A Short History of Opera, fourth edition

Bibliography

This bibliography contains information for all works cited in the footnotes to this edition. Interested readers should consult the bibliography in the second and third (English-language) editions for additional works published before 1965 and 1988, respectively.

General

Abert, Hermann. Gesammelte Schriften und Vorträge. Halle an der Saale: Niemeyer, 1929.

Adler, Guido. Handbuch der Musikgeschichte unter Mitwirkung von Fachgenossen. Frankfurt am Main: Frankfurter Verlags-Anstalt, 1924.

Ambros, August Wilhelm. Geschichte der Musik. Vol. 4. 3rd ed. Revised and enlarged by Hugo Leichtentritt. Leipzig: Leuchart, 1909.

Austin, William. Music in the Twentieth Century from Debussy to Stravinsky. New York: Norton, 1966.

Bokina, John. Opera and Politics: From Monteverdi to Henze. New Haven, Conn.: Yale University Press, 1997.

Botstiber, Hugo. Geschichte der Ouvertüre und der freien Orchesterformen. Leipzig: Breitkopf & Härtel, 1913.

Brown, Howard Mayer, and Stanley Sadie, eds. Performance Practice: Music after 1600. London: Macmillan Publishers Ltd., 1989.

Bruneau, Alfred. La Musique française: Rapport sur la musique en France du XIIIe au XXe siècles; la musique à Paris en 1900. Paris: Fasquelle, 1901.

Bücken, Ernst. Der heroische Stil in der Oper. Leipzig: Kistner & Siegel, 1924.

Bustico, Guido. Bibliografia delle storie e cronistorie dei teatri italiani. Milan: Bollettino bibliografico musicale, 1929.

Chouquet, Gustave. Histoire de la musique dramatique en France. Paris: Firmin-Didot, 1873.

Clément, Félix. Dictionnaire des opéras (dictionnaire lyrique), rev. et mis à jour par Arthur Pougin. Paris: Larousse, [1905].

Combarieu, Jules. Histoire de la musique. 3rd ed. 3 vols. Paris: Colin, 1920.

Conrad, Peter. Romantic Opera and Literary Form. Berkeley and Los Angeles: University of California Press, 1977.

Dahlhaus, Carl. Neues Handbuch der Musikwissenschaft. 13 vols. Wiesbaden: Akademische Verlagsgesellschaft Athenaion, 1980–97.

Dahlhaus, Carl, and Dietrich Mack. Handbuch des Musiktheaters. Munich: Piper, 1985.

Denkmäler des Theaters: Inszenierung, Dekoration, Kostüm des Theaters. Munich: Piper, 1925–30. In 12 parts. Plates (some colored) in portfolios, with explanatory texts. Translated as Monumenta scenica: The Art of the Theatre. London: Batsford, 1925–31.

Eitner, Robert, ed. Publikationen älterer praktischer und theoretischer Musikwerke, vorzugsweise des XV.XVI. Jahrhunderts. Leipzig: Breitkopf & Härtel, 1873–1905.

Enciclopedia della spettacolo. 9 vols. Rome: Casa Editrice Le Machere, 1954–62.

Flaherty, Gloria. Opera in the Development of German Critical Thought. Princeton: Princeton University Press, 1978.

Fuld, James. The Book of World-Famous Libretti: The Musical Theater from 1598 to Today. New York: Pendragon, 1984.

Griffel, Margaret Ross. Operas in English. Westport, Conn.: Greenwood Press, 1999.

Grout, Donald Jay. Breve storia dell’opera. Translated by Caterina D’Amico de Carvalho. Milan: Rusconi, 1985.

———. A Short History of Opera. 1st ed. New York: Columbia University Press, 1947. 2nd ed., 1965.

Grout, Donald Jay, and Claude V. Palisca. A History of Western Music. 4th ed. New York: Norton, 1988.

Grout, Donald Jay, with Hermine W. Williams. A Short History of Opera. 3rd ed. New York: Columbia University Press, 1988.

Grove, Sir George. Dictionary of Music and Musicians. Edited by Eric Blom. 5th ed. 9 vols. London: Macmillan, 1954. Supplementary Volume. New York: St. Martin’s, 1961.

Grove’s Dictionary of Music and Musicians. 4th ed. Edited by H. C. Colles. 6 vols. London: Macmillan, 1940.

Haas, Robert M. Aufführungspraxis der Musik. Wildpark-Potsdam: Athenaion, [1931].

Kerman, Joseph. Opera as Drama. New York: Knopf, 1956. New and revised edition, Berkeley, University of California Press, 1988.

Krehbiel, Henry Edward. A Book of Operas. New York: Macmillan, 1928.

Kretzschmar, Hermann. Geschichte der Oper. Leipzig: Breitkopf & Härtel, 1919.

Lang, Paul Henry. Music in Western Civilization. New York: Norton, 1941.

Lavignac, Alexandre Jean Albert, ed. Encyclopédie de la musique et Dictionnaire du Conservatoire. Première Partie: Histoire de la musique. 5 vols. Paris: Delagrave, 1913–22.

Lindenberger, Herbert. Opera in History: From Monteverdi to Cage. Stanford, Calif.: Stanford University Press, 1998.

Loewenberg, Alfred, comp. Annals of Opera, 1597–1940: Compiled from the Original Sources. 2nd ed. 2 vols. Geneva: Societas Bibliographica, [1955].

Mantzius, Karl. A History of Theatrical Art in Ancient and Modern Times. 6 vols. London: Duckworth, 1903–21.

Marco, Guy A. Opera: A Research and Information Guide. New York: Garland, 1984.

Monaldi, Gino. Cantanti evirati celebri del teatro italiano. Rome: Ansonia, 1920.

Moser, Hans Joachim. Geschichte der deutschen Musik. 3 vols. Stuttgart and Berlin: Cotta, 1920–24.

Die Musik in Geschichte und Gegenwart. Edited by Friedrich Blume. 14 vols. Kassel and Basel: Bärenreiter, 1949–68.

Neumann, Frederick. Essays in Performance Practice. Ann Arbor, Mich.: UMI Research, 1982.

The New Grove Dictionary of American Music. Edited by H. Wiley Hitchcock and Stanley Sadie. 4 vols. London: Macmillan, 1986.

The New Grove Dictionary of Musical Instruments. Edited by Stanley Sadie. 3 vols. London: Macmillan, 1984.

The New Grove Dictionary of Music and Musicians. Edited by Stanley Sadie. 20 vols. London: Macmillan, 1980.

The New Grove Dictionary of Music and Musicians. 2nd ed. Edited by Stanley Sadie and John Tyrrell. 29 vols. London: Macmillan, 2001.

The New Grove Dictionary of Opera. Edited by Stanley Sadie. 4 vols. London: Macmillan, 1992.

Nicoll, Allardice. The Development of the Theatre. 4th ed. New York: Harcourt, Brace, 1958.

Pastor, Ludwig. The History of the Popes, from the Close of the Middle Ages. vols. 29, 30, and 31. London: Kegan Paul, 1938–40.

Rolland, Romain. Musiciens d’autrefois. 9th ed. Paris: Hachette, 1924. Translated as Some Musicians of Former Days. London: Kegan Paul, 1915.

Rosenthal, Harold, and John Warrack. Concise Oxford Dictionary of Opera. New York: Oxford University Press, 1979.

Schering, Arnold. Musikgeschichte Leipzigs. 3 vols. Leipzig: Kistner & Siegel, 1926.

———, ed. Geschichte der Musik in Beispielen. Leipzig: Breitkopf & Härtel, 1931. Reprint, 1950.

Schmidgall, Gary. Literature as Opera. New York: Oxford University Press, 1977.

Scholz, Jáno, ed. Baroque and Romantic Stage Design. New ed. New York: Siegel, 1928.

Schünemann, Georg. Geschichte der deutschen Schulmusik. Leipzig: Kistner & Siegel, 1928.

Smith, Patrick J. The Tenth Muse: A Historical Study of the Opera Libretto. New York: Knopf, 1970.

Solerti, Angelo, comp. and ed. Le origini del melodramma: Testimonianze dei contemporanei. Turin: Bocca, 1903. Reprint, Bologna: Forni, 1969.

Sternfeld, F. W. The Birth of Opera. Oxford: Clarendon Press, 1993.

Strunk, Oliver, ed. Source Readings in Music History. New York: Norton, 1950. Revised edition, New York: Norton, 1998.

Theatrical Designs from the Baroque through Neo-Classicism: Unpublished Material from American Private Collections. 3 vols. New York: Bittner, 1940.

U.S. Library of Congress. Division of Music. Catalogue of Opera Librettos Printed before 1800. Prepared by Oscar George Theodore Sonneck. 2 vols. Washington, D.C.: Government Printing Office, 1914.

———. Dramatic Music. (Class of M1500, 1510, 1520): Catalogue of Full Scores. Compiled by O. G. T. Sonneck. Washington, D.C.: Government Printing Office, 1908.

Van Witsen, Leo. Costuming for Operas: Who Wears What and Why. Bloomington: Indiana University Press, 1981.

Wellesz, Egon. Essays on Opera. Translated by Patricia Kean. London: Dobson, [1950].

Wolff, Hellmuth Christian. Oper: Szene und Darstellung von 1600 bis 1900. Leipzig: Deutscher Verlag für Musik, 1968.

Introduction

[Blount, Thomas]. Glossographia. London: The Newcombe for Humphrey Moseley and George Sawbridge, 1656.

Cone, Edward. “Music: A View from Delft.” MQ (1961), 47:439–53.

Evelyn, John. The Diary of John Evelyn. [First published in 1818.] Edited by S. de Beer. 6 vols. Oxford: Clarendon, 1955.

Grout, Donald Jay. A Short History of Opera. 1st ed. New York: Columbia University Press, 1947; 2nd ed., 1965.

Grout, Donald Jay, with Hermine W. Williams. A Short History of Opera. 3rd ed. New York: Columbia University Press, 1988.

Haweis, Hugh Reginald. Music and Morals. New York: Harper, 1872.

Kerman, Joseph. Opera as Drama. New York: Knopf, 1956. New and revised edition, Berkeley, University of California Press, 1988.

Pirrotta, Nino. Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays. Cambridge: Harvard University Press, 1984.

Saint-Evremond, Charles de Marguetel de St. Denis. Œuvres meslées. 3 vols. 2nd ed. London: Tonson, 1709. Reprint, 1741.

Solerti, Angelo, comp. and ed. Le origini del melodramma: Testimonianze dei contemporanei. Turin: Bocca, 1903. Reprint, Bologna: Forni, 1969.

Part I: To the End of the Sixteenth Century

Ambros, August Wilhelm. Geschichte der Musik. Vol. 4. 3rd ed. Revised and enlarged by Hugo Leichtentritt. Leipzig: Leuchart, 1909.

Anthony, James R. French Baroque Music from Beaujoyeulx to Rameau. New York: Norton, 1974. Revised edition, Portland, Oreg.: Amadeus Press, 1997.

Apollonio, Mario. Storia della commedia dell’arte. Rome: Augustea, 1930.

Aristotle. Poetics. Translated by Thomas Twining as Aristotle’s Treatise on Poetry. London: Payne, 1789.

Arundell, Dennis. The Critic at the Opera. London: Ernest Benn, 1957. Reprint, New York: Da Capo, 1980.

Axton, Richard, comp. Medieval French Plays. Translated by Richard Axton and John Stevens. New York: Barnes & Noble, 1971

[Bardi, Giovanni]. “Frammento di un trattato della musica degli antichi.” In Giovanni B. Doni, Lyra Barberina. Florentiae typis Caesareis (1763), 2:98–100.

Bartholomaeis, Vincenzo de, ed. Laude drammatiche e rappresentazioni sacre. 3 vols. Florence: Le Monnier, 1943. Reprint, 1967.

Beaujoyeulx, Balthasar de, et al., eds. Circé ou le Balet comique de la royne. Paris, 1582. Facsimile editions by Carol MacClintock and Lander MacClintock, (n. p.): American Institute of Musicology, 1971; and by Margaret McGowan, Binghamton, N. Y.: Center for Medieval and Renaissance Studies (SUNY), 1982.

Becherini, Bianca. “La musica nelle Sacre rappresentazioni Fiorentine.” RMI (1951), 53:193–241.

Bonfantini, Mario, ed. Le sacre rappresentazioni italiane: Raccolta di testi dal secolo XIII al secolo XVI. [Milan]: Bompiani, [1942].

Brand, C. P. Torquato Tasso: A Study of the Poet and of His Contribution to English Literature. Cambridge: Cambridge University Press, 1965.

Brown, Howard Mayer. Music in the French Secular Theater, 1400–1550. Cambridge: Harvard University Press, 1963.

———. Sixteenth-Century Instrumentation: The Music for the Florentine Intermedii. Musicological Studies and Documents 30. [Rome], 1973.

Buch, David Joseph. Dance Music from the Ballet de Cour, 1575–1651. Stuyvesant, N. Y.: Pendragon, 1994.

Burney, Charles. A General History of Music from the Earliest Ages to the Present Period. 4 vols. London: Printed for the Author, 1776–89. Reprint, with critical notes and introduction by Frank Mercer, New York: Dover, 1957.

———. The Present State of Music in France and Italy. London: Becket, 1773. Facsimile reprint of the 1773 edition. New York: Broude Bros., 1967.

Caccini, Guilio. Euridice. (Facsimile edition) Bologna: Forni, 1976.

———. Le nuove musiche. Florence: I. Marescotti, 1601 (1602). Reprint, New York: Performer’s Facsimile, [1987].

———. Le nuove musiche. Edited by H. Wiley Hitchcock. Vol. 9 of Recent Researches in the Music of the Baroque Era. Madison, Wisc.: A-R Editions, 1970. Revised edition, 1982.

Chailley, Jacques. “La Nature musicale du Jeu de Robin et Marion.” In Mélanges d’histoire du théâtre du moyen-âge et de la renaissance, offerts à Gustave Cohen. Paris: Librairie Nizet, 1950, 111–17.

Chambers, E. K. The Medieval Stage. 2 vols. London: Oxford University Press, 1903.

Christout, Marie-Françoise. Le Ballet de cour au XVIIe siècle. Geneva: Minkoff, 1987.

Cohen, Gustave. Histoire de la mise en scène dans le théâtre religieux français du moyen âge. New ed. Paris: Champion, 1926.

———, ed. Recueil de farces françaises inédites du XVe siècle. Cambridge, Mass.: Medieval Academy of America, 1949.

Collins, Fletcher. Medieval Church Music-Dramas: A Repertory of Complete Plays. Charlottesville: University Press of Virginia, 1976.

Corago, o vero alcune osservazioni per metter bene in scena le composizioni drammatiche, Il. Edited by Paolo Fabbri and Angelo Pompilio. Florence: Olschki, 1983.

Coussemaker, Edmond de. Drames liturgiques du moyen âge. Rennes: Vatar, 1860; Paris: Didron, 1861.

Crescimbeni, Giovanni M. Commentarii intorno all’ Istoria della poesia italiana. Vol 2.London: Becket, 1803.

D’Ancona, Alessandro. Origini del teatro italiano. 2nd ed. 2 vols. Turin: Loescher, 1891.

———. Sacre rappresentazioni dei secoli XIV, XV e XVI. 3 vols. Florence: Successori Le Monnier, 1872.

Davidson, Audrey E., ed. Holy Week and Easter Ceremonies and Dramas from Medieval Sweden. Kalamazoo, Mich.: Medieval Institute Publications, West Michigan University, 1990.

———. The Ordo Virtutum of Hildegard of Bingen: Critical Studies. Kalamazoo, Mich.: Medieval Institute Publications, West Michigan University, 1992.

Demuth, Norman. French Opera: Its Development to the Revolution. Sussex: Artemis,1963.

Dent, Edward J. “Notes on the Amfiparnaso of Orazio Vecchi.” SIMG (1910–11),12:330-47.

Doni, Giovanni Battista. Compendio del trattato de’ generi de’ modi della musica. Rome: Fei, 1635. [Abstract of a larger work, which was never published; portions of this work are quoted in Solerti, comp. and ed., Le origini del melodramma, under the title “Trattato della musica scenica.”]

———. Lyra Barberina AMФIXOP∆OΣ: Accedunt eisundem opera, pleaque nondum edita ad veterem musicam illustrandam pertinentia. 2 vols. Florentiae typis Caesareis, 1763.

———. “Trattato della musica scenica.” (See Doni, Compendio.)

Donington, Robert. The Rise of Opera. New York: Scribner, 1981.

Dunn, E. Catherine, ed. The Medieval Drama and Its Claudelian Revival. Washington, D.C.: Catholic University of America Press, 1970.

Einstein, Alfred. The Italian Madrigal. 2 vols. Princeton: Princeton University Press, 1949.

Fassler, Margot E. “The Feast of Fools and Danielis Ludus: Popular Tradition in a Medieval Cathedral Play.” In Plainsong in the Age of Polyphony. Edited by Thomas Forrest Kelly. Cambridge: Cambridge University Press, 1992, 65–99.

Les Fêtes du mariage de Ferdinand de Médicis et de Christine de Lorraine, Florence 1589. Paris: Éditions du Centre national de la recherche scientifique, 1963.

Flanigan, C. Clifford. “The Liturgical Context of the Quem quaeritis Trope.” In Studies in Medieval Literature in Honor of William L. Smoldon on His 82nd Birthday. Kalamazoo: Western Michigan University Press, 1974. Reprint from Comparative Drama (1974).

Ghisi, Federico.” Un Aspect inédit des intermèdes de 1589 à la cour medicéenne et le développement de courses masquées et des ballets équestres durant les premières decades du XVIIe siècle.” In Les Fêtes de la Renaissance. Paris: Éditions du Centre national de la recherche scientifique, 1956, 145–52.

———. Feste musicali della Firenze Medicea. Florence: Vallecchi, 1939. Reprint, 1969.

Greenburg, Noah, ed. The Play of Daniel. [Br. Mus. Egerton 2615.] New York: Oxford University Press, 1959.

Greg, Walter W. Pastoral Poetry and Pastoral Drama. London: Bullen, 1906.

Gros, Etienne. Philippe Quinault. Paris: Champion, 1926. Reprint, Geneva: Slatkine, 1990.

Guarini, Giambattista. Compendio della poesia tragicomica (1599). Translated in Literary Criticism. Edited by A. Gilbert. New York: American Book, 1940.

Guy, Henri, Essai sur la vie et les oeuvres littéraires du trouvère Adan de le Hale. Paris: Hachette, 1898.

Hamilton, Edith. “The Greek Chorus, Fifteen or Fifty?” Theatre Arts Monthly (1933), 17:459ff.

Hardison, O. B. Christian Rite and Christian Drama in the Middle Ages. Baltimore: Johns Hopkins University Press, 1965.

———. “Gregorian Easter Vespers and Early Liturgical Drama.” In The Medieval Drama and Its Claudelian Revival. Edited by E. C. Dunn. Washington, D.C.: Catholic University of America Press, 1970, 27–40.

Harris, Ellen T. Handel and the Pastoral Tradition. London: Oxford University Press, 1980.

Hildegard of Bingen. Ordo Virtutum. Edited by Audrey Davidson. Kalamazoo, Mich.: Medieval Institute Publications, West Michigan University, 1985.

Hill, John Walter. “‘O che nuovo miracolo!’: A New Hypothesis about the ‘Aria di Fiorenza.’” In In Cantu et in Sermone: For Nino Pirrotta on his 80th Birthday. Edited by Fabrizio Della Seta and Franco Pierno. Florence: Olschki, 1989, 283–322.

———. “Oratory Music in Florence, I: Recitar Cantando, 1583–1655.” Acta musicologica (1979), 51: 108–36, 246–67.

Hoffmann von Fallersleben, August Heinrich. In dulci jubilo … ein Beitrag zur Geschichte der deutschen Poesie. Hanover: Rumpler, 1854.

Ingegneri, Angelo. Della poesia rappresentativa e del modo di rappresentare le favole sceniche. Ferrara: Baldini, 1598.

Ivanovich, Cristoforo. Minerva al tavolino. 2nd ed. Venice: Pezzana, 1688.

Jubinal, Achille, ed. Mystères inédits du quinzième siècle. 2 vols. Paris: Téchener, 1837.

Kaufman, Henry W. “Music for a Favola Pastorale (1554).” In A Musical Offering: Essays in Honor of Martin Bernstein. Edited by E. H. Clinkscale and Claire Brook. New York: Pendragon, 1977. 163–82.

Kirkendale, Warren. L’Aria di Fiorenza, id est Il ballo del Gran Duca. Florence: Olschki, 1972.

———. Emilio de’ Cavalieri “gentiluomo romano”: His Life and Letters, His Role as Superintendent of All the Arts at the Medici Court, and His Musical Compositions. Florence: Olschki, 2001.

Krieg, Eduard. Das lateinische Osterspiel von Tours. (Anhang:“Das lateinische Osterspiel aus der Handschrift 927 [Ff. 1–8] der Stadtbibliothek von Tours.”) Wurzburg: Triltsch, 1956.

Kühl, Gustav. “Die Bordesholmer Marienklage, herausgegeben und eingeleitet.” Jahrbuch des Vereins für niederdeutsche Sprachforschung (1898), 24:1–75, and Musikbeilage of 14 pages.

Lindley, David, ed. The Court Masque. Manchester, N. H.: Manchester University Press, 1984.

Lucianus Samosatensis. Lucian. Translated by A. M. Harmon. 8 vols. New York: Macmillan, 1913–36. Contains “On the Dance,” 5:209–89.

Maniates, Maria Rilke. Mannerism in Italian Music and Culture, 1530–1630. Chapel Hill, N. C.: University of North Carolina Press, 1979.

Mantzius, Karl. A History of Theatrical Art in Ancient and Modern Times. 6 vols. London: Duckworth, 1903–21.

Mathiesen, Thomas. “New Fragments of Ancient Greek Music.” Acta musicologica (1981), 53:14–32.

McGee, Timothy J. “The Liturgical Placements of the Quem quaeritis Dialogue.” JAMS (1976), 29:1–29.

McGowan, Margaret M. L’Art du ballet de cour en France, 1581–1643. Paris: Éditions du Centre national de la recherche scientifique, 1963.

Ménestrier, Claude François. Des Ballets anciens et modernes selon les regales du théâtre. Paris: Guigard, 1682. Reprint, Geneva: Minkoff, 1972.

Minor, Andrew C., and Bonner Mitchell. A Renaissance Entertainment: Festivities for the Marriage of Cosimo I, Duke of Florence, in 1539. Columbia: University of Missouri Press, 1968.

Monteverdi, Claudio. L’Orfeo. Facsimile of the 1609 edition. Augsburg, 1927.

———. L’Orfeo. Facsimile of the 1615 edition. Farnborough, 1972.

Moser, Hans Joachim. Geschichte der deutschen Musik. 3 vols. Stuttgart and Berlin: Cotta, 1920–24.

Mountford, J. F. “Greek Music in the Papyri and Inscriptions.” In New Chapters in the History of Greek Literature. 2nd series. Edited by J. Powell and E. Barber. London: Oxford University Press, 1929, 146–83.

Müller-Blattau, Joseph M., ed. Die Kompositionslehre Heinrich Schützens in der Fassung seines Schülers Christoph Bernhard. Leipzig: Breitkopf & Härtel, 1926.

Nagler, Alois M. Theater Festivals of the Medici, 1539–1637. New Haven, Conn.: Yale University Press, 1964.

Neri, Achille. “Gli intermezzi del Pastor fido.” Giornale storico della letteratura italiana (1888), 11:405–15.

Nevile, Jennifer. “Cavalieri’s Theatrical Ballo, ‘O che nuovo miracolo’: A Reconstruction.” Dance Chronicle (1998), 21:353–88.

Newman, Barbara, ed. Voice of the Living Light. Berkeley: University of California Press, 1998.

Nicoll, Allardyce. The Development of the Theatre. 4th ed. New York: Harcourt, Brace, 1958.

Nolhac, Pierre, and Angelo Solerti. II viaggio in Italia di Enrico III, re di Francia, e le feste a Venezia, Ferrara, Mantova, e Torino. Turin: L. Roux, 1890.

Osthoff, Wolfgang. Theatergesang und darstellende Musik in der italienischen Renaissance (15. und 16. Jahrhundert). 2 vols. Tutzing: Hans Schneider, 1969.

Palisca, Claude V. “The Alterati of Florence, Pioneers in the Theory of Dramatic Music.” In New Looks at Italian Opera: Essays in Honor of Donald J. Grout. Edited by William Austin. Ithaca, N. Y.: Cornell University Press, 1968, 9–38.

———. “The First Performance of Euridice.” In Queens College Twenty-Fifth Anniversary Festschrift. New York: Queens College of CUNY, 1964.

———. Humanism in Italian Renaissance Musical Thought. New Haven and London: Yale University Press, 1985

———, ed. The Florentine Camerata: Documentary Studies and Translations. New Haven and London: Yale University Press, 1989.

———. Girolamo Mei (1519–94): Letters on Ancient and Modern Music to Vincenzo Galilei and Giovanni Bardi. A Study with Annotated Texts. 2nd ed. [Rome]: American Institute of Musicology, 1977.

Pedrell, Felipe. “La Festa d’Elche ou le drame lyrique liturgique, La mort et l’assomption de la Vierge.” SIMG (1900–1901), 2:203–52.

Pirrotta, Nino. “Commedia dell’arte and Opera.” MQ (1955), 41:305–24. (Reprinted as chap. 22 in Pirrotta, Music and Culture in Italy.)

———. Li due Orfei, Li. Torino: Eri, 1969.

———. Music and Culture in Italy from the Middle Ages to the Baroque: A Collection of Essays. Cambridge: Harvard University Press, 1984.

Pirrotta, Nino, with Elena Povoledo. Music and Theatre from Poliziano to Monteverdi. Translated by Karen Eales. Cambridge: Cambridge University Press, 1982.

Poliziano [Angelo Ambrogini]. Orfeo. In La favola di Orfeo, opera in un atto di Messer Angelo Ambrogini detto “Poliziano.” Edited by Alfredo Casella. Milan: Carisch, [1934].

———. Le stanze, l’Orfeo e le rime. Florence: Barbera, 1863.

Potter, Robert. “The Ordo Virtutum: Ancestor of the English Moralities?” In The Ordo Virtutum of Hildegard of Bingen: Critical Studies. Edited by Audrey Davidson. Kalamazoo, Mich.: Medieval Institute Publications, West Michigan University, 1992.

Richter, L. “Das Musikfragment aus dem Euripiderschen Orestes.” DJbM (1973), 16:111–49.

Ronga, Luigi. “Lettura storica dell’Amfiparnaso.” RassM (1953), 23:101–15.

Rothschild, James, Baron de, ed. Le Mistère du Viel Testament. 6 vols. Paris: Firmin-Didot, 1878–91.

Rubsamen, Walter. Literary Sources of Secular Music in Italy (ca. 1500). Berkeley and Los Angeles: University of California Press, 1943.

Sachs, Curt. Die Musik der Antike. Potsdam: Athenaion, [1928].

Saslow, James M. The Medici Wedding of 1589: Florentine Festival as “Teatrum Mundi.” New Haven and London: Yale University Press, 1996.

Schrade, Leo. La Représentation d’Edipo tiranno au Teatro Olimpico (Vicenze 1585). Paris: Éditions du Centre national de la recherche scientifique, 1960.

Shergold, Norman D. A History of the Spanish Stage: From Medieval Times until the End of the Seventeenth Century. Oxford: Clarendon, 1980.

Simon, Eckehard, ed. The Theatre of Medieval Europe: New Research in Early Drama. Cambridge: Cambridge University Press, 1991.

Smits van Waesberghe, Jos. “A Dutch Easter Play.” MD (1953), 7:15–37.

Smoldon, William L. The Music of the Medieval Church Dramas. Edited by Cynthia Bourgeault. London: Oxford University Press, 1980.

Smoldon, William L., and Noah Greenberg, eds. The Play of Herod. New York: Oxford University Press, 1965.

Solerti, Angelo. Gli albori del melodramma. 3 vols. Milan: Sandron, [1905]. Reprint, 1976.

———. Musica, ballo e drammatica alla corte Medicea dal 1600 al 1637. Florence: Bemporad, 1905. Reprint, Bologna: Forni, 1969.

———. “Primi saggi del melodramma giocoso.” RMI (1905), 12:814–38; (1906), 13:91–112.

———. Vita di Torquato Tasso. 3 vols. Rome: Loescher, 1895.

———, comp. and ed. Le origini del melodramma: Testimonianze dei contemporanei. Turin: Bocca, 1903. Reprint, Bologna: Forni, 1969.

———, ed. Ferrara e la corte Estense nella seconda metà del secolo decimosesto: I discorsi di Annibale Romei, gentiluomo ferrarese. Citta di Castello: Lapi, 1891.

Sonneck, Oscar George Theodore. Miscellaneous Studies in the History of Music. New York: Macmillan, 1921.

Sternfeld, F. W. The Birth of Opera. Oxford: Clarendon Press, 1993.

Stevens, John, and Richard Rastall. “Medieval Drama.” The New Grove Dictionary of Music (2001), 16:227–67.

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Symonds, John Addington. Renaissance in Italy: Italian Literature. 2 vols. New York: Holt, 1882.

Tasso, Torquato. Dialoghi. Edited by Ezio Raimondi. 3 vols. Florence: Sansoni, 1958.

Trend, John Brande. “The Mystery of Elche.” M&L (1920), 1: 145–57.

Vecchi, Giuseppe. Uffici drammatici padovani. Florence: Olschki, 1954.

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Zinar, Ruth. “The Use of Greek Tragedy in the History of Opera.” Current Musicology (1971) no. 12, 80–95.

