Opera on Screen is both a historical survey of this hybrid genre and an illuminating analysis of its conventions. The book focuses on such issues as how the original works are altered in the process of adaptation, the relationship between sound and image, how film directors manipulate time through techniques such as updating ahd flashback, and how we as spectators adapt our patters of listening to (and looking at) opera on screen.

Reviews

Beginning with a chronological introduction to opera-media interaction, Citron (Rice Univ.; Gender and the Musical Canon) analyzes several filmed or videotaped operas using elements of contemporary academic discourseDgender roles, class divisions, sexual identity, etc. She addresses both familiar targets such as Peter Sellars's Mozart series and Franco Zeffirelli's productions as well as films that are less well known (to American audiences) such as Hans-J rgen Syberberg's Parsifal and Michael Powell and Emeric Pressburger's Tales of Hoffmann. Her cogent statements and fluid language make the reader eager to (re)view the operas, although the overuse of the term diegetic (in film criticism and theory, the totality of the physical world experienced by the characters) is off-putting. Extensive up-to-date research is evident, though the author does draw a few far-fetched conclusions (e.g., that Prince Charles and Princess Diana's appearance in the audience of Brian Large's Otello video foreshadows their relationship difficulties). A valuable resource for opera and film scholars, this volume is recommended for specialized collections and academic and larger public libraries.DBarry Zaslow, Miami Univ. Libs., Oxford, OH
Copyright 2000 Reed Business Information, Inc.

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