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  1. Women in American operas of the 1950s
    undoing gendered archetypes
    Autor*in: Hershberger, Monica
    Erschienen: [2023]
    Verlag:  University of Rochester Press, Rochester, NY

    "In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so... mehr

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
    Signatur:
    8 A 7955
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Hochschule für Musik, Theater und Medien Hannover, Bibliothek
    Signatur:
    inventarisiert mit Zg.-Nr. 2023/10134
    Fernleihe:
    keine Fernleihe

    Standort:
    Universitätsbibliothek Heidelberg
    Signatur:
    bestellt
    Fernleihe:
    keine Fernleihe

     

    "In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so typically expressed in European opera: that is, of women as either saintly and pure or sexually corrupt, with no middle ground. As a result, in American opera of the 1950s, women risked becoming once again opera's inevitable victims. Yet the sopranos who were tasked with portraying these paragons of virtue and their opposites did not always take them as their composers and librettists made them. Sometimes they rewrote, through their performances, the roles they had been assigned. Sometimes they used their lived experiences to invest greater authenticity in the roles. With chapters on The Tender Land, Susannah, The Ballad of Baby Doe, and Lizzie Borden, this book analyzes some of the most performed yet understudied works in the American-opera canon. It acknowledges Catherine Clément's famous description of opera as "the undoing of women," while at the same time illuminating how singers like Beverly Sills and Phyllis Curtin worked to resist such undoing, years before the official resurgence of the American feminist movement. In short, they ended up helping to dismantle powerful gendered stereotypes that had often reigned unquestioned in opera houses until then"--

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781648250613; 9781648250668
    Schriftenreihe: Eastman studies in music ; 187
    Schlagworte: Women in opera; Opera
    Umfang: x, 228 Seiten, Illustrationen, Notenbeispiele, 23 cm
    Bemerkung(en):

    Includes bibliographical references and index

    American Opera at Mid-century -- A Conniving Gold Digger : Elizabeth "Baby Doe" Tabor -- A "Really Vicious Monster" : Lizzie Andrew Borden -- A Chaste White Woman : Laurie Moss -- A Dangerous Jezebel : Susannah Polk -- Epilogue "The World So Wide" : Beyond the Virgin or the Whore in the Twenty-First Century.
  2. Women in American operas of the 1950s
    undoing gendered archetypes
    Autor*in: Hershberger, Monica
    Erschienen: [2023]
    Verlag:  University of Rochester Press, Rochester, NY

    "In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so... mehr

    Standort:
    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Unter den Linden
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so typically expressed in European opera: that is, of women as either saintly and pure or sexually corrupt, with no middle ground. As a result, in American opera of the 1950s, women risked becoming once again opera's inevitable victims. Yet the sopranos who were tasked with portraying these paragons of virtue and their opposites did not always take them as their composers and librettists made them. Sometimes they rewrote, through their performances, the roles they had been assigned. Sometimes they used their lived experiences to invest greater authenticity in the roles. With chapters on The Tender Land, Susannah, The Ballad of Baby Doe, and Lizzie Borden, this book analyzes some of the most performed yet understudied works in the American-opera canon. It acknowledges Catherine Clément's famous description of opera as "the undoing of women," while at the same time illuminating how singers like Beverly Sills and Phyllis Curtin worked to resist such undoing, years before the official resurgence of the American feminist movement. In short, they ended up helping to dismantle powerful gendered stereotypes that had often reigned unquestioned in opera houses until then"--

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Staatsbibliothek zu Berlin
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781648250613; 9781648250668
    Schriftenreihe: Eastman studies in music ; 187
    Schlagworte: Women in opera; Opera
    Umfang: x, 228 Seiten, Illustrationen, Notenbeispiele, 23 cm
    Bemerkung(en):

    Includes bibliographical references and index

    American Opera at Mid-century -- A Conniving Gold Digger : Elizabeth "Baby Doe" Tabor -- A "Really Vicious Monster" : Lizzie Andrew Borden -- A Chaste White Woman : Laurie Moss -- A Dangerous Jezebel : Susannah Polk -- Epilogue "The World So Wide" : Beyond the Virgin or the Whore in the Twenty-First Century.
  3. Women in American operas of the 1950s
    undoing gendered archetypes
    Autor*in: Hershberger, Monica
    Erschienen: 2023
    Verlag:  University of Rochester Press, Rochester

    "In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so... mehr

    Standort:
    Bayerische Staatsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so typically expressed in European opera: that is, of women as either saintly and pure or sexually corrupt, with no middle ground. As a result, in American opera of the 1950s, women risked becoming once again opera's inevitable victims. Yet the sopranos who were tasked with portraying these paragons of virtue and their opposites did not always take them as their composers and librettists made them. Sometimes they rewrote, through their performances, the roles they had been assigned. Sometimes they used their lived experiences to invest greater authenticity in the roles. With chapters on The Tender Land, Susannah, The Ballad of Baby Doe, and Lizzie Borden, this book analyzes some of the most performed yet understudied works in the American-opera canon. It acknowledges Catherine Clément's famous description of opera as "the undoing of women," while at the same time illuminating how singers like Beverly Sills and Phyllis Curtin worked to resist such undoing, years before the official resurgence of the American feminist movement. In short, they ended up helping to dismantle powerful gendered stereotypes that had often reigned unquestioned in opera houses until then"--

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    ISBN: 9781648250613; 9781648250668
    Schriftenreihe: Eastman studies in music ; 187
    Schlagworte: Oper; Frau <Motiv>
    Weitere Schlagworte: Women in opera; Opera / United States / 20th century; Opera; Women in opera; United States; 1900-1999
    Umfang: x, 228 Seiten, Illustrationen, Notenbeispiele, 23 cm
    Bemerkung(en):

    American opera at mid-century -- A conniving gold digger : Elizabeth "Baby Doe" Tabor -- A "really vicious monster" : Lizzie Andrew Borden -- A chaste white woman : Laurie Moss -- A dangerous jezebel : Susannah Polk -- Epilogue "The world so wide" : beyond the virgin or the whore in the twenty-first century