Richard Strauss' fifteen operas make up the largest German operatic legacy since Wagner's operas of the nineteenth century. In the first book to discuss all of Strauss' operas, Bryan Gilliam explores the composer's response to Wagner in his discussion of Strauss's stage works and their historical contexts.

Singing in Signs: New Semiotic Explorations of Opera offers a bold and refreshing assessment of the state of opera study as seen through the lens of semiotics. At its core, the volume responds to Carolyn Abbate and Roger Parker's Analyzing Opera, utilizing a semiotic framework to embrace opera on its own terms and engage all of its constituent elements in interpretation. Chapters in this collection resurrect the larger sense of serious operatic study as a multi-faceted, interpretive discipline, no longer in isolation. Contributors pay particular attention to the musical, dramatic, cultural, and performative in opera and how these modes can create an intertext that informs interpretation. Combining traditional and emerging methodologies, Singing in Signs engages composer-constructed and work-specific music-semiotic systems, broader socio-cultural music codes, and narrative strategies, with implications for performance and staging practices today.

One of the most famous voices to have survived from the Roman world, Catullus's poetry is still amongst the most popular and widely read. But what is it that makes this 2,000-year-old voice so relevant, so personal, and so endlessly fascinating? Reinvigorating discussions around the nature of Catullus's lyricism, Catullus in Twentieth-Century Music takes a completely new approach to Catullus and ideas of lyric. It centres around four musical works from the twentieth century, each one capturing the essence of Catullus in musical retellings and showcasing a very personal response to the original text. Considering how and why these musical composers used Catullus's poetry as their stimulus allows us to uncover new ideas about Catullus's poetry. By considering the very process of reception, Stephanie Oade takes a broader view of lyric, identifying traits and characteristics that are common to both music and poetry, thus transcending the boundaries of individual art forms in order to consider the genre in larger, interdisciplinary terms. It offers insights into compositional processes and challenges audiences to think about ways of engaging with music and poetry. More than anything, it shows how ancient voices continue to resound in modernity and offer everlasting expression for our own experiences and emotions.

Fifty of the world's most respected scholars cast opera as a fluid entity that continuously reinvents itself in a reflection of its patrons, audience, and creators.

Collects nine essays that discusses the creativity of influential artists, as well as the legacy of their work following their deaths, and covers Wolfgang Amadeus Mozart, Piet Mondrian, Frank Gehry, and others.

Focuses on the operatic soprano as the diva and her relationships with technology from the 1820s to the digital age.