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Foreign Opera at the London Playhouses From Mozart to Bellini Fuhrmann Hardback

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Foreign Opera at the London Playhouses\n\nFrom Mozart to Bellini\n\nLondon operatic adaptations have been maligned, but this comprehensive study demonstrates their importance to theatre, opera and canon formation.\n\nChristina Fuhrmann (Author)\n\n9781107022218, Cambridge University Press\n\nHardback, published 24 September 2015\n\n272 pages\n25.3 x 18.2 x 1.8 cm, 0.72 kg\n\nIn the early nineteenth century over forty operas by foreign composers, including Mozart, Rossini, Weber and Bellini, were adapted for London playhouses, often appearing in drastically altered form. Such changes have been denigrated as 'mutilations'. The operas were translated into English, fitted with spoken dialogue, divested of much of their music, augmented with interpolations and frequently set to altered libretti. By the end of the period, the radical changes of earlier adaptations gave way to more faithful versions. In the first comprehensive study of these adaptations, Christina Fuhrmann shows how integra]

Foreign Opera at the London Playhouses From Mozart to Bellini Fuhrmann Hardback

Foreign Opera at the London Playhouses

From Mozart to Bellini

London operatic adaptations have been maligned, but this comprehensive study demonstrates their importance to theatre, opera and canon formation.

Christina Fuhrmann (Author)

9781107022218, Cambridge University Press

Hardback, published 24 September 2015

272 pages

25.3 x 18.2 x 1.8 cm, 0.72 kg

In the early nineteenth century over forty operas by foreign composers, including Mozart, Rossini, Weber and Bellini, were adapted for London playhouses, often appearing in drastically altered form. Such changes have been denigrated as 'mutilations'. The operas were translated into English, fitted with spoken dialogue, divested of much of their music, augmented with interpolations and frequently set to altered libretti. By the end of the period, the radical changes of earlier adaptations gave way to more faithful versions. In the first comprehensive study of these adaptations, Christina Fuhrmann shows how integra]

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