Inventing The Opera House

This book examines the invention of the architecture of the modern opera house in Italy between the late fifteenth and late seventeenth centuries.

Inventing the Business of Opera explores public opera in its infancy, bringing to life the men and women who successfully established the new genre on the stages of Venice during the seventeenth century. All of the components necessary to opera production are highlighted, from the financial backing, to the libretto and the score, to the singers, dancers, the scenery, and the costumes.

Digital Scenography in Opera in the Twenty-First Century is the first definitive study of the use of digital scenography in Western opera production. The book begins by exploring digital scenography’s dramaturgical possibilities and establishes a critical framework for identifying and comparing the use of digital scenography across different digitally enhanced opera productions. The book then investigates the impacts and potential disruptions of digital scenography on opera’s longstanding production conventions, both on and off the stage. Drawing on interviews with major industry practitioners, including Paul Barritt, Mark Grimmer, Donald Holder, Elaine J. McCarthy, Luke Halls, Wendall K. Harrington, Finn Ross, S. Katy Tucker, and Victoria ‘Vita’ Tzykun, author Caitlin Vincent identifies key correlations between the use of digital scenography in practice and subsequent impacts on creative hierarchies, production design processes, and organisational management. The book features detailed case studies of digitally enhanced productions premiered by Dutch National Opera, Komische Oper Berlin, Opéra de Lyon, The Royal Opera, Covent Garden, San Francisco Opera, Santa Fe Opera, Théâtre Royal de la Monnaie, The Metropolitan Opera, Victorian Opera, and Washington National Opera.

In the current environment of a growing Muslim presence in Europe, young Muslims have started to develop a subculture of their own. The manifestations reach from religious rap and street wear with Islamic slogans to morally »impeccable« comedy. This form of religiously permissible fun and of youth-compatible worship is actively engaged in shaping the future of Islam in Europe and of Muslim/non-Muslims relations. Based on a vast collection of youth cultural artefacts, participant observations and in-depth interviews in France, Britain and Germany, this book provides a vivid description of Islamic youth culture and explores the reasons why young people develop such a culture.

On May 4, 1919, thousands of students protested the Versailles treaty in Beijing. Seventy years later, another generation demonstrated in Tiananmen Square. Climbing the Monument of the People's Heroes, these protestors stood against a relief of their predecessors, merging with their own mythology while consciously deploying their activism. Through an investigation of twentieth-century Chinese student protest, Fabio Lanza considers the marriage of the cultural and the political, the intellectual and the quotidian, that occurred during the May Fourth movement, along with its rearticulation in subsequent protest. He ultimately explores the political category of the "student" and its making in the twentieth century. Lanza returns to the May Fourth period (1917-1923) and the rise of student activism in and around Beijing University. He revisits reform in pedagogical and learning routines, changes in daily campus life, the fluid relationship between the city and its residents, and the actions of allegedly cultural student organizations. Through a careful analysis of everyday life and urban space, Lanza radically reconceptualizes the emergence of political subjectivities (categories such as "worker," "activist," and "student") and how they anchor and inform political action. He accounts for the elements that drew students to Tiananmen and the formation of the student as an enduring political category. His research underscores how, during a time of crisis, the lived realities of university and student became unsettled in Beijing, and how political militancy in China arose only when the boundaries of identification were challenged.

An epic cultural journey that reveals how Venetian ingenuity and inventions—from sunglasses and forks to bonds and currency—shaped modernity. How did a small, isolated city—with a population that never exceeded 100,000, even in its heyday—come to transform western civilization? Acclaimed anthropologist Meredith Small, the author of the groundbreaking Our Babies, Ourselves examines the the unique Venetian social structure that was key to their explosion of creativity and invention that ranged from the material to social. Whether it was boats or money, medicine or face cream, opera, semicolons, tiramisu or child-labor laws, these all originated in Venice and have shaped contemporary notions of institutions and conventions ever since. The foundation of how we now think about community, health care, money, consumerism, and globalization all sprung forth from the Laguna Veneta. But Venice is far from a historic relic or a life-sized museum. It is a living city that still embraces its innovative roots. As climate change effects sea-level rises, Venice is on the front lines of preserving its legacy and cultural history to inspire a new generation of innovators.

An orphan and thief, Hugo lives in the walls of a busy train station. He desperately believes a broken automaton will make his dreams come true. But when his world collides with an eccentric girl and a bitter old man, Hugo's undercover life are put in jeopardy. Turn the pages, follow the illustrations and enter an unforgettable new world!

"In this elegantly constructed study of the early decades of public opera, the conflicts and cooperation of poets, composers, managers, designers, and singers—producing the art form that was soon to sweep the world and that has been dominant ever since—are revealed in their first freshness."—Andrew Porter "This will be a standard work on the subject of the rise of Venetian opera for decades. Rosand has provided a decisive contribution to the reshaping of the entire subject. . . . She offers a profoundly new view of baroque opera based on a solid documentary and historical-critical foundation. The treatment of the artistic self-consciousness and professional activities of the librettists, impresarios, singers, and composers is exemplary, as is the examination of their reciprocal relations. This work will have a positive effect not only on studies of 17th-century, but on the history of opera in general."—Lorenzo Bianconi