David Charlton (Editor): The Cambridge Companion to Grand Opera

Well I haven't read all of this...and,given its nature it is not the sort of book you read cover to cover anyway, consisting as it does of a series of academic essays about the nature, history, characteristics and analyses of, Grand Opera.

The first section I read, and for me the most riveting was an account by David Pountney, whose wonderful ENO productions I saw many of in those glory days, about how he approached staging two classics of this genre , Rossini William Tell and Wagner Rienzi at the Vienna Opera. If they are ever evicted there, Steve Patriarca I will definitely come along to see them. P gave a series of super insights into how he made these works work on the modern stage with much insight into how he saw them and what aspects he wanted or needed to work with or against. It was very clear how much he respected the music and ensured that that was properly honoured which is an assumption made about modern directors of the Regie or near Regie school as often U fairly accused of ignoring so it was good to hear it from the horses mouth as it were. A highly stimulating article.

Hampered on the main marks of such work such as Halevy who had a very dull analytical chapter, and Meyerbeer had their moments. The Meyerbeer chapters were interesting as the analysis was not wholly and dryly factual but gave a sense of them as all embracing drama. I am looking forward to seeing Les Huguenots in Budapest in the next season. Interested Douglas Allan, István Jakab, Mei Szabo

, Fraser Hodges, Maria Voigt Hodges. For me, unsurprisingly, the chapternin Wagner and French opera was particularly fascinating, not least where it was shown how aspects of this genre could be found in every single one of his parks, even his latest...although invariably transmuted beyond immediate recognition. Chapter on La Muette, the original precursor, it seems of this genre, was disappointing although the use of mime was interesting fly explored.

Only section left is one that takes the various aspects of this genre..chorus, spectacle, dance etc etc...and explores the, so I have high hopes of this.

So this was a good section. Gave a really interesting picture of how there was 'a perfect storm' with so many elements all coming together at one time and place to create this genre. Well and clearly written with no clotted acadamese to make,communication difficult...and by this I do not mean technical language.

One other thing. Very disappointed with quality of illustrations. No colour and those there are seem to be poorly reproduced. Could not b more of a contrast with my current reading on Medieval MSS