By Paul Fryer
This selection of essays explores the connection among opera and the advance of media know-how from the past due nineteenth to the early twenty first century. Taking a world standpoint, the contributing authors, every one with large adventure as students or practitioners of the paintings, hide quite a few themes together with audio, video and picture recording, modern serious responses, renowned and "high forehead" tradition, reside and recorded functionality, lighting fixtures and function know-how, media advertising and advertisements.
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Additional info for Opera in the Media Age: Essays on Art, Technology and Popular Culture
In its ﬁrst few years, the magazine subsisted on a healthy mix of gossip and more serious content, but unlike its more scholarly and longestablished rival, Opera, it very obviously targeted not only the popular market, but the more affluent section of that market. Although the magazine adopted a popular stance, it was hardly egalitarian in its composition, as a glossy format publication which clearly signaled to the prospective reader that opera was a glamorous pursuit. This is clearly supported by the nature of the advertising, which appeared from the earliest issues: This included companies such as Christies, Mercedes Benz, General Motors, Yamaha, Jaeger and Le Coultre watches.
For the marketing men, responsible for sustaining high-proﬁle public interest, opera could not have been more popular and, at least as a marketing tool, audiences enabled that popularity to ﬂourish in a much wider arena than ever before. Business had certainly beneﬁtted from the image and concept of opera, but there is little evidence of a two-way traffic of beneﬁts. What then has opera as a business, characterized through advertising, contributed to the future of opera as an art-form? Returning to the sentiments expressed in the opening paragraphs of this essay, one might be tempted to say, very little.
Cambridge, UK: Cambridge University Press, 2008. Cabranes-Grant, Leo. ” Theatre Journal 51:2 (November 2010): 187–190. Carlson, Marvin. Places of Performance: The Semiotics of Theatre Architecture. Ithaca, NY: Cornell University Press, 1989. _____. Theatre Semiotics: Signs of Life. Bloomington: Indiana University Press, 1990. 42 Opera in the Media Age Clines, Francis X. “A Day at the Opera, a Snack for the Soul,” The New York Times, April 14, 2008. Elam, Keir. The Semiotics of Theatre and Drama.