The Cambridge Companion to Seventeenth-Century Opera

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La editorial Cambridge University Press ha publicado The Cambridge Companion to Seventeenth-Century Opera, editado por Jacqueline Waeber, profesora de música en la Duke University, North Carolina. Su investigación musicológica se centra en la cultura musical francesa, desde la época barroca hasta principios del siglo XX. Es editora de Musique et Geste en France de Lully à la Révolution (Peter Lang, 2009) y autora de En musique dans le texte: Le mélodrame, de Rousseau à Schoenberg (Van Dieren Éditeur, 2006).

The Cambridge Companion to Seventeenth-Century Opera^* forma parte de la prestigiosa colección de monografías Cambridge Companions to Music. La monografía ha sido redactada por doce autoras y dos autores. 

El capítulo dedicado a la Ópera en los territorios de la corona española ha sido encargado a  Louise K. Stein, profesora de la Universidad de Michigan, autora de Songs of Mortals, Dialogues of the Gods: Music and Theatre in Seventeenth-Century Spain (Oxford University Press, 1993) y editora de las óperas Celos aun del aire matan de Juan Hidalgo (Reichenberger, 2014) y La púrpura de la Rosa de Tomás de Torrejón y Velasco y J. Hidalgo (ICCMu, 1999).

Esta es la descripción del volumen proporcionada por la editorial:

The Cambridge Companion to Seventeenth-Century Opera is a much-needed introduction to one of the most defining areas of Western music history - the birth of opera and its developments during the first century of its existence. 
From opera's Italian foundations to its growth through Europe and the Americas, the volume charts the changing landscape – on stage and beyond – which shaped the way opera was produced and received. 
With a range from opera's sixteenth-century antecedents to the threshold of the eighteenth century, this path breaking book is broad enough to function as a comprehensive introduction, yet sufficiently detailed to offer valuable insights into most of early opera's many facets; it guides the reader towards authoritative written and musical sources appropriate for further study. 
It will be of interest to a wide audience, including undergraduate and graduate students in universities and equivalent institutions, and amateur and professional musicians.

Índice de The Cambridge Companion to Seventeenth-Century Opera

Preface and acknowledgments

List of abbreviations

Part I. The Italian Foundations:

1. Florence Barbara Russano Hanning, Opera is born: the wedding of music and drama in late Renaissance 
2. Tim Carter, '…e poi le parole': towards a history of the libretto 
3. Sara Elisa Stangalino, Aria, Recitative, and Chorus in Italian Opera 
4. Margaret Murata, Opera as spectacle, opera as drama 

Part II. Society, Institutions and Production:

1. Beth L. Glixon, Opera for a paying public (Italy c. 1637–c. 1700) 
2. Colleen Reardon, 'Una bella voce, un bel trillo, d un bel passaggio': opera singers in seventeenth-century Italy 
3. Christine Jeanneret, Opera, gender and voice 
4. Rebecca Harris-Warrick, Dance and ballet 
5. Roger Savage, Staging opera in the seventeenth century 

Part III. National Traditions (Outside Italy):

1. Laura Naudeix, Opera in France c. 1640–c. 1710 
2. Jacqueline Waeber, Song and declamation in French opera 
3. Amanda Eubanks Winkler, Opera in England
4. Michael Maul, The development of opera in German 
5. Louise K. Stein, Opera in Spain and the Spanish dominions in Italy and the Americas 

Bibliography

Index.