Blackness in opera
I tiakina i:
| Kaituhi rangatōpū: | |
|---|---|
| Ētahi atu kaituhi: | , , |
| Hōputu: | Tāhiko īPukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
Urbana :
University of Illinois Press,
2013.
|
| Ngā marau: | |
| Urunga tuihono: | An electronic book accessible through the World Wide Web; click to view |
| Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
Rārangi ihirangi:
- Introduction: representing blackness on the operatic stage
- From Otello to Porgy: blackness, masculinity, and morality in opera / Naomi André
- Hearing the other in The masque of blackness / Sarah Schmalenberger
- Nationalism, racial difference, and "Egyptian" meaning in Verdi's Aida / Christopher R. Gauthier and Jennifer McFarlane-Harris
- Race, "realism," and fate in Frederick Delius's Koanga / Eric Saylor
- Political currents and black culture in Scott Joplin's Treemonisha / Ann Sears
- Clarence Cameron White's Ouanga! in the world of the Harlem Renaissance / Karen M. Bryan
- New paradigms in William Grant Still's Blue steel / Gayle Murchison
- Performers in Catfish Row: Porgy and Bess as collaboration / Gwynne Kuhner Brown
- Searching for "authenticity" in Paul Bowles's Denmark Vesey / Melissa J. de Graaf
- The politics of color in Oscar Hammerstein's Carmen Jones / Melinda Boyd
- Performing race in Ernst Krenek's Jonny spielt auf / Jonathan O. Wipplinger
- Il rodolfo nero, or the masque of blackness / George Shirley.