Introductions

Paul Griffiths, "Music Theater," Modern Music and After. Oxford: Oxford University Press, 2011.

Eric Salzman and Thomas Desi, "Toward a Theory of the New Music Theater," The New Music Theater. Seeing the Voice, Hearing the Body. Oxford: Oxford University Press, 2008.

Arnold Whittall, “New Opera, Old Opera: Perspectives on Critical Interpretation,” Cambridge Opera Journal 21/2 (2010), 181-98.

Tom Sutcliffe, "21st-century opera - going for a song," in Belivieing in Opera, Princeton: Princeton University Press, 2014.

Arved Ashby,"Minimalist Opera,"" The Cambridge Companion to Twentieth-Century Opera, ed. Mervyn Cooke, Cambridge: Cambridge University Press, 2011, 244-66.

Alvin Lucier,"Einstein on the Beach,Notes on Experimental Music Wesleyan: Wesleyan University Press, 2012, 154-68.

Adams

Ryan Ebright"Doctor Atomic or: How John Adams Learned to Stop Worrying and Love Sound,", Cambridge Opera Journal 31/1 (2019), 85-117.

Yayoi Uno Everett, "John Adams’s Doctor Atomic:A Faustian Parable for the Modern Age?", Reconfiguring Myth and Narrative in Contemporary Opera, Bloomington: Indiana University Press, 2015, 124-65.

Adès

Edward Venn"Thomas Adès’s The Exterminating Angel,", Tempo 71/280 (2017), 21-46.

Laura Tunbridge"Exterminating the Recording Angel,", The Opera Quarterly 33/4 (2019), 63-76.

Morris, et. al. Review Colloquy: The Exterminating Angel,, The Opera Quarterly 34/4 (2019), 355-72.

Andriessen

Jelena Novak"Voice and Gender Standing Apart,", Postopera : reinventing the voice-body Farhmah, UK: Ashgate, 2015, 113-31.

Benjamin

Emma Dillon Jr., "Vocal Philologies: Written on Skin and the Troubadours," The Opera Quarterly 33/3-4 (2018), 207–48.

Cecilia Livingston, "Salt strange and sweet”’: Operatic Ironies in Written on Skin," DRAFT Opera in Flux Michigan: Michigan University Press, forthcoming.

Dun

Nancy Yunhwa Rao, "Inter-Asia Sensibility—Tan Dun’s Tea: A Mirror of Soul," DRAFT Opera in Flux Michigan: Michigan University Press, forthcoming.

Dusapin

Jacaques Amblard,"Dusapin's Third Style in Faustus, the Last Night,", revised chapter from The Oxford Handbook of Faust in music, New York, Oxford University Press, 2019, 449-58.

Caroline Ehman, Reimagining Faust in Postmodern Opera, PhD diss., 2013.

Lachenmann

David Metzer"Sonic flux,", Musical Modernism at the Turn of the Twenty-First Century, Cambridge: Cambridge University Press, 2009, 195-221.

Amy Bauer, excerpt "Contemporary opera and the failure of language,"The Routledge Research Companion to Modernism in Music, ed. Björn Heile and Charles Wilson, Farnham: UK: Ashgate/Routledge, 2019, 437-39.

Trent Leipert"Lachenmann’s Silent Voices (and the Speechless Echoes of Nono and Stockhausen),", Twentieth-Century Music 16/3 (2019), 589-619.

Christian Grüny"Zustände, die sich verändern”: Helmut Lachenmanns Musik mit Bildern – und anderem’,", Helmut Lachenmann: Musik mit Bildern? , Matteo Nanni and Matthias Schmidt, ed., Fink, 2012, 38-68.

Lang

Amy Bauer, "“The Mysteries of Selma, Alabama” Re-telling and Remembrance in David Lang’s The Difficulty of Crossing a Field,"In Search of the ‘Great American Opera’: tendenzen der americanischen Musicheaters, Gregory Herzfeld and Frédéric Döhl, ed. Münster and New York: Waxman-Verlag, 2016.

Ligeti

Amy Bauer, Excerpt from "The transparent tangle of history,", Ligeti’s Laments: Nostalgia, Exoticism, and the Absolute Farnham, UK: Ashgate, 2011.

Yayoi Uno Everett, "Signification of Parody and the Grotesque in György Ligeti's Le Grand Macabre," Music Theory Spectrum 31/1 (2009), 26-56.

Peter Edwards, "Resisting Closure: The Passacaglia Finale from György Ligeti's Le Grand Macabre," Music Analysis 35/2 (2016), 258-78.

Saariaho

Julian Anderson"Seductive Solitary. Julian Anderson Introduces the Work of Kaija Saariaho,", The Musical Times 133/1798 (1992), 616-19.

Joy H. Calico, “Saariaho’s L’Amour de Loin. Modernist Opera in the Twenty-First Century,”Modernism and Opera Matthew Wilson Smith, Richard Begam, ed., NY: John Hopkins Press, 2016, 341-360.

Pirkko Moisala, “Dramas,”Kaija Saariaho, Champaign, IL: University of Illinois Press, 2009, 93-102.

David Metzer"Lament,", Musical Modernism at the Turn of the Twenty-First Century, Cambridge: Cambridge University Press, 2009, 163-67.

Sciarrino

Amy Bauer, excerpt "Contemporary opera and the failure of language,"The Routledge Research Companion to Modernism in Music, ed. Björn Heile and Charles Wilson, Farnham: UK: Ashgate/Routledge, 2019, 439-42.

Christian Utz"Statische Allegorie und “Sog der Zeit”: Zur strukturalistischen Semantik in Salvatore Sciarrinos Oper Luci mie traditrici,"Musik & Ästhetik,14/1 (2010), 37-60.

Vivier

Amy Bauer, excerpt "Contemporary opera and the failure of language,"The Routledge Research Companion to Modernism in Music, ed. Björn Heile and Charles Wilson, Farnham: UK: Ashgate/Routledge, 2019, 435-37.

Wuorinen

Yayoi Uno Everett, "Narrative Agencies in Annie Proulx and Charles Wuorinen’s Brokeback Mountain (2014)," DRAFT, Opera in Flux Michigan: Michigan University Press, forthcoming.

 

Additional recommended readings

Herbert Lindenberger, "Towards a Characterization of Modern Opera," Modernist Cultures 2/1 (2007), 84-93.

Wayne Heisler Jr., "Are 'Works' Enough?," The Opera Quarterly 35/1-2 (2019), 135–38

Björn Heile, “Recent Approaches to Experimental Music Theatre and Contemporary Opera,” Music and Letters 87/1 (2006), 72–81.