1. A Note from the Guest Editor
  2. Arman Schwartz
  3. pp. 1-4
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  1. “Meanwhile, Let’s Go Back in Time”: Allegory, Actuality, and History in Robert Ashley’s Television Opera Trilogy
  2. David Gutkin
  3. pp. 5-48
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  1. Staging Crisis: Opera aperta and the 1959 Venice Biennale Commissions
  2. Harriet Boyd
  3. pp. 49-68
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  1. To do justice to opera’s “monstrosity”: Bernd Alois Zimmermann’s Die Soldaten
  2. Emily Richmond Pollock
  3. pp. 69-92
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  1. The Absent Diva: Notes toward a Life of Cathy Berberian
  2. Arman Schwartz
  3. pp. 93-104
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  1. Orality, Invisibility, and Laughter: Traces of Milan in Bruno Maderna and Virginio Puecher’s Hyperion (1964)
  2. Delia Casadei
  3. pp. 105-134
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  1. Lenz and New Aspects of Opera
  2. Bernd Alois Zimmermann, Elaine R. Fitz Gibbon, Emily Richmond Pollock
  3. pp. 135-139
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  1. Three Scenes from the Opera Die Soldaten
  2. Bernd Alois Zimmermann, Elaine R. Fitz Gibbon, Emily Richmond Pollock
  3. pp. 140-141
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  1. On Die Soldaten
  2. Bernd Alois Zimmermann, Elaine R. Fitz Gibbon, Emily Richmond Pollock
  3. pp. 142-144
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  1. The Future of Opera
  2. Bernd Alois Zimmermann, Elaine R. Fitz Gibbon, Emily Richmond Pollock
  3. pp. 144-151
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  1. The Geometry of Thomas Adès’s The Tempest
  2. Theodore Leinwand
  3. pp. 152-156
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  1. Power Exchange: Thomas Adès’s The Tempest
  2. Drew Daniel
  3. pp. 157-160
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  1. Tempest Ex Machina: A Review of the Opera Onstage
  2. Majel A. Connery
  3. pp. 161-165
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  1. Prospero’s Ossified Isle: Thomas Adès’s The Tempest
  2. Heather Wiebe
  3. pp. 166-168
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