Description
Book SynopsisTrade ReviewThis study is based largely on Edward Said’s work on Orientalism. The strength of the study is that Tarling approaches his topic primarily as a distinguished scholar of Southeast Asian history, secondarily as an aficionado of Western opera. His deep understanding of Orientalism allows him to express the complexity of globalization and globalization within an already complex art form. The long introduction provides a detailed multidisciplinary summary of the spread of opera within and beyond Europe. . . .[T]he explanation of the evolution of the genre itself is well researched and well documented; though not for the novice, it will be a good refresher for readers who are well versed in opera. Tarling provides no deep musical analysis, instead offering in-depth analysis of operas, grouping them thematically from the origins of the genre to modern contributions, and focusing on the libretti and performance history. The author bases his analysis largely on meticulously researched historical accounts and the scholarly works of others, grouping the operas together in new ways and considering them against what Said posits. Summing Up: Highly recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *
[Tarling's] accounts of . . . librettos and creative backgrounds, as well as relevant performance history, have been thoroughly researched and thought through. As informed as it is informative, the result is a consistently stimulating read, full of artistic and cultural insights—some of them surprising. * Opera *
Table of ContentsOverture Part One: Recitatives Chapter 1: Globalising and Glocalising Opera Chapter 2: The Genre Chapter 3: Orientalisms Part Two: Arias Chapter 4: Bible-based operas Chapter 5: Crusaders, Arabs and Turks Chapter 6: Egypt Chapter 7: India and Ceylon Chapter 8: China. Chapter 9: Japan Chapter 10: Russia Finale About the Author
