Women in American Operas of the 1950s undoing gendered archetypes
The first feminist analysis of some of the most performed works in the American-opera canon, emphasizing the voices and perspectives of the sopranos who brought these operas to life. In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that woul...
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| Sprache: | English |
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University of Rochester Press
2023
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| Schriftenreihe: | Eastman studies in music
187 |
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| 500 | |a American Opera at Mid-century -- A Conniving Gold Digger : Elizabeth "Baby Doe" Tabor -- A "Really Vicious Monster" : Lizzie Andrew Borden -- A Chaste White Woman : Laurie Moss -- A Dangerous Jezebel : Susannah Polk -- Epilogue "The World So Wide" : Beyond the Virgin or the Whore in the Twenty-First Century | ||
| 520 | |a The first feminist analysis of some of the most performed works in the American-opera canon, emphasizing the voices and perspectives of the sopranos who brought these operas to life. In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so typically expressed in European opera: that is, of women as either saintly and pure or sexually corrupt, with no middle ground. As a result, in American opera of the 1950s, women risked becoming once again opera's inevitable victims. Yet the sopranos who were tasked with portraying these paragons of virtue and their opposites did not always take them as their composers and librettists made them. Sometimes they rewrote, through their performances, the roles they had been assigned. Sometimes they used their lived experiences to invest greater authenticity in the roles. With chapters on The Tender Land, Susannah, The Ballad of Baby Doe, and Lizzie Borden, this book analyzes some of the most performed yet understudied works in the American-opera canon. It acknowledges Catherine Clément's famous description of opera as "the undoing of women," while at the same time illuminating how singers like Beverly Sills and Phyllis Curtin worked to resist such undoing, years before the official resurgence of the American feminist movement. In short, they ended up helping to dismantle powerful gendered stereotypes that had often reigned unquestioned in opera houses until then | ||
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Datensatz im Suchindex
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| author | Hershberger, Monica |
| author_GND | (DE-588)121791532X |
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| bvnumber | BV049692514 |
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| dewey-search | 782.1/40973 |
| dewey-sort | 3782.1 540973 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.1017/9781800109100 |
| era | Geschichte 1950-1959 gnd |
| era_facet | Geschichte 1950-1959 |
| format | Electronic eBook |
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| spelling | Hershberger, Monica (DE-588)121791532X aut Women in American Operas of the 1950s undoing gendered archetypes Monica A Hershberger Rochester University of Rochester Press 2023 1 Online-Ressource (x, 228 Seiten) txt rdacontent c rdamedia cr rdacarrier Eastman studies in music 187 Title from publisher's bibliographic system (viewed on 10 Jan 2024) American Opera at Mid-century -- A Conniving Gold Digger : Elizabeth "Baby Doe" Tabor -- A "Really Vicious Monster" : Lizzie Andrew Borden -- A Chaste White Woman : Laurie Moss -- A Dangerous Jezebel : Susannah Polk -- Epilogue "The World So Wide" : Beyond the Virgin or the Whore in the Twenty-First Century The first feminist analysis of some of the most performed works in the American-opera canon, emphasizing the voices and perspectives of the sopranos who brought these operas to life. In the 1950s, composers and librettists in the United States were busy seeking to create an opera repertory that would be deeply responsive to American culture and American concerns. They did not break free, however, of the age-old paradigm so typically expressed in European opera: that is, of women as either saintly and pure or sexually corrupt, with no middle ground. As a result, in American opera of the 1950s, women risked becoming once again opera's inevitable victims. Yet the sopranos who were tasked with portraying these paragons of virtue and their opposites did not always take them as their composers and librettists made them. Sometimes they rewrote, through their performances, the roles they had been assigned. Sometimes they used their lived experiences to invest greater authenticity in the roles. With chapters on The Tender Land, Susannah, The Ballad of Baby Doe, and Lizzie Borden, this book analyzes some of the most performed yet understudied works in the American-opera canon. It acknowledges Catherine Clément's famous description of opera as "the undoing of women," while at the same time illuminating how singers like Beverly Sills and Phyllis Curtin worked to resist such undoing, years before the official resurgence of the American feminist movement. In short, they ended up helping to dismantle powerful gendered stereotypes that had often reigned unquestioned in opera houses until then Geschichte 1950-1959 gnd rswk-swf Women in opera Opera / United States / 20th century Oper (DE-588)4043582-9 gnd rswk-swf Frau Motiv (DE-588)4113617-2 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content USA (DE-588)4078704-7 g Oper (DE-588)4043582-9 s Frau Motiv (DE-588)4113617-2 s Geschichte 1950-1959 z DE-604 Erscheint auch als Druck-Ausgabe 9781648250613 https://doi.org/10.1017/9781800109100 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Hershberger, Monica Women in American Operas of the 1950s undoing gendered archetypes Women in opera Opera / United States / 20th century Oper (DE-588)4043582-9 gnd Frau Motiv (DE-588)4113617-2 gnd |
| subject_GND | (DE-588)4043582-9 (DE-588)4113617-2 (DE-588)4078704-7 (DE-588)4113937-9 |
| title | Women in American Operas of the 1950s undoing gendered archetypes |
| title_auth | Women in American Operas of the 1950s undoing gendered archetypes |
| title_exact_search | Women in American Operas of the 1950s undoing gendered archetypes |
| title_full | Women in American Operas of the 1950s undoing gendered archetypes Monica A Hershberger |
| title_fullStr | Women in American Operas of the 1950s undoing gendered archetypes Monica A Hershberger |
| title_full_unstemmed | Women in American Operas of the 1950s undoing gendered archetypes Monica A Hershberger |
| title_short | Women in American Operas of the 1950s |
| title_sort | women in american operas of the 1950s undoing gendered archetypes |
| title_sub | undoing gendered archetypes |
| topic | Women in opera Opera / United States / 20th century Oper (DE-588)4043582-9 gnd Frau Motiv (DE-588)4113617-2 gnd |
| topic_facet | Women in opera Opera / United States / 20th century Oper Frau Motiv USA Hochschulschrift |
| url | https://doi.org/10.1017/9781800109100 |
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