshoi: Opera
and Ballet at the Greatest Theater in Russia, 2659
Pollack, Howard. Aaron Copland: The Life and Work of an Uncommon Man, 712; “The
Reconstruction of Jonathan Wade,” 841
Pollard, Rowena, and David Clarke. “Tippett’s King Priamand the ‘Tragic Vision,’” 1788
Pollock, George H. “Notes on Incest Themes in Wagner’s RingCycle,” 2049
Pols, André. Vijftig jaar Vlaamsche Opera, 2168
Pople, Anthony. “The Musical Language of Wozzeck,” 528
Porter, Andrew. “The Making of Don Carlos,” 1872; Music of Three More Seasons,
1977–1980, 432; Music of Three Seasons, 1974–1977, 432; A Musical Season,
1972–1973, 432; “Practical Considerations in Modern Production,” 1011
Index of Authors and Main Entries 605