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Larry Wolff is Silver Professor of History at NYU, co-director of NYU Florence, and the author of The Shadow of the Empress: Fairy-Tale Opera and the End of the Habsburg Monarchy, forthcoming in spring 2023. (September 2022)
A Halo of Nostalgia
The frivolous charms of Viennese operetta helped preserve a sense of Habsburg identity after the breakup of the empire.
The Operetta Empire: Music Theater in Early Twentieth-Century Vienna
by Micaela Baranello
November 4, 2021 issue
Phantasms of the Opera
The invention of gas illumination offered operagoers in the mid-nineteenth century “a completely new experience of light” that reshaped operatic composition and performance.
Grand Illusion: Phantasmagoria in Nineteenth-Century Opera
by Gabriela Cruz
Curtain, Gong, Steam: Wagnerian Technologies of Nineteenth-Century Opera
by Gundula Kreuzer
March 11, 2021 issue
What China Sounded Like
Listening to China: Sound and the Sino-Western Encounter, 1770–1839
by Thomas Irvine
September 24, 2020 issue
A Resonant Centenary for Strauss in Vienna
Strauss and Hofmannsthal’s lavish operatic fairy tale of political and social renewal opened exactly a century ago—just as an unprecedented political crisis threatened to subvert the legitimacy of the hundred-year-old Austrian republic. Today, it has a somewhat different resonance for an Austrian republic shaken by scheming politicians.
June 13, 2019
I Feel Pretty
by Leonard Bernstein, performed by the Mostly Mozart Festival Orchestra, conducted by Louis Langrée, Lincoln Center, New York City, July 17–18, 2018
Famous Father Girl: A Memoir of Growing Up Bernstein
by Jamie Bernstein
by Paul R. Laird
September 27, 2018 issue
All the World’s a Stage
The Politics of Opera: A History from Monteverdi to Mozart
by Mitchell Cohen
December 7, 2017 issue
The Siege of Corinth
an opera by Gioachino Rossini, produced by La Fura dels Baus, at the Rossini Opera Festival, Pesaro, Italy, August 10–19, 2017
October 12, 2017 issue
Wagner on Trial
In Barrie Kosky’s new production of Die Meistersinger, which opened the 2017 Bayreuth Festival, the musical cobbler Hans Sachs has been restyled as his creator Richard Wagner, isolated in the witness box at the Nuremberg Trials, and we the audience have now become the tribunal, passing judgment on him.
August 8, 2017
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