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001    on1382580000 
003    OCoLC 
005    20231201213020.0 
006    m     o  d         
007    cr una|||||||| 
008    230615t20242024miua    ob    001 0 eng d 
020    9780472903634|qopen access 
020    0472903632|qopen access 
020    |z9780472076291|qhardcover book 
020    |z9780472056293|qpaperback book 
024 7  10.3998/mpub.12324662|2doi 
035    (OCoLC)1382580000 
037    22573/cats8725747|bJSTOR 
040    EYM|beng|erda|epn|cEYM|dOCLCF|dOCLCQ|dOCLCO|dYDX|dOCLCQ
       |dGZM|dJSTOR 
049    CKEA 
050  4 ML1706 
082 04 782.1|qOCoLC|223/eng/20230705 
100 1  Cormier, Margaret|1https://orcid.org/0000-0002-7950-8311,
       |eauthor. 
245 10 Rape at the opera :|bstaging sexual violence /|cMargaret 
       Cormier. 
264  1 Ann Arbor, Michigan :|bUniversity of Michigan Press,
       |c2024. 
264  4 |c©2024 
300    1 online resource (185 pages) :|billustrations. 
336    text|btxt|2rdacontent 
337    computer|bc|2rdamedia 
338    online resource|bcr|2rdacarrier 
347    data file|2rda 
490 1  Music and social justice 
504    Includes bibliographical references (pages 177-185) and 
       index. 
520 3  The most-performed operas today were written at least a 
       hundred years ago and carry some outdated and deeply 
       problematic ideas. When performed uncritically, the 
       misogyny, racism, and other ideologies present in many of 
       these works clash with modern sensibilities. In Rape at 
       the Opera, Margaret Cormier argues that production and 
       performance are vital elements of opera, and that 
       contemporary opera practitioners not only interpret but 
       create operatic works when they put them onstage. Where 
       some directors explicitly respond to contemporary 
       dialogues about sexual violence, others utilize sexual 
       violence as a surefire way to titillate, to shock, and to 
       generate press for a new production. Drawing on archival 
       footage as well as attendance at live events, Cormier 
       analyzes productions of canonic operas from German, 
       Italian, and French traditions from the eighteenth to the 
       early twentieth century, including Die Entführung aus dem 
       Serail, Don Giovanni, La forza del destino, Un ballo in 
       maschera, Salome, and Turandot. In doing so, Cormier 
       highlights the dynamism of twenty-first-century opera 
       performance practice with regard to sexual violence, 
       establishes methods to evaluate representations of sexual 
       violence on the opera stage, and reframes the primary 
       responsibility of opera critics and creators as being not 
       to opera composers and librettists but to the public. 
542 1  |fThis work is licensed under the Creative Commons 
       Attribution-Non-Commercial 4.0 International License
       |uhttps://creativecommons.org/licenses/by-nc/4.0 
588    Description based on information from the publisher. 
648  7 2000-2099|2fast 
650  0 Opera|xProduction and direction|y21st century. 
650  0 Sex in opera. 
650  0 Rape|vDrama|xHistory and criticism. 
650  0 Women|xViolence against|vDrama|xHistory and criticism. 
650  7 Opera|xProduction and direction.|2fast 
650  7 Rape.|2fast 
650  7 Sex in opera.|2fast 
650  7 Women|xViolence against.|2fast 
650  7 MUSIC / General.|2bisacsh 
710 2  Michigan Publishing (University of Michigan),|epublisher. 
830  0 Music and social justice. 
914    on1382580000 
947    MARCIVE Processed 2024/05/08 
994    92|bCKE