BarchamBaroque Manners and Passions in Modern Performance, by Shirley WynneOpera Criticism and the Venetian Press, by Eleanor Selfridge-FieldPart III.
HolmesCostume in the Frescoes of Tiepolo and Eighteenth-Century Italian Opera, by William L. Venetian Opera in Its Cultural MilieuVenetian Theaters during Vivaldi’s Era, by William C. Peter BrandAriosto’s Orlando and Opera Seria, by Gary SchmidgallOrