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Cambridge University Press, Taking us through case studies on authors who write about the experience of opera in their fictional projects, with particular focus on Balzac, Dumas, Flaubert, Verne, Leroux, and Proust, Newark also brings these texts into play as evidence of opera reception. After all, many of the novelistic stories under scrutiny were originally published alongside the vast body of opera criticism that neighboured these feuilletons in the pages of the nineteenth-century press.

An opera can foretell, displace, undermine, invoke spirits as well as confuse characters and their authorial writers. It is also a technique that seeks to bring 'back to the ear of the reader [. The stability of the operatic text is called into question, particularly because, as Newark is at pains to point out, writers misremember, mistranslate, reorganize, or reinvent the operas they work with. Proust's narrator is also chastised for the implausibility of thinking about matters poietical at considerable length while ostensibly playing a score of Tristan at the piano, on the basis that the score is so difficult it would demand total concentration.

Opera in the Novel from Balzac to Proust

These voices of a ghostly opera past ultimately disappointed in the contemporary present, and Newark indicates that the latency of silent buried recordings is preferable and even more meaningful. This is a fine and original study that goes beyond more mundane aspects of opera reception, successfully bringing together two major aspects of cultural production in the long nineteenth century. If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'. View freely available titles: