My professor called this 'the opera bible,' and after three highlighters ran dry, I agree. It’s dense but rewarding—like a Wagnerian leitmotif, themes recur meaningfully across chapters. The plate section with original libretto edits is worth the price. Just wish it had more on contemporary digital stagings; feels stuck in 2010 sometimes.
I borrowed this from my conservatory library expecting a slog, but the writer’s passion jumps off the page. The way it connects Monteverdi’s 'L’Orfeo' to contemporary indie concept albums blew my mind. It’s not just dates and names—it’s about why opera still matters. Some sections drag (looking at you, 18th-century court patronage), but the modern critiques offset that. Great for sparking seminar debates.
Having spent years immersed in musicology, I picked up 'A History of Opera' hoping for a deep dive, and it didn’t disappoint. The book’s strength lies in its meticulous research—every era from Baroque to modern experimental works is covered with scholarly rigor. But what really stands out is how it balances academic depth with readability. For students, the footnotes alone are gold mines for further study, though some might find the 20th-century coverage a tad sparse compared to earlier periods.
That said, it’s not flawless. The focus leans heavily toward European traditions, with only passing mentions of non-Western influences. If you’re after a global perspective, you’ll need supplementary material. Still, as a core textbook, it’s exceptional—I’ve dog-eared my copy to death, and my students always cite it as a favorite reference.
As a vocal performance major, I initially scoffed at the idea of reading a dry historical text—until 'A History of Opera' proved me wrong. It’s surprisingly vivid, especially when describing how political upheavals shaped musical styles. The chapter on Verdi’s role in Italian unification made me appreciate 'Va, pensiero' on a whole new level. My only gripe? The vocal technique analysis feels surface-level compared to its political and social insights. Perfect for context, less so for singers honing their craft.
After comparing six textbooks for my thesis, this one stands out for its narrative flair. The author weaves gossipy anecdotes about prima donnas into sober analysis without losing credibility—no mean feat! Students should note its bias toward canonical works; if you’re researching marginalized composers, you’ll need other sources. But for understanding the mainstream trajectory? Unmatched. The glossary alone saved me during oral exams.
2025-12-11 03:26:50
16
View All Answers
Scan code to download App
Related Books
My Bloody Teacher
Marjolein
8.6
20.0K
Vampire | student x teacher | fated mate
Forbidden love.
Beatrice, a headstrong girl, is just starting her second year of university when a new school coordinator is assigned to the school. She has no interest in risking her future, but her teacher comes in her life in unexpected situations. He seduces her her to no end and ignoring the strange pull she feels towards him is harder and harder to ignore. Little does she know, that from the first time he laid his eyes on her, her world was already changed.
Damon is one of the very lucky ones to find his mate. And he has no intention of letting her go. Whatever it takes. He is adamant to make her his and to protect her from the cruel world he introduced her to. Pasts come surfacing and he finds out she is even more important that he initially thought.
Can she say no to her teacher's obsession? Can he protect her from all evil?
Note: some of the chapters are longer than you're used to.
I was Apollo’s most devoted follower, the lover he handpicked from a sea of worshippers.
With me, he’d always shed his divine arrogance. He was so tender, so attentive. I actually thought he loved me to the bone.
Until seven days before our Consort Ceremony, when I used my gift of prophecy to peek into our future together.
I expected to see a lifetime of blinding love. Instead, I saw him violently tangled in the sheets with my adopted sister, Cassandra.
Wrapped around him, Cassandra giggled. "You're so good to me, my Lord. Thanks to you, I'll finally get my sister's Sight and take her place as High Priestess."
And Apollo—my god, my lover—smiled down at her with pure adoration. "Whatever makes you happy, little bird. If it weren't for you, I wouldn't have played pretend for this long, let alone allow her to become a god's consort."
In that split second, my heart turned to ash. My faith shattered into a million pieces.
With seven days left until the ceremony, I didn't confront them. Instead, I fell to my knees before the altar of Hades, Lord of the Underworld.
"I offer you my gift of prophecy. I will be your most loyal follower in exchange for your sanctuary."
"Please. Take me away from here. Take me somewhere Apollo can never find me."
Behind velvet curtains and gilded balconies, the opera is more than a performance. It's a hunting ground, a court of monsters disguised as patrons and benefactors.
When a masked nobleman claims her talent as his own, Lyria is drawn into a world where music is power, restraint is survival, and desire is the most dangerous temptation of all.
