Opera and Society in Italy and France from

Volumes for Cambridge Studies in Opera explore the cultural, political, and social influences of the genre. As a cultural art form, opera is not produced in a vacuum. Rather, it is influenced, whether directly or in more subtle ways, by its social and political environment. In turn, opera leaves its mark on society and contributes to shaping the cultural climate. Studies to be included in the series will look at these various relationships including the politics and economics of opera, the operatic representation of women or the singers who portrayed them, the history of opera as theatre, and the evolution of the opera house. Book jacket.

List of illustrations	p. xi
List of tables	p. xii
List of musical examples	p. xiii
Notes on contributors	p. xv
Foreword	p. xxi
Acknowledgments	p. xxxii
Introduction: Opera and the academic turns	p. 1
The Representation of Social and Political Relations in Operatic Works
Introduction to Part I	p. 29
Venice's mythic empires: Truth and verisimilitude in Venetian opera	p. 34
Lully's on-stage societies	p. 53
Representations of le peuple in French opera, 1673-1764	p. 72
Women's roles in Meyerbeer's operas: How Italian heroines are reflected in French grand opera	p. 87
The effect of a bomb in the hall: The French "opera of ideas" and its cultural role in the 1920s	p. 115
The Institutional Bases for the Production and Reception of Opera
Introduction to Part II	p. 135
State and market, production and style: An interdisciplinary approach to eighteenth-century Italian opera history	p. 138
Opera and the cultural authority of the capital city	p. 160
"Edizioni distrutte" and the significance of operatic choruses during the Risorgimento	p. 181
Opera in France, 1870-1914: Between nationalism and foreign imports	p. 243
Fascism and the operatic unconscious	p. 267
Theorizing Opera and the Social
Introduction to Part III	p. 291
On opera and society (assuming a relationship)	p. 294
Symbolic domination and contestation in French music: Shifting the paradigm from Adorno to Bourdieu	p. 312
Rewriting history from the losers' point of view: French Grand Opera and modernity	p. 330
Conclusion: Towards a new understanding of the history of opera?	p. 351
Bibliography	p. 364
Index	p. 395
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Opera and Society in Italy and France from Monteverdi to Bourdieu

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