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Information Viva la Liberta - Politics in Opera by AnthonyArblaster is published by Verso in 1992 in London GreatBritain It was the books first edition and publication Thebook contains 340 pages of text no illustrations andincludes a tables of contents nine main chapters conclusionnotes and and an index The chapters start with the period ofmodern politics the French Revolution in 1789 and withMozart Class Conflict and Enlightenment from that periodtill modern opera musicals in Democratic Opera Victimsas Heroes All nine chapters are written by the same authorAnthony Arblaster Each chapter tries to concentrate on oneto a few composers from the same period who share similarpolitical views and actions Each chapter can be viewed asan individual work essay The nine chapters follow the timeframe sequentially and are respectively Ch1 Mozart ClassConflict and Enlightenment Ch2 Opera and RevolutionCh3 Patria Oppressa Rossini Bellini Donizetti andRisorgimento Nationalism I Ch4 Verdi the LiberalPatriot Ch5 Wagner from Revolution to Racism Ch6Russia Czechoslovakia and a Footnote on EnglandNationalism II Ch7 Women in Opera Ch8 Interlude -Opera without Politics Puccini and Strauss and Ch9Democratic Opera Victims as Heroes The introduction andconclusion helps in giving coherence to the vast time frameof two hundread years and the different emphasis on politicalof composers in their works The detailed index is alsohelpful in the cross referencing a particular work orcomposer which might be mentioned in different chapters forcomparisons The notes offer a detailed bibliography withchance for further reference material on the issue of politicsin opera General Summary Although the book does notformally state the meaning of politics the definition usedthroughout the book is the beliefs about how a countryought to be governed instead of politics as in politicalpower and actions or activities The book also presents theargument of social context at the particular period and placeas politics and that if opera lacks the political elementsocial context it lacks a convincing element in whichcommunication and mutual consensus among composer andaudience would be neglected that opera cannot
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