Rose, Gloria. “Agazzari and the Improvising Orchestra,” 343
Rosen, David, and Andrew Porter. Verdi’s “Macbeth”: A Sourcebook, 1892
Rosen, David. “Meter, Character, and tintain Verdi’s Operas,” 1849; “The Staging of
Verdi’s Operas: An Introduction to the Ricordi disposizioni sceniche,” 1839
Rosenthal, Harold D. Great Singers of Today, 188; Two Centuries of Opera at Covent
Garden, 2717
Rösler, Walter et al. Das “Zauberschloss” unter den Linden: Die Berliner Staatsoper,
Geschichte von den Anfängen bis heute, 2363
Rosow, Lois. “French Opera in Transition: Silvie(1765) by Trial and Berton,” 2296;
“From Destouches to Berton: Editorial Responsibility at the Paris Opéra,” 2309; “How
Eighteenth-Century Parisians Heard Lully’s Operas: The Case of Armide,” 1130;
“Lully’s Armideat the Paris Opéra: A Performance History, 1686–1766,” 1141; “Mak-
ing Connections: Thoughts on Lully’s Entr’actes,” 1137
Ross, Peter. “Elaborazione leitmotivica e colore esotico in Madama Butterfly,” 1485
Rosselli, John. “The Castrati as a Professional Group and a Social Phenomenon,
1550–1850,” 183; The Life of Bellini, 508; Music and Musicians in Nineteenth-Century
Italy, 2468; “Opera as a Social Occasion,” 77; The Opera Industry in Italy from
Cimarosa to Verdi: The Role of the Impresario, 2468; Singers of Italian Opera: The His-
tory of a Profession, 356
Rossi, Nick. “Handel’s Muzio Scevola,” 987; Opera in Italy Today: A Guide, 2481
Rossini, Gioachino. Edizione critica delle opere di Gioachino Rossini, 1569
Rosteck, Jens. “Darius Milhauds experimenteller Beitrag zur französischen Literaturoper
am Beispiel der Claudel-Vertonung Christophe Colombund L’Oresteia d’Eschyle, 1202
Roth, Lena. Musical Life in Sweden, 2687
Rousseau, Jean-Jacques. Lettre sur la musique française, 2257
Ruberti, Salvatore. “O guaraní” e “Colombo” de Carlos Gomes, 917
Ruf, Wolfgang. Die Rezeption von Mozarts “Le nozze di Figaro” bei die Zeitgenossen,
1327
Ruhnke, Martin. “Die Librettisten des Fidelio,” 497; “Telemanns Hamburger Opern und
ihre italienischen und franzözischen Vorbilder,” 1777; Zum Rezitativ der opera seriavor
Hasse,” 1002
Rumiantsev, Pavel Ivanovich. Stanislavski on Opera, 323.
Rushton, Julian Gordon. “Berlioz’s Swan-Song: Towards a Criticism of Béatrice et Béné-
dict,” 561; “An Early Essay in Leitmotiv: J. B. Lemoyne’s Electre,” 1106; “From Vienna
to Paris: Gluck and the French Opera,” 885; “‘.. .Hier wird es besser seyn—ein blosses
Recitative zu machen... ‘: Observations on Recitative Organization in Idomeneo,”
1268; “Iphigénie en Tauride: The Operas of Gluck and Piccinni,” 904; “Music and
Drama at the Académie Royale de Musique, Paris, 1774–1789,” 2298; The Musical
Language of Berlioz, 557; “Theory and Practice of Piccinnisme,” 1412
Ruskii sovetskii teatr, 2655
Russian and Soviet Music: Essays for Boris Schwarz, 2640
Rustman, Mark M. “Lyric Opera: A Study of the Contributions of Charles Gounod,” 922
Rutz, Hans. “Danton’s Death: Music Drama or Music Theater,” 826; Neue Oper: G. von
Einem und seine Oper “Dantons Tod,” 825
Sabat, Antonio. Gran Teatro del Liceo, 2677
Sabbeth, Daniel Paul. “On the Tonal Organization of Macbeth II,” 1898; “Principles of
Tonal and Dramatic Organization in Verdi’s Falstaff,” 1884
Sablosky, Irving. What They Heard: Music in America, 1852–1881, from the Pages of
“Dwight’s Journal of Music,” 2745
Sacchiero, Valerio. “Contributo ad un catalogo donizettiano,” 761
Sachs, Edwin O., and Ernest A Woodrow. Modern Opera Houses and Theatres, 132
Sadie, Stanley. History of Opera, 79; “The Idea of Authenticity,” 328; The New Grove
Book of Operas, 207
Sadler, Graham. “Rameau and the Orchestra,” 1544; “The Role of the Keyboard Con-
tinuo in French Opera, 1673–1776,” 2264
Index of Authors and Main Entries 609