Abstract
One of the tasks of opera scholarship, broadly defined as an interdisciplinary enterprise, should be to include within its purview areas of investigation that have received little attention in purely musicological research. While it is obvious that libretto studies might form one such focus, there is a broader area that should not be ignored. This is the historical and cultural situation of opera and its reception, a subject usually excluded in formalist analyses and studies of musical sources or performance practice, often with the implicit assumption that the ‘aesthetic world’ of opera is self-contained or has nothing to do with the ‘real world’. Even if one does not subscribe to contemporary theory's penchant for subsuming art and history into textuality, the interactions between opera and its cultural context are many-sided and complex, and deserve full scholarly attention.
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