DigiCat Publishing presents to you this special edition of "The Operatic Problem" by William Johnson Galloway. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

A story of friendship, first crushes, opera and the high drama of middle school told by award-winning Kyo Maclear in her debut graphic novel. Somewhere in the universe, there is the perfect tune for you. It’s almost the end of middle school, and Charlie has to find her perfect song for a music class assignment. But it’s hard for Charlie to concentrate when she can’t stop noticing her classmate Emile, or wondering about Luka, who hasn’t been to school in weeks. Then, the class learns about opera, and Charlie discovers the music of Maria Callas. The more she learns about Maria’s life, the more Charlie admires her passion for singing and her ability to express herself fully through her music. Can Charlie follow the example of the ultimate diva, Maria Callas, when it comes to her own life? Key Text Features speech bubbles captions bibliography Correlates to the Common Core State Standards in English Language Arts: CCSS.ELA-LITERACY.RL.4.3 Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g., a character's thoughts, words, or actions). CCSS.ELA-LITERACY.RL.6.3 Describe how a particular story's or drama's plot unfolds in a series of episodes as well as how the characters respond or change as the plot moves toward a resolution. CCSS.ELA-LITERACY.RL.6.6 Explain how an author develops the point of view of the narrator or speaker in a text.

'Opera After the Zero Hour' argues that newly composed opera in West Germany after World War II was a site for the renegotiation of musical traditions during an era in which tradition had become politically fraught.

While there is a tacit appreciation that freedom from violence will lead to more prosperous relations among peoples, violence continues to be deployed for various political and social ends. Yet the problem of violence still defies neat description, subject to many competing interpretations. Histories of Violence offers an accessible yet compelling examination of the problem of violence as it appears in the corpus of canonical figures – from Hannah Arendt to Frantz Fanon, Michel Foucault to Slavoj Žižek – who continue to influence and inform contemporary political, philosophical, sociological, cultural, and anthropological study. Written by a team of internationally renowned experts, this is an essential interrogation of post-war critical thought as it relates to violence.

“The best single volume ever written on the subject, such is its range, authority, and readability.”—Times Literary Supplement Why has opera transfixed and fascinated audiences for centuries? Carolyn Abbate and Roger Parker answer this question in their “effervescent, witty” (Die Welt, Germany) retelling of the history of opera, examining its development, the musical and dramatic means by which it communicates, and its role in society. Now with an expanded examination of opera as an institution in the twenty-first century, this “lucid and sweeping” (Boston Globe) narrative explores the tensions that have sustained opera over four hundred years: between words and music, character and singer, inattention and absorption. Abbate and Parker argue that, though the genre’s most popular and enduring works were almost all written in a distant European past, opera continues to change the viewer— physically, emotionally, intellectually—with its enduring power.

Storytelling in Opera and Musical Theater is the first systematic exploration of how sung forms of drama tell stories. Through examples from opera's origins to contemporary musicals, Nina Penner examines the roles of character-narrators and how they differ from those in literary and cinematic works, how music can orient spectators to characters' points of view, how being privy to characters' inner thoughts and feelings may evoke feelings of sympathy or empathy, and how performers' choices affect not only who is telling the story but what story is being told. Unique about Penner's approach is her engagement with current work in analytic philosophy. Her study reveals not only the resources this philosophical tradition can bring to musicology but those which musicology can bring to philosophy, challenging and refining accounts of narrative, point of view, and the work-performance relationship within both disciplines. She also considers practical problems singers and directors confront on a daily basis, such as what to do about Wagner's Jewish caricatures and the racism of Orientalist operas. More generally, Penner reflects on how centuries-old works remain meaningful to contemporary audiences and have the power to attract new, more diverse audiences to opera and musical theater. By exploring how practitioners past and present have addressed these issues, Storytelling in Opera and Musical Theater offers suggestions for how opera and musical theater can continue to entertain and enrich the lives of 21st-century audiences.

This book details original case studies that represent five different social positions or characterisations of opera: namely, opera as social showcase from Bayreuth (1748), social distinction from Ljubljana (1887), social conflict from Brno (1920), social status from Mantua (1999) and social manifest from Belgrade (2005). These positions, which indicate opera’s social diversity in local, regional, provincial, and peripheral terms, as well as its social mutuality in international, transnational, global, or metropolitan terms, generally promote the idea of opera as a social venue, cultural practice, theatrical scene, lyrical site, musical place, artistic experience, or transgenerational phenomenon through which people not only produce and consume the art of music, theatre, and spectacle, but also show off their lifestyle as well as economic, social, cultural and symbolic determination, identification, and structuration. The selected case studies of peripheral opera worlds are different in terms of the chosen places, times, and problems they tackle, but they all have something meaningful in common. They convincingly address the idea that opera peripheries produce compellingly powerful meanings and messages of their different social worlds. Through its analysis, this book creates a fruitful interpretative encounter of the academic domains of opera studies, historical sociology, cultural sociology and social and cultural anthropology.