Show Summary Details
- Title Pages
- Frontispiece
- Dedication
- Foreword Singing in the Dark
- Preface
- Introduction Representing Blackness on the Operatic Stage
- 1 From Otello to Porgy
- 2 Hearing the Other in <i>The Masque of Blackness</i>
- 3 Nationalism, Racial Difference, and “Egyptian” Meaning in Verdi’s <i>Aida</i>
- 4 Race, “Realism,” and Fate in Frederick Delius’s <i>Koanga</i>
- 5 Political Currents and Black Culture in Scott Joplin’s <i>Treemonisha</i>
- 6 Clarence Cameron White’s <i>Ouanga!</i> in the World of the Harlem Renaissance
- 7 New Paradigms in William Grant Still’s <i>Blue Steel</i>
- 8 Performers in Catfish Row
- 9 Searching for “Authenticity” in Paul Bowles’s <i>Denmark Vesey</i>
- 10 The Politics of Color in Oscar Hammerstein’s <i>Carmen Jones</i>
- 11 Performing Race in Ernst Krenek’s <i>Jonny spielt auf</i>
- 12 Il Rodolfo Nero, or The Masque of Blackness
- Contributors
- Index
- Production Credits
Production Credits
Production Credits
- Source:
- Blackness in Opera
- Publisher:
- University of Illinois Press
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- Title Pages
- Frontispiece
- Dedication
- Foreword Singing in the Dark
- Preface
- Introduction Representing Blackness on the Operatic Stage
- 1 From Otello to Porgy
- 2 Hearing the Other in <i>The Masque of Blackness</i>
- 3 Nationalism, Racial Difference, and “Egyptian” Meaning in Verdi’s <i>Aida</i>
- 4 Race, “Realism,” and Fate in Frederick Delius’s <i>Koanga</i>
- 5 Political Currents and Black Culture in Scott Joplin’s <i>Treemonisha</i>
- 6 Clarence Cameron White’s <i>Ouanga!</i> in the World of the Harlem Renaissance
- 7 New Paradigms in William Grant Still’s <i>Blue Steel</i>
- 8 Performers in Catfish Row
- 9 Searching for “Authenticity” in Paul Bowles’s <i>Denmark Vesey</i>
- 10 The Politics of Color in Oscar Hammerstein’s <i>Carmen Jones</i>
- 11 Performing Race in Ernst Krenek’s <i>Jonny spielt auf</i>
- 12 Il Rodolfo Nero, or The Masque of Blackness
- Contributors
- Index
- Production Credits
