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This study considers how curatorial forces are at work within an opera house dentifying the functionaries and processes that guide them.
Stephen Mould studied music in Sydney and London, subsequently pursuing a career in opera houses, where he has been employed as a coach, musical assistant, conductor and senior administrator in Germany, Belgium, Australia and the USA. For thirteen years he was a member of the staff of Opera Australia, as a musical assistant, conductor and Head of Music. He is currently senior lecturer in conducting and operatic studies at the Sydney Conservatorium of Music, The University of Sydney.
Part One Chapter 1: 'Curationism' Chapter 2: Towards the curation of opera Chapter 3: The rise and fall of the public art museum Part Two Chapter 4: The invention of opera Chapter 5: Operatic transformations Chapter 6: From marketplace to museum Chapter 7: Mozart's operas during the long nineteenth century (1) Chapter 8: Mozart's operas during the long nineteenth century (2) Chapter 9: Boom and bust in the nineteenth century Part Three Chapter 10: The sociology of the opera house - insiders Chapter 11: The operatic work and the concept of Werktreue Chapter 12: Rossini, Rembrandt and the Werktreue debate Chapter 13: Dramaturgy and the dramaturge in the opera house Chapter 14: The dramaturgy of murder and madness Chapter 15: 'Deeds of music made visible' Chapter 16: Conclusion / Afterword