The longer Lyria remains under his protection, the more she awakens. Her body responds to hungers she does not yet understand and her are dreams invaded by a silver-eyed predator who promises freedom instead of restraint.
As the opera's beauty curdles into something predatory, Lyria must decide what she is willing to become to survive it.
The stage is watching. The city is listening. And once the blood sings, it cannot be silenced.
TRIGGER/CONTENT WARNING: This story contains mature themes and content intended for adult audiences (18+)
Reader discretion is advised.
It includes moments of violence, sexual content and dark erotic elements, manipulation, obsession, and emotional power dynamics.
Emily Brown is a simple girl from the countryside. She's naive but stands up for herself and others. She plays the guitar and sings too. Her dream is to be able to learn more about about what she's talented in, music
Emily's dream came true when her parents surprised her on her 20th birthday with an admission notice from Rochester musical academy in New York, one of the best music school in the country
************
The music fairies is a very popular band known Worldwide. The lead vocalist Aiden, the guitarist Michael and the percussionist Jason who plays the drum kit are all students of the Rochester musical academy, so you could say the trio became celebrities while they were still students
As celebrity students, their status were higher than all other students. They are rude yet they are adored by all
Will a simple countryside girl be able to adapt to the lifestyle of the school? Or will she get into trouble the moment she enters the school
Will she be able to continue being a simple girl from the countryside? Or will the school change her into an entirely new person
What happens when Emily gets involved with the music fairies?...
Avery's life as a dedicated student shatters when a reckless one-night stand reveals her dark, commanding lover is her new literature professor, Draco Thorne. Their illicit affair plunges her into a world of forbidden desires and his undeniable, dangerous possessiveness. Can she resist the pull of his darkness, or will her sinful syllabus consume her entirely?
Vampire x Human. Professor x Student. Steamy x Forbidden love
When your one night stand turns out to be your professor, there's only one thing to do- continue to sleep with him. And that was exactly what Sophia is going to do.
She's faced with a forbidden attraction that's hard to resist until she finds out his dark secret; he's a vampire.
Will her passion overcome the secrets he had been hiding from her or will the shadows tear them apart?
I find 'A History of Western Music' invaluable yet imperfect. Its comprehensive coverage of medieval to modern periods is unmatched, offering clear narratives on compositional techniques and cultural shifts. The book’s strength lies in its structured approach, making complex topics digestible. However, modern scholars critique its Eurocentric focus, which marginalizes non-Western influences and contemporary global trends. Recent editions address some gaps, but debates persist about its representation of female composers and underrepresented cultures. For foundational knowledge, it’s essential, but supplementing with specialized texts ensures a balanced perspective.
Another layer is its pedagogical utility. Many universities still use it as a core textbook due to its clarity and breadth. Yet, the evolving nature of musicology—especially with digital humanities and intersectional studies—demands critical engagement. The book’s treatment of 20th-century avant-garde movements, for instance, feels dated compared to newer research. It’s a starting point, not a definitive endpoint, and scholars often pair it with primary sources or critical theory to fill omissions.
Reading 'A History of Opera' feels like wandering through a grand, centuries-old theater where every corner whispers a new story. One of the most striking themes is the tension between tradition and innovation—how opera constantly reinvented itself, from Monteverdi’s early experiments to Wagner’s revolutionary ideas. The book dives deep into how political and social shifts shaped opera, like how the French Revolution birthed operas with bold, democratic ideals.
Another fascinating thread is the interplay of music and drama. The author explores how composers like Mozart and Verdi used music to amplify emotional stakes, turning librettos into visceral experiences. There’s also a poignant focus on opera’s elitism versus its populist roots, like how Puccini’s works bridged high art and mass appeal. It’s a rich tapestry that makes you hear those arias in a whole new light.
Reading 'A History of Opera' feels like diving into a grand symphony of voices, each contributing their unique notes to the art form’s evolution. The book heavily references musicologists like Richard Taruskin, whose multi-volume 'Oxford History of Western Music' provides a backbone for understanding opera’s cultural context. Then there’s Carolyn Abbate, whose work on musical narrative and perception reshaped how we analyze operatic storytelling.
Another pivotal figure is Herbert Lindenberger, whose 'Opera: The Extravagant Art' explores the genre’s flamboyant tendencies. The book also leans on early chroniclers like Charles Burney, whose 18th-century accounts offer firsthand glimpses into opera’s golden eras. It’s fascinating how these scholars’ debates—say, Abbate’s pushback against traditional narratology—echo the dramatic tensions of opera itself. Makes you appreciate how layered this art form really is.