Rachel Cowgill
Biographic Data
| ID | 6335948 |
|---|---|
| NAME | Rachel Cowgill |
| GIVEN NAMES | Rachel |
| FAMILY NAME | Cowgill |
| SIGNATURE | COWGILL R |
| AFFILIATIONS | University of Huddersfield |
| ORCID | 0000-0002-9835-4039 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 1 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2011 |
| H-INDEX | 0 |
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…
The London Apollonicon Recitals, 1817–32
In July 1817 Benjamin Flight and Joseph Robson, two of London's most celebrated organ-builders, unveiled their latest concept in organ design — the Apollonicon. This mammoth finger-and-barrel chamber organ, predecessor to the giant orchestrions of the Victorian era, had been five years in the making. And when it opened for performances at the firm's fashionable West End premises, 101 St Martin's Lane, it heralded a new era of evolution for the or…
No prominent works on this page.
The London Apollonicon Recitals, 1817–32
In July 1817 Benjamin Flight and Joseph Robson, two of London's most celebrated organ-builders, unveiled their latest concept in organ design — the Apollonicon. This mammoth finger-and-barrel chamber organ, predecessor to the giant orchestrions of the Victorian era, had been five years in the making. And when it opened for performances at the firm's fashionable West End premises, 101 St Martin's Lane, it heralded a new era of evolution for the or…
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…
Art (2 works) · Art history (2 works) · History (2 works) · Musicology and Musical Analysis (2 works) · 19th century (1 work) · 20th century (1 work) · Aesthetics (1 work) · Archaeology (1 work) · Archetype (1 work) · Diverse Musicological Studies (1 work)