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Table of Contents

  1. Prima la musica, poi le parole?: Operatic Challenges to Word-Music Relations
  2. Linda Hutcheon, Michael Hutcheon
  3. pp. 869-880
  4. DOI: https://doi.org/10.1353/utq.2010.0239
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  1. Reading at the Opera
  2. William Germano
  3. pp. 881-898
  4. DOI: https://doi.org/10.1353/utq.2010.0241
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  1. 'A local habitation and a name': Britten Adapts Shakespeare
  2. Katherine R. Larson, Lawrence Wiliford
  3. pp. 899-921
  4. DOI: https://doi.org/10.1353/utq.2010.0242
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  1. 'Alles, was ist, endet:' On Dramatic Text, Absolute Music, Adorno, and Wagner's Ring
  2. Sherry D. Lee
  3. pp. 922-940
  4. DOI: https://doi.org/10.1353/utq.2010.0243
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  1. Opera as Translation: Ezra Pound's Le Testament
  2. Kimberly Fairbrother Canton
  3. pp. 941-957
  4. DOI: https://doi.org/10.1353/utq.2010.0244
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  1. The H(e)art of the Matter: Modernist Theatrical Liberalism in Pal Joey
  2. Andrea Most
  3. pp. 958-974
  4. DOI: https://doi.org/10.1353/utq.2010.0236
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  1. Swinging Modernism: Porter and Sinatra beneath the Skin
  2. Ira Wells
  3. pp. 975-990
  4. DOI: https://doi.org/10.1353/utq.2010.0238
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  1. A Change Ain't Gonna Come: Sam Cooke and the Protest Song
  2. Christopher Trigg
  3. pp. 991-1003
  4. DOI: https://doi.org/10.1353/utq.2010.0240
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  1. Contributors
  3. pp. i-ii
  4. DOI: https://doi.org/10.1353/utq.2010.0245
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  1. Introduction
  2. Andrew Dubois
  3. pp. 865-868
  4. DOI: https://doi.org/10.1353/utq.2010.0237
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