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date: 16 June 2019

(p. xix) List of Tables

(p. xix) List of Tables

  1. 9.1 Ambiguity of prosody in Brogni’s “En mon âme.” Halévy, La Juive, Act IV, scene 3. 207

  2. 9.2 Prosodic interpretation of “En mon âme,” according to Benloew. 208

  3. 9.3 Prosodic interpretation of Rodrigue’s “O Roi, j’arrive de Flandre.” Verdi, Don Carlos, Act II, tableau 2, scene 6. 209

  4. 9.4 Prosodic interpretations of Robinson’s “Air du cheval.” Adam, Le brasseur de Preston, Act II, scene 18. 210

  5. 9.5 Poetic analysis of Agathe’s aria. Weber, Der Freischütz, Act II, scene 2. 212

  6. 9.6 Poetic analysis of Ännchen’s Romanze from Weber’s Der Freischütz, Act III, scene 3. 213

  7. 9.7 Poetic analysis of Beckmesser’s first Bar. Wagner, Die Meistersinger von Nürnberg, Act II, scene 6. 215

  8. 9.8 Beginning of Walther’s “Prize Song” as it appears in the 1862 fair copy of the libretto. Wagner, Die Meistersinger von Nürnberg, Act III, scene 2. 215

  9. 9.9 Beginning of Walther’s “Prize Song” as it appears in the final version of the libretto. Wagner, Die Meistersinger von Nürnberg, Act III, scene 2. 216

  10. 9.10 Beckmesser’s scanning of the first Bar. Wagner, Die Meistersinger von Nürnberg, Act II, scene 6. 216

  11. 9.11 Prosody of two ceremonial numbers from Les vêpres siciliennes, Act V, scene 2, in the original French and Italian translations. 221

  12. 9.12 Prosody of Eboli’s “Au palais des fées” in the original French and the Italian translation. Don Carlos, Act II, tableau 2, scene 1. 221

  13. 19.1 Performance and rehearsal schedule at the Paris Opéra, November 1835. 423

  14. 45.1 Three versions of L’incoronazione di Poppea. 992

  15. 45.2 Michael Kaye’s reconstruction of Les contes d’Hoffmann, Act V. 1005

  16. 46.1 Musical numbers in Il barbiere di Siviglia. 1017