qOutstanding. Kramer's scholarship is as impeccable as his insights are at once original and consistently brilliant. The presentation is thorough, and the argument is well anchored in theory, history and musical detail. Kramer's discourse is crystalline and jargon free. The connections from one chapter to another are seamless. The story is, simply stated, a page-turner.q--Richard Leppert, editor of Theodor W. Adorno's qEssays on Music q qLawrence Kramer's qOpera and Modern Cultureq is remarkable both for its imaginative exploration of important issues and for the rich array of the author's engagements with other thinkers. In particular, by decentering without dismissing the composer (who could dismiss Wagner?), he makes works of reception--productions of Salome on video, uses of the Lohengrin Prelude by Charlie Chaplin and W.E.B. Du Bois--central texts in the process of understanding the phenomenon of opera, rather than footnotes to an idea that he really does dismiss: 'the work itself.'q--James Parakilas, author of qPiano Roles: 300 Years of Life with the Piano and Introduction to Operaq (forthcoming)Kramera#39;s discourse is crystalline and jargon free. The connections from one chapter to another are seamless. The story is, simply stated, a page-turner.
|Title||:||Opera and Modern Culture|
|Publisher||:||Univ of California Press - 2004|