Part II: The Seventeenth Century

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Bashford, Christina. “Perrin and Cambert’s Ariane ou le mariage de Bacchus Re-examined.” M&L (1991), 79:1–26.

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———. Vom Remter zum Gänsemarkt: Ans der Frühgeschichte der alten Hamburger Oper (1678–1697). Saarbrücken: Saarbrücken Druckerei, 1987.

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———. Music in the Late Renaissance & Early Baroque Italy. Portland, Oreg.: Amadeus Press, 1992.

———. “Non occorre nominare tanti musici: Private Patronage and Public Ceremony in Late Sixteenth-Century Florence.” In I Tatti Studies: Essays in the Renaissance. Florence: Villa I Tatti, 1993.

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Clarke, Henry Leland. “Dr. John Blow (1649–1708), Last Composer of an Era.” Ph.D. diss., Harvard University, 1947.

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DeLage, Joseph O., Jr. “The Overture in Seventeenth-Century Italian Opera.” Ann Arbor, Mich.: University Microfilms, 1961.

Della Corte, Andrea. “La forza d’amor paterno di Alessandro Stradella.” Musica d’oggi (1931), 13:389–94.

Dent, Edward J. Foundations of English Opera. Cambridge: Cambridge University Press, 1928.

Diderot, Denis. Le Neveu de Rameau. [1821]. Translated by Leonard Tancock as Rameau’s Nephew. Baltimore: Penguin, 1966.

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Ehrichs, Alfred. Giulio Caccini. Leipzig: Hesse & Becker, 1908.

Eitner, Robert, ed. Publikationen älterer praktischer und theoretischer Musikwerke, vorzugsweise des XV. XVI. Jahrhunderts. Leipzig: Breitkopf & Härtel, 1873–1905.

Emslie, McDonald. “Nicholas Lanier’s Innovations in English Song.” M&L (1960), 41:13–27.

Engländer, Richard. “Zur Frage der Dafne (1671) von G. A. Bontempi und M. G. Peranda.” Acta musicologica (1941), 13:59–77.

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Evans, Willa McClung. Ben Jonson and Elizabethan Music. Lancaster, Pa.: Lancaster Press, 1929.

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Fischer, Georg. Musik in Hannover. 2nd enlarged edition of Opern und Concerte im Hoftheater zu Hannover bis 1866. Hanover: Hahn, 1903.

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Part III: The Eighteenth Century

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Brown, Bruce Alan. Gluck and the French Theatre in Vienna. Oxford: Clarendon, 1991.

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——W. A. Mozart: Così fan tutte. Cambridge: Cambridge University Press, 1995.

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Cametti, Alberto. “Critiche e satire teatrali romane del ’700.” RMI (1902), 9: 1–35.

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Campanini, Naborre. Un precursore del Metastasio. Vol. 43 of Biblioteca critica della letterature italiana. Florence: Sansoni, 1904.

Cannon, Beekman C. Johann Mattheson, Spectator in Music. New Haven, Conn.: Yale University Press, 1947.

Carmena y Millán, Luis. Crónica de la ópera italian en Madrid desde et año 1738 hasta nuestros dias. Madrid: Minuesa de los Rios, 1878.

Carmody, Francis J. Le Repertoire de l’opéra-comique en vaudevilles de 1708 à 1764. Berkeley and Los Angeles: University of California Press, 1933.

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———. “Les Opéras de Gluck dans les parodies du XVIIIe siècle.” RM (1922), vol. 3, no. 5, 201–21; no. 6, 51—68.

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——.The History of a Baroque Opera: Alessandro Scarlatti’s Gli Equivoci nel sembiante. Stuyvesant, N. Y.: Pendragon, 1985.

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———. “Mattheson’s Arrangement of Handel’s Radamisto for the Hamburg Opera.” In New Mattheson Studies. Edited by G. J. Buelow and H. J. Marx. Cambridge: Cambridge University Press, 1983.

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———. L’opera comica italiana nel 1700. 2 vols. Bari: Laterza, 1923.

———. Paisiello: Con una tavola tematica. L’estetica musicale di P. Metastasio. Turin: Bocca, 1922.

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———. Foundations of English Opera. Cambridge: Cambridge University Press, 1928.

———. “Handel on the Stage.” M&L (1935), 16:174–87.

——Mozart’s Operas: A Critical Study. London: Chatto & Windus, 1913. 2nd ed. Oxford: Oxford University Press, 1947.

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———. Handel: A Documentary Biography. New York: Norton, 1955.

———. Mozart: A Documentary Biography. Stanford, Calif.: Stanford University Press, 1966.

———. Mozart und die Wiener Logen: Zur Geschichte seiner Freimauerer-Kompositionen. Vienna: Wiener Freimauerer-Zeitung, 1932.

DiChiera, David. “The Life and Operas of Gian Francesco di Majo.” Ph.D. diss., University of California, Los Angeles, 1962.

Diderot, Denis. Le Neveu de Rameau. [1821]. Translated by Leonard Tancock as Rameau’s Nephew. Baltimore: Penguin, 1966.

———. Le Neveu de Rameau: Satyre publiée pour la première fois sur le manuscrit original autographe. Paris: Plon, Nourrit, 1891.

[Ditters] von Dittersdorf, Karl. Karl von Dittersdorfs Lebensbeschreibung: Seinem Sohne in die Feder diktiert. Leipzig: Breitkopf & Härtel, 1801. Translated as The Autobiography of Karl von Dittersdorf. London: Bentley, 1896. Reprint, New York: Da Capo, 1970.

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Downes, Edward E. D. “The Neapolitan Tradition in Opera.” In International Musicological Society, Report of the Eighth Congress, New York. 1961. Kassel: Bärenreiter, 1961, 1:277–84.

———. “The Operas of Johann Christian Bach as a Reflection of the Dominant Trends in Opera Seria 1750–1780.” Ph.D. diss., Harvard University, 1958.

———. “Secco Recitative in Early Classical Opera seria (1720–80).” JAMS (1961), 14:50–69.

Druilhe, Paule. Monsigny. Paris: Colombe, [1955].

DuBos, Jean Baptiste. Critical Reflections on Poetry, Painting, and Music. Translated from the French. 5th ed. 3 vols. London: J. Nourse, 1748.

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———. Gluck. London: Dent, 1936. 2nd. ed. 1964.

Eisen, Cliff, ed. New Mozart Documents: A Supplement to O. E. Deutsch’s Documentary Biography. Stanford, Calif.: Stanford University Press, 1991.

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Engländer, Richard. “Gluck’s Cinesi und Orfano della China.” Gluck-Jahrbuch (1913), 1:54–81.

———. Johann Gottlieb Naumann als Opernkomponist. Leipzig: Breitkopf & Härtel, 1922. Reprint, 1970.

———. Joseph Martin Kraus und die Gustavianische Opera. Uppsala: Almquist & Wikselle, 1943.

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———. Théâtre de M. (et Mm.) Favart ou Recueil des comedies, parodies et opéras comiques donnes jusqu’à ce jour. 10 vols. Paris: DuChesne, 1763–92. Reprint, Geneva: Slatkine, 1971.

Feder, George. “A Special Feature of Neapolitan Opera Tradition in Haydn’s Vocal Works.” In Haydn Studies. Edited by Jens Peter Larsen et al. New York: Norton, 1975.

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Fiske, Roger. English Theatre Music in the Eighteenth Century. 2nd ed. Oxford: Oxford University Press, 1986.

———. “The Operas of Stephen Storace.” PRMA (1959–60), 86:29–44.

———. “A Score for The Duenna.” M&L (1961), 42:132–41.

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Ford, A. “Music and Drama in the Operas of Giovanni Bononcini.” PRMA (1974–75), 101: 107–20.

