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Cambridge Opera Journal is a peer-reviewed journal published by Cambridge University Press, covering Musicology and Musical Analysis, Diverse Scientific and Economic Studies, Legal case studies and regulations.
| Publisher | Cambridge University Press |
|---|---|
| Reference style | Numbered Numbered — [1], [2] in the text [1] A. Smith, B. Jones, and C. Lee, A representative article title, Cambridge Opera Journal 12 (2023) 45–58.
Formats any DOI in the closest standard style — Cambridge Opera Journal has no published style definition, so this is an approximation. No sign-up. |
| Publishes research in | Musicology and Musical Analysis Diverse Scientific and Economic Studies Legal case studies and regulations Theater, Performance, and Music History Diverse Musicological Studies |
| ISSN | 0954-5867 |
| Citation impact (2-yr) | 0.17 |
| h-index | 31 |
| i10-index | 118 |
| Total citations | 3,957 |
| Top institutions publishing here | Perfect Harmony Health |
| Journal website | journals.cambridge.org |
| You get | A submission-ready PDF and the editable LaTeX source — ready to submit. |
Citations each year’s papers have accumulated so far — the most recent years are still building up.
Opera is rich in works that construct visions of the non-Western world and its inhabitants: Rameau's Les Indes galantes , Mozart's Die Entführung aus dem Serail , Bizet's Les Pêcheurs de perles , Verdi's Aida , Strauss's Salome , Puccini's Turandot . In these operas the representation of what recent critical theory calls ‘the Other’…
This essay addresses the materiality of voice in opera production, proposing a shift away from methodological models that posit voice as silent and disembodied towards one in which the body figures central. Comparing the voice in opera with the voice of the performative utterance, the article assesses the relevance of performativity to opera studies. A…
We publish here, by permission of Cornell University Press, two excerpts from Michel Poizat's L'Opéra, ou le cri de l'ange, a book that first appeared with the Parisian publisher A. M. Métailié in 1986. The extracts are taken from Arthur Denner's translation, which is due out with Cornell University Press in the spring of 1992…
Abstract France receives little attention in narratives about the sublime in the late eighteenth and the nineteenth centuries. This article will argue that the cataclysmic tableau at the climax of Cherubini's first opera for the Théâtre Feydeau in Paris, Lodoïska (1791), can be understood as part of a coherent and distinctively French discourse of the…
From time to time the question has been raised: ‘Is the character of Beckmesser an embodiment of Wagner's notorious anti-semitism?’ Theodor Adorno, who stated with reference to Beckmesser, Alberich and Mime that ‘all the rejects of Wagner's works are caricatures of Jews’, is frequently invoked, but the question is generally brushed aside, or answered summarily…
