in Venice,” 2532; “An Opera Autograph of Francesco Gasparini?” 855; “Towards an
Understanding of the opera seria,” 972; “Vivaldi’s and Handel’s Settings of Giustino,”
986; “Vivaldi’s Career as an Opera Producer,” 1958
Strunk, Oliver. Source Readings in Music History, 96
Stuckenschmidt, Hans Heinz. Boris Blacher, 588
Studi donizettiani, 767
Studi verdiani, 1811
Studien zur Barockoper, 2395
Studies in Eighteenth-Century Music: A Tribute to Karl Geiringer on His 70th Birthday, 73
Studies in Musical Sources and Analysis: In Honor of Jan La Rue, 74
Studwell, William E., and David A. Hamilton. Opera Plot Index, 192
Studwell, William E. Adolphe Adam and Léo Delibes: A Guide to Research, 447
Styan, J. L. Max Reinhardt, 320
Suárez Urtubey, Pola. Alberto Ginastera, 865
Subirá, José. “Celos aun del aire matan,” opera del siglo XVII, 1049; Historia de la música
española e hispano-americana, 2664; Historia de la música teatral en España, 2666;
Historia y anecdotario del Teatro Real, 2680;La ópera en los teatros de Barcelona:
Estudio histórico cronológico desde el siglo XVII al XX, 2673; La tonadilla escénica,
2668
Subotnik, Rose R. “Lortzing and the German Romantics: A Dialectical Assessment,”
1118; “Popularity and Art in Lortzing’s Operas: The Effects of Social Change on a
National Operatic Genre,” 1118
Sundman, Alexandra Gail. “The Making of an American Expatriate Composer in Paris,”
1780
Sundström, Einar. “Franz Berwalds operor,” 574
Suschitzky, Anya. “Ariane et Barbe-Bleue: Dukas, the Light, and the Well,” 817
Sutcliffe, Tom. Believing in Opera, 289
Svoboda, Josef.. The Secret of Theatrical Space: The Memoirs of Josef Svoboda, 372
Swenson, Edward Elmgren. “Antonio Salieri: A Documentary Biography,” 1603
Symposium Hans Pfitzner, Berlin 1981, 1409
Taibon, Mateo. Luigi Nono und sein Musiktheater, 1364
Taiëb, Patrick. “De la composition du Délire (1799) au pamphlet anti-dilettantes (1821),”
571; “Romance et mélomanie,” 93
Talbot, Michael. Antonio Vivaldi: A Guide to Research,1950; “Tomaso Albinoni’s
Pimpinone and the Comic Intermezzo,” 456; Tomaso Albinoni: The Venetian Composer
and His World,454; Vivaldi, 1953
Tappolet, Claude. La vie musicale à Genève au dix-neuvième siècle (1814–1918), 2695
Tardini, Vincenzo. I teatri di Modena, 2526
Taruskin, Richard. “Drama Revealed through Song: An Opera after Ostrovsky,” 1662;
“Folk Texts in Boris Godunov,” 1346; “From Fairy Tale to Opera in Four Moves (Not
So Simple),” 1433; “Glinka’s Ambiguous Legacy and the Birth Pangs of Russian
Opera,” 876; “Handel, Shakespeare, and Musorgsky,” 1346; “Kuchkism in Practice:
Two Operas by Cui,” 718; Musorgsky: Eight Essays and an Epilogue, 1346;
“Musorgsky vs. Musorgsky: The Versions of Boris Godunov,” 1355; Opera and Drama
in Russia as Preached and Practiced in the 1860’s,2648; “Pochvennichestvoon the
Russian Operatic Stage: Serov and His Rogneda,” 1661; “The Power of the Black Earth:
Notes on Khovanshchina,” 1357; “‘The Present in the Past’: Russian Opera and Russ-
ian Historiography, ca. 1870,” 2649; “Russia,” 2633*; “Serov and Musorgsky,” 1349;
“Slava!” 1356; “Sorochintsi FairRevisited,” 1358; “The Stone Guestand Its Progeny,”
727; Stravinsky and the Russian Tradition: A Biography of the Works through
“Mavra,” 1749; Text and Act: Essays on Music and Performance, 337; “‘This Way to
the Future’: The Case of Serov’s Judith,” 1660
Taylor, Carole. “Handel’s Disengagement from the Italian Opera,” 950
Taylor, Philip. Gogolian Interludes: Gogol’s Story “Christmas Eve” as the Subject of the
Operas by Tchaikovsky and Rimsky-Korsakov, 1563
Taylor, Ronald. Richard Wagner: His Life, Art and Thought, 1993
Index of Authors and Main Entries 615