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———.Opera without Drama. Ann Arbor, Mich.: UMI Research, 1967.

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Fuchs, Marianne. “Die Entwicklung des Finales in der italiensichen Opera Buffa vor Mozart.” Ph.D. diss., University of Vienna, 1932.

Gagey, Edmond M. Ballad Opera. New York: Columbia University Press, 1937.

[Galliard, John Ernest (?), trans.]. A Comparison between the French and Italian Musick and Opera’s Translated from the French; with Some Remarks. To which is added A Critical Discourse upon Opera’s in England, and a Means proposed for Their Improvement. London: Printed for W. Lewis, 1709. [This anonymous translation of Raguenet’s Paralèle des Italiens et des François has usually been credited to John Ernest Galliard.]

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Goldschmidt, Hugo. Die Lehre von der vokalen Ornamentik. Vol. 1 of Das 17. und 18. Jahrhundert bis in die Zeit Glucks. Charlottenburg: Lehsten, 1907.

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———. “Die Reform der italienischen Oper des 18. Jahrhunderts und ihre Beziehungen zur musikalischen Aesthetik.” In III. Kongress der Internationalen Musikgesellschaft … Bericht. Leipzig: Breitkopf & Härtel, 1909, 196–207.

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———. “Mozart and the History of Opera.” [Lecture delivered at the Coolidge Auditorium of the Library of Congress, February 25, 1970.] Washington, D. C.: Library of Congress, 1972.

———. “The Music of the Italian Theatre at Paris, 1682–1697.” PAMS (1941), 158–70.

———. “The Origins of the Opéra-comique.” Ph.D. diss., Harvard University, 1939.

———. “Seventeenth-Century Parodies of French Opera.” MQ (1941), 27:211–19, 514–26.

———, ed. The Operas of Alessandro Scarlatti. 9 vols. Cambridge.: Harvard University Press, 1974–87.

Gruber, Gernot. “Das Autograph der Zauberflöte.” Mozart-Jahrbuch 1967, 127–49, and 1968, 99–110.

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———. Gluck und Durazzo im Burgtheater. Zurich: Amalthea, 1925.

———. “Die Musik in der Wiener deutscher Stegreifkomödie.” SzMw (1925), 12:1–64.

———. “Die Wiener Ballet-Pantomime im 18. Jahrhundert und Glucks Don Juan.” SzMw (1923), 10:3–36.

———. “Wiener deutsche Parodieopern um 1730.” ZfMw (1925–26), 8:201–25.

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Hardie, Graham Hood. “Leonardo Leo (1694–1744) and His Comic Operas Amor vuol sofferenza and Alidoro.” Ph.D. diss., Cornell University, 1973.

Harris, Ellen T. Handel and the Pastoral Tradition. London: Oxford University Press, 1980.

———. “The Italian in Handel.” JAMS (1980), 33:458–500.

Hauger, George. “William Shield.” M&L (1950), 31:337–42.

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Heartz, Daniel. “Coming of Age in Bohemia: The Musical Apprenticeships of Benda and Gluck.” Journal of Musicology (1988), 6:510–27.

———. “The Creation of the buffo Finale in Italian Opera.” PRMA (1977–78), 104:67–78.

———. “The Genesis of Idomeneo.” In his Mozart’s Operas. Edited, with contributing essays, by Thomas Bauman. Berkeley: University of California Press, 1990, 14–35.

———. “Goldoni, Don Giovanni, and the Dramma Giocoso.” In his Mozart’s Operas. Edited, with contributing essays, by Thomas Bauman. Berkeley: University of California Press, 1990, 194–205.

———. “The Great Quartet in Mozart’s Idomeneo.” In The Music Forum. Edited by Felix Salzer. New York: Columbia University Press, 1980, 5:233–56.

———. “Hasse, Galuppi, and Metastasio.” In Venezia e il melodramma nel Settecento. Edited by Maria Teresa Muraro. Venice: Olschki, 1978, 1:309–39.

———. “Haydn’s Acide e Galatea and the Imperial Wedding Operas of 1760.” In Joseph Haydn: Bericht über den Internationalen Joseph Haydn Kongress. Edited by Eva Badura-Skoda. Munich: G. Henle, 1986, 332–40.

———.Mozart’s Operas. Edited, with contributing essays, by Thomas Bauman. Berkeley: University of California Press, 1990.

———.“Orfeo ed Euridice: Some Criticisms, Revisions, and Stage-Realizations during Gluck’s Lifetime.” Chigiana (1973), new ser. 9–10:388–94.

———. “The Overture to La clemenza di Tito as Dramatic Argument.” MQ (1978), 64:29–49. Reprinted in his Mozart’s Operas, 319–41.

———. “The Poet as Stage Designer: Metastasio, Goldoni, and Da Ponte.” In his Mozart’s Operas. Edited, with contributing essays, by Thomas Bauman. Berkeley: University of California Press, 1990, 89–105.

———. “Raaff’s Last Aria: A Mozartian Idyll in the Spirit of Hasse.” MQ (1974), 60:517–43.

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Heller, Karl. Antonio Vivaldi: The Red Priest of Venice. Portland, Oreg.: Amadeus, 1997.

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Heriot, Angus. The Castrati in Opera. New York: Da Capo, 1974.

Heuss, Alfred. “Das dämonische Element in Mozarts Werken.” ZIMG (1906), 7:175–86.

———. Die Instrumental-Stücke des Orfeo und die venetianischen Opern-Sinfonien. Leipzig: Breitkopf & Härtel, 1906.

Hodges, Shelia. Lorenzo Da Ponte: The Life and Times of Mozart’s Librettist. New York: Universe, 1985.

Hoffmann, Ernst Theodor Amadeus. “Don Giovanni: A Marvelous Adventure Which Befell a Traveling Enthusiast.” Translated by Abram Loft. MQ (1945), 31:504–16.

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Holmes, William C.” Pamela Transformed.” MQ (1952), 38:581–94.

———. La Statira by Pietro Ottoboni and Alessandro Scarlatti: The Textual Sources with a Documentary Postscript. New York: Pendragon, 1983.

Holzer, Ludmilla. “Die komische Opern Glucks.” SzMw (1926), 13:3–37.

Horsley, Paul Joseph. “Dittersdorf and the Finale in Late Eighteenth-Century German Comic Opera.” Ph.D. diss., Cornell University, 1988.

Hortschansky, Klaus. “Mozart’s Ascanio in Alba und der Typus der Serenata.” AnMc (1978), 18:148–58.

———. Parodie und Entlehnung im Schaffen Christoph Willibald Glucks. Cologne: Volk, 1973.

Hucke, Helmuth. “Die neapolitanische Tradition in der Oper.” In International Musicological Society, Report of the Eighth Congress, New York. 1961. Kassel: Bärenreiter, 1961, 1:253–77.

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Hume, Robert D. “Handel and Opera Management in London in the 1730s.” M&L (1986), 67:347–62.

Hunt, Jno Leland. Giovanni Paisiello: His Life as an Opera Composer. New York: National Opera Association, 1975.

Hunter, Mary. “The Alla Turca Style in the Late Eighteenth Century: Race and Gender in the Symphony and the Seraglio.” In The Exotic in Western Music. Edited by Jonathan Bellman. Boston: Northeastern University Press, 1998, 49–52.

———. A Culture of Opera Buffa in Mozart’s Vienna: A Poetics of Entertainment. Princeton: Princeton University Press, 1999.

———. “A Fusion and Juxtaposition of Genres in Opera Buffa, 1770–1800: Anelli and Piccinni’s Griselda.” M&L (1986), 68:363–80.

Hunter, Mary, and James Webster. Opera Buffa in Mozart’s Vienna. Cambridge: Cambridge University Press, 1997.

Hunter, Richard Hugh. “Comic Scenes in Selected Operas of Alessandro Scarlatti.” Master’s thesis, Cornell University, 1983.

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Istel, Edgar. Die Entstehung des deutschen Melodrams. Berlin: Schuster & Loeffler, 1906.

———. Studien zur Geschichte des Melodrams. Vol. 1, Jean Jacques Rousseau als Komponist seiner lyrischen Szene Pygmalion. Leipzig: Breitkopf & Härtel, 1901.

Jackson, Paul J. “The Operas of David Perez.” Ph.D. diss., Stanford University, 1967.

Jobe, R. D. “The Operas of André-Ernest-Modeste Grétry.” Ph.D. diss., University of Michigan, 1965.

Jones, Gaynor. “Alessandro Scarlatti’s Il Ciro.” Hamburger Jahrbuch für Musikwissenschaft (1978), 3:225–37.

Joseph Haydn: Proceedings of the International Joseph Haydn Congress, Vienna, 1982. Edited by Eva Badura-Skoda. Munich: G. Henle, 1986. [Section III, 248–415, is devoted to Haydn’s operas.]

Jullien, Adolphe. La Cour et l’opéra sous Louis XVI. Paris: Didier, 1878.

Kanduth, Erika. “Silvio Stampiglia, poeta cesareo.” In L’opera italiana a Vienna prima di Metatasio. Edited by Maria Teresa Muraro. Florence: Olschki, 1990, 43–63.

Kelly, Michael. Reminiscences of Michael Kelly, of the King’s Theatre, and Theatre Royal Drury Lane. 2 vols. London: Colburn, 1826.

Kephart, Carolyn. “An Unknown Forerunner of The Beggar’s Opera.” M&L (1980), 61:266–71.

Kidson, Frank. The Beggar’s Opera: Its Predecessors and Successors. Cambridge: Cambridge University Press, 1922.

Kierkegaard, Søren. “The Immediate Stages of the Erotic or the Musical Erotic.” In Either/Or, a Fragment of Life. Vol. 1. Trans by David F. Swenson and Lillian Marvin Swenson. Princeton: Princeton University Press, 1944.

Kimbell, David. Italian Opera. New York: Cambridge University Press, 1991

King, Alexander Hyatt. Mozart in Retrospect: Studies in Criticism and Bibliography Westport, Conn.: Greenwood, 1976.

King, Richard. “The First ‘Abduction’ Opera: Lewis Theobald’s and John Ernest Galliard’s The Happy Captive (1741).” MQ (spring 2000), 84:137–63.

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———. A Hundred Years of Music. 4th ed. London: Duckworth, 1974.

———. “Wagner’s Second Thoughts.” In his Slavonic and Romantic Music. New York: St. Martin’s, 1968, chap. 25.

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Achter, Morton Jay. “Félicien David, Ambroise Thomas, and French opéra lyrique, Paris, 1850–1870.” Ph.D. diss., University of Michigan, 1972.

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———. The Operas of Puccini. New York: Oxford University Press, 1968.

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Ashbrook, William, and Gerardo Giccini. Mefistofele di Arrigo Boito. Milan: Ricordi, 1998.

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———. Rossini. Florence: La nuova Italia, 1992.

Balthazar, Scott L. “Mayr, Rossini, and the Development of the Early Concertato Finale.” Journal of the Royal Music Association (1991), 116:236–66.

Barbier, Patrick. Opera in Paris, 1800–1850: A Lively History. Portland, Oreg.: Amadeus, 1987.

Bartlet, M. Elizabeth C. “Archival Sources for the Opéra-Comique.” 19th-Century Music (1983), 7:119–29.

———. Etienne Nicolas Méhul and Opera: Source and Archival Studies of Lyric Theatre during the French Revolution, Consulate, and Empire. 2 vols. Heilbronn: Musik-Ed. Galland, 1999.

Barzun, Jacques. Berlioz and the Romantic Century. 2 vols. 3rd ed. New York: Columbia University Press, 1969.

———. Darwin, Marx, Wagner: Critique of a Heritage. 2nd ed. Garden City, N. Y.: Doubleday, 1958.

Bauer, Hans Joachim. Wagners Parsifal: Kriterien der Kompositiontechnik. Munich: Katzbichler, 1977.

Bauer, Oswald Georg. Richard Wagner: The Stage Designs from the Premiere to the Present. Translated from the German edition (1982). New York: Rizzoli International, 1983.

Becker, Heinz. Der Fall Heine-Meyerbeer: Neue Dokumente revidieren ein Geschichtsurteil. Berlin: Gruyter, 1958.

———. Giacomo Meyerbeer in Selbstzeugnissen und Bilddokumenten. Reinbek: Rowohlt Taschenbuch, 1980.

Beckett, Luch. Richard Wagner: Parsifal. Cambridge: Cambridge University Press, 1981.

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Bellini, Vincenzo. Epistolario. Edited by Luisa Cambi. Verona: Mondadori, 1943.

Berlioz, Hector. A Travers Chants: Études musicales. 2nd ed. Paris: M. Lévy, 1872.

———. Evenings with the Orchestra. Translated and edited with an introduction by Jacques Barzun. New York: Alfred A. Knopf, 1956.

———. Mémoires. Paris: M. Lévy, 1879. Translated as Memoirs of Hector Berlioz. Annotated and revised by Ernest Newman. New York: Tudor, [1935].

[Bizet, Georges.] RdM (November 1938), a special issue devoted to Bizet.

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Bollert, Werner. “Joseph Weigl und das deutsche Singspiele.” Aufsätze zur Musikgeschichte. Bottrop, 1958.

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———. La Vie et les oeuvres de Alfred Bruneau. Paris: Fasquelle, [1937].

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Brown, Clive. Louis Spohr: A Critical Biography. Cambridge: Cambridge University Press, 1984.

———. “Spohr, Faust, and Leitmotif.” MT (1984), 125:25–27.

———. “Spohr’s Jessonda.” MT (1980), 121:94–97.

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———. Musiques d’hier et de demain. Paris: Bibliothèque Charpentier, 1900.

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———. Die Musik des 19. Jahrhunderts bis zur Moderne. Wildpark-Potsdam: Akademische … Athenaion, 1929–32. Reprint, New York: Musurgia, 1949.

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Cairns, David. Berlioz. 2 vols. London: Allen Lane, 1989; 1999.

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Carner, Mosco. “The Exotic Element in Puccini.” MQ (1936), 22:45–67.

———. “Giacomo Puccini.” In The New Grove Masters of Italian Opera. New York: Norton, 1983.

———. Puccini: A Critical Biography. 2nd ed. London: Duckworth, 1974.

———. “Puccini’s Early Operas.” M&L (1938), 19:295–307.

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Chantavoine, Jean. Camille Saint-Saëns. Paris: Richard-Masse, 1947.

Chantavoine, Jean, and Jean Gaudefroy-Demombynes. Le Romantisme dans la musique européenne. Paris: Michel, 1955.

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———. Grétry and the Growth of Opéra-Comique. Cambridge: Cambridge University Press, 1986.

Chorley, Henry F. Modern German Music. 2 vols. 1854. Reprint, New York: Da Capo, 1973.

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Chusid, Martin. “Notes on the Performance of Rigoletto.” Verdi Newsletter (November 1980) no. 8.

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Cohen, H. R. “Berlioz and the Opera, 1829–1849.” Ph.D. diss., New York University, 1973.

Cole, Malcolm S. “Peter Winter’s Das unterbrochene Opferfest: Fact, Fantasy, and Performance Practice in Post-Josephinian Vienna.” In Music in Performance and Society: Essays in Honour of Roland Jackson. Edited by Malcolm Cole and John Koegel. Warren, Mich.: Harmonie, 1997, 291–324.

Combarieu, Jules. Historie de la musique. 3rd ed. 3 vols. Paris: Colin, 1920.

Conati, Marcello. “Between Past and Future: The Dramatic World of Rossini in Mosè in Egitto and Moïse et Pharaon.” 19th-Century Music (1980–81), 4:32–48.

———. Encounters with Verdi. Translated by Richard Stokes. Ithaca, N. Y.: Cornell University Press, 1984.

Cook, Peter. Hugo Wolf’s Corregidor. London: The author, 1976.

Cooper, Martin. French Music: From the Death of Berlioz to the Death of Fauré. London: Oxford University Press, 1969. Reprint, 1974.

Coquis, André. Léo Delibes: Sa vie et son oeuvre (1836–1891). Paris: Richard-Masse, 1957.

Cornelius, Carl Maria. Peter Cornelius, der Wort-und Tondichter. Regensburg: G. Bosse, [1925].

Corse, Sandra. Opera and the Uses of Language. London and Toronto: Associated University Presses, 1987.

Coults, J. “Jean-François Le Sueur: A Study of the Composer and Five of His Operas.” Ph.D. diss., University of Cardiff, 1966.

Crabbe, John. Hector Berlioz: Rational Romantic. London: Kahn & Averill, 1982.

Crosten, William L. French Grand Opera: An Art and a Business. New York: King’s Crown, 1948.

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———. La Légende de Sigurd. Paris: Fischbacher, [1889].

———. Léo Delibes. Paris: Legouix, 1926

Dahlhaus. Carl. Between Romanticism and Modernism: Four Studies in the Music of the Nineteenth Century. Translated by Mary Whittall. Berkeley and Los Angeles: University of California Press, 1980.

———. “Formprinzipien in Wagners Ring des Nibelungen.” Beiträge zur Geschichte der Oper. Edited by Heinz Becker. Regensburg: Bosse, 1969, 95–129.

———. Die Musik des 19. Jahrhunderts. Vol. 6 of Neues Handbuch der Musikwissenschaft. Wiesbaden: Athenaion, 1980.

———. Nineteenth-Century Music. Berkeley: University of California, 1989.

———. Richard Wagner’s Music Dramas. Cambridge: Cambridge University Press, 1992.

Damerini, Adelmo, ed. Luigi Cherubini nel il centenario della nàscita. Florence: Olschki, 1962.

Daninger, Josef C. Sage und Märchen im Musikdrama: Eine ästhetische Untersuchung an der Sagen-und Märchenoper des 19. Jahrhunderts. Prague: Hoffmanns Witwe, 1916.

Dauriac, Lionel. Meyerbeer. Paris: Alcan, 1913.

Dean, Winton. “Beethoven and Opera.” In the Beethoven Companion. Edited by Denis Arnold and Nigel Fortune. London: Faber, 1971.

———. Georges Bizet: His Life and Work. 3rd ed. London: Dent, 1975.

Deane, Basil. Cherubini. London: Oxford University Press, 1965.

Deathridge, John. “A Brief History of Wagner Research.” In Wagner Handbook. Edited by Ulrich Müller and Peter Wapnewski. Translation edited by John Deathridge. Cambridge: Harvard University Press, 1992, 202–23.

———. Wagner’s Rienzi: A Reappraisal Based on the Study of the Sketches and Drafts.Oxford: Clarendon, 1977.

Decaux, Alain. Offenbach, roi du second empire. [Paris]: Amiot, [1958].

De Donno, Alfredo. Mascagni nel 900 musicale. Rome: Edizioni casa del libro, [1935].

Della Corte, Andrea. L’opera comica italiana nel 1700. 2 vols. Bari: Laterza, 1923.

Delmas, Marc. Gustave Charpentier et le lyrisme français. Paris: Delagrave, 1931.

De Napoli, Giuseppe de. Amilcare Ponchielli (1834–1886): La vita, le opere, l’epistolario. Cremona: Società Editoriale “Cremona nuova,” 1936.

Dent, Edward J. “A Best-Seller in Opera [Flotow’s Martha].” M&L (1941), 22:139–54.

———. The Rise of Romantic Opera. The Messenger Lectures at Cornell University, 1937–38. Edited by Winton Dean. Cambridge: Cambridge University Press, 1976.

Destranges, Etienne. Le Chant de la cloche de Vincent d’Indy: Étude analytique. Paris: Tresse et Stock, 1890.

Dickinson, Alan Edgar Frederic. “The Structural Methods of the Ring.” MMR (1954), 84:87–92, 124–29.

Diderot, Denis. Le Neveu de Rameau. [1821]. Translated by Leonard Tancock as Rameau’s Nephew. Baltimore: Penguin, 1966.

Donington, Robert. Wagner’s Ring and Its Symbols: The Music and the Myth. 3rd ed. New York: St. Martin’s, 1974.

Dunhill, Thomas F. Sullivan’s Comic Operas: A Critical Appreciation. New York: Oxford University Press,. 1928.

Durr, Karl-Friedrich. Opern nach literarischen Vorlagen: Shakespeares The Merry Wives of Windsor in den Vertonungen von Mosenthal-Nicolai Die lustige Weiber von Windsor und Boito-Verdi Falstaff. Stuttgart: Heinz, 1979.

Eckermann, Johann Peter. Gespräche mit Goethe. 2 vols. Berlin: Bong, [1916].

Engländer, Richard. “Paërs Leonora und Beethovens Fidelio.” Neues Beethoven Jahrbuch (1930), 4:118–432.

Favre, Georges. Boieldieu: Sa vie—son oeuvre. 2 vols. Paris: Droz, 1944–45.

Fehr, Max. Richard Wagners Schweizer Zeit. Vol. 1 (1849–55); vol. 2 (1855–72). Aarau: H. R. Sauerländer, 1934; 1954.

Fischer, Georg. Musik in Hannover. 2nd enlarged edition of Opern und Concerte im Hoftheater zu Hannover bis 1866. Hanover: Hahn, 1903.

Florimo, Francesco. La scuola musicale di Napoli e i suoi conservatori. 2nd ed. 4 vols. Naples: Morano, 1880–82.

Flotow, Rosa. Friedrich von Flotows Leben von seiner Witwe. Leipzig: Breitkopf & Härtel, 1892.

Fouque, Octave. “Le Sueur comme prédécesseur de Berlioz.” In Les Révolutionnaires de la musique. Paris: Calmann-Lévy, 1882, 1–183.

Freeman, James. “Johann Simon Mayr and His Ifigenia in Aulide.” MQ (1971), 59:187–210.

Frensdorf, Victor Egon. Peter Winter als Opernkomponist. Erlangen: Junge, 1903.

Frese, C. Dramaturgie der grossen Opern Giacomo Meyerbeers. Berlin: Lienau, 1970.

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Gaartz, Hans. Die Opern Heinrich Marschners. Leipzig: Breitkopf & Härtel, 1912.

Galliver, David. “Léonore, ou L’amour conjugal: A Celebrated Offspring of the Revolution.” In Music and the French Revolution. Edited by Malcolm Boyd. Cambridge: Cambridge University Press, 1992, 157–68.

Gallois, Jean. Ernest Chausson: L’homme et l’oeuvre. Paris: Seghers, 1967.

Gammond, Peter. Offenbach: His Life and Times. Neptune City, N. J.: Paganiniana Publications, 1981.

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