Hilary Poriss
Biographic Data
| ID | 5842516 |
|---|---|
| NAME | Hilary Poriss |
| GIVEN NAMES | Hilary |
| FAMILY NAME | Poriss |
| SIGNATURE | PORISS H |
| AFFILIATIONS | Northeastern University |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 2 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Patti, Adelina
National Opera in a Transnational Age
Nineteenth-century Italian opera scholars used to be the cool kids in town. During the 1990s, we swanned through annual meetings of the American Musicological Society, delighted that our field of study, long situated at the periphery of the discipline, was heading straight toward the centre. My decision to write a dissertation about Italian opera performers was not prompted by the siren song of potential trendiness; nevertheless, it was thrilling…
Heroic Artists, Critical Abuse, and the Death of Maria Malibran
Maria Malibran (1808–36), the most famous opera star of her day, suffered a violent, protracted, and gory death. Although the story of her final days has been told time and again, this article offers a new reading, focusing on the abuse that she sustained as a child at the hands of her father, Manuel Garcia, and the subsequent trauma that followed her for the rest of her life. This rereading of Malibran’s death draws on the growing body of schola…
Kauffman Prize, Journal of Musicological Research
Prima Donna
In Opera, or the Undoing of Women, Catherine Clément raged against posthumous accounts of Maria Callas, decrying them as necrophiliac and insufficient: ‘When she died, discreetly, lost to a heart attack when no one was looking at her anymore, when she died her real death, the sad phenomenon of posthumous adulation began for her. A few months later, time to dictate and publish a few hurried words, there appeared some pathetic love songs glorifying…
Pauline Viardot, Travelling Virtuosa
Nineteenth-century prima donnas were continually on the move, and making a living as a famous diva meant travelling as far and as wide as possible under conditions that were not always terribly pleasant. Pauline Viardot’s life was no exception to this rule. Her journeys have been amply documented by her biographers with the intriguing exception of one of the most important trips she took in the later years of her operatic career: during the month…
The arts of the prima donna in the long nineteenth century
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies…
No prominent works on this page.
The arts of the prima donna in the long nineteenth century
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies…
Pauline Viardot, Travelling Virtuosa
Nineteenth-century prima donnas were continually on the move, and making a living as a famous diva meant travelling as far and as wide as possible under conditions that were not always terribly pleasant. Pauline Viardot’s life was no exception to this rule. Her journeys have been amply documented by her biographers with the intriguing exception of one of the most important trips she took in the later years of her operatic career: during the month…
Kauffman Prize, Journal of Musicological Research
Prima Donna
In Opera, or the Undoing of Women, Catherine Clément raged against posthumous accounts of Maria Callas, decrying them as necrophiliac and insufficient: ‘When she died, discreetly, lost to a heart attack when no one was looking at her anymore, when she died her real death, the sad phenomenon of posthumous adulation began for her. A few months later, time to dictate and publish a few hurried words, there appeared some pathetic love songs glorifying…
Heroic Artists, Critical Abuse, and the Death of Maria Malibran
Maria Malibran (1808–36), the most famous opera star of her day, suffered a violent, protracted, and gory death. Although the story of her final days has been told time and again, this article offers a new reading, focusing on the abuse that she sustained as a child at the hands of her father, Manuel Garcia, and the subsequent trauma that followed her for the rest of her life. This rereading of Malibran’s death draws on the growing body of schola…
Patti, Adelina
National Opera in a Transnational Age
Nineteenth-century Italian opera scholars used to be the cool kids in town. During the 1990s, we swanned through annual meetings of the American Musicological Society, delighted that our field of study, long situated at the periphery of the discipline, was heading straight toward the centre. My decision to write a dissertation about Italian opera performers was not prompted by the siren song of potential trendiness; nevertheless, it was thrilling…
Art (6 works) · Art history (5 works) · History (4 works) · Musicology and Musical Analysis (4 works) · Opera (4 works) · Literature (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Diverse Musicological Studies (2 works) · Law (2 works)