MLA 2021 Convention Call for Papers

The Forum for Opera and Musical Performance has two exciting panels at next year’s Modern Language Association Annual Convention, which is in Toronto from 7-10 January 2021, and we’re looking for exciting papers to fill them. Send abstracts to Cynthia Chase or to me, or share it with an opera-lit scholar who might be interested! Deadline is March 20.

Opera After World War II: Production, Memory, and Mourning

We invite papers on how operatic productions after WWII participate in, elide, or mediate historical catastrophe or radical discontinuity. 250-word abstracts to Cynthia Chase, Cornell U (cc97@cornell.edu ).

Operatic Spectacle: Screening, Sound, and Vision

We invite 20-minute papers that explore how aspects of screening, sound, and/or vision mediate, undermine or otherwise impact operatic spectacle. Please send 250-word abstracts and short bio to Sydney Boyd, Forum Representative for Opera and Musical Performance.

Magic Flute at Washington National Opera

I’ve been teaching the Egyptian Book of the Dead and have an entirely new appreciation for the opera’s references to Isis and Osiris. This production, with whimsical designs by Where the Wild Things Are author Maurice Sendak, focused more on childhood fancy, which isn’t always a bad thing. Read my review at Bachtrack.

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Sydney Mancasola (Pamina) and Michael Adams (Papageno). Photo credit Scott Suchman

Monk’s ATLAS

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One week ago in Los Angeles, Meredith Monk’s opera ATLAS opened at the LA Phil. It transcended place to isolate humanity at its root using the globe you see here as a means to access both physical space and inner consciousness–a multiplicity of worlds in sight and sound. I’ve been waiting to see this opera for decades and am so thrilled Yuval Sharon took it on, and I openly confess that when Meredith came out for the curtain call, I cried.