restricted access   Volume 22, Number 1, Winter 2006

Table of Contents

From: The Opera Quarterly

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p. 1

A Note from the Guest Editors

pp. 2-3

Mark Morris, Mickey Mouse, and Choreomusical Polemic

pp. 4-21

Golden Calves: The Role of Dance in Opera

pp. 22-37

Kitsch and the Ballet Schlagobers

pp. 38-64

"As if they didn't hear the music," Or: How I Learned to Stop Worrying and Love Mickey Mouse

pp. 65-89

Balanchine's La Valse: Meanings and Implications for Ravel Studies

pp. 90-116

Paul Dukas' La Péri as Interpreted by Two Balletic Collaborators

pp. 117-135


Balanchine on Stravinsky

pp. 136-138

The Dance Element in Stravinsky's Music

pp. 138-143

Note From the Stage

Moving Through the Interspace

pp. 144-147

Seven thoughts on Orfeo ed Euridice

pp. 147-154


A Note from the Reviews Editor

pp. 155-156


Rethinking Dance History: A Reader (review)

pp. 156-165


The Seven Deadly Sins (Die sieben Todsünden) (review)

pp. 165-169

General Reviews

Vocal Apparitions: The Attraction of Cinema to Opera (review)

pp. 170-172

I Dream a World: The Operas of William Grant Still (review)

pp. 173-176

Aida (review)

pp. 176-179

Ariadne auf Naxos (review)

pp. 179-181

Belisario (review)

pp. 182-184

Esclarmonde (review)

pp. 184-185

Scenes and arias from Fidelio, Lohengrin, Parsifal, Die Meistersinger von Nürnberg, Die Frau ohne Schatten, and Otello (review)

pp. 185-187

Fernando Cortez (review)

pp. 187-189

L'Italiana in Algeri (review)

pp. 189-190

Rusalka (review)

pp. 191-192

I Puritani, and: La vestale (review)

pp. 192-195

The Beginning of a Legend, and: Recital 1 (review)

pp. 195-200

Books Received

Books Received

p. 201


Contributors to This Issue

pp. 202-203