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E-book Opera for Everyone : The Industry's Experiments with American Opera in the Digital Age

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Penilaian

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In this quotation, Sharon draws together two concepts key to understanding The Industry’s vision of “opera for everyone”: the operatic genre’s historical elitism, and the role performance space plays in mediating this generic exclu-sivity. Sharon’s words highlight another juxtaposition as well, that between the site-specific spectacles created by The Industry and the fourth-walled grandeur of the “temples of art” where opera is typically performed in the United States. The Industry’s approach to operatic production and, indeed, the company’s working definition of the operatic genre represent a dramatic change within the opera world in the twenty-first century: a deliberate exo-dus from the institutional spaces of opera houses. His words also allude to one of the key tensions between historical and contemporary opera central to this book. As Opera for Everyone demonstrates, The Industry’s attempts to subvert opera’s elite reputation and create “opera for everyone” are com-plicated by the company’s own entanglements with the genre’s historical preoccupations.The production Heise and Sharon discuss in the interview, Invisible Cities (2013), was staged in the public space of LA’s Union Station. Both audience members and performers wandered the station during the perfor-mance, the musicians singing into microphones that transmitted the opera to the audience via headphones, regardless of where any individual was in the busy transit center. As Andrew’s observations illustrate, although Invisible Cities was performed in a public space that was for “everyone,” not every person occupies space in the same way. Invisible Cities may have brought spectating Angelenos face-to-face with the housing inequalities of their city, but it also incor-porated houseless individuals into the performance without their consent.3Additionally, musicologist Nina Eidsheim has pointed to how the opera enacted a form of sonic gentrification, in which paying audience members could listen to an acoustically enhanced version of the production through headphones while others in the station heard only unmediated voices sans orchestra.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

782.1 STE o

Penerbit

USA : University of Michigan Press., 2024

Deskripsi Fisik

309 hlm

Bahasa

English

ISBN/ISSN

9780472904303

Klasifikasi

782.1

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Dramatic Vocal Forms, Operas

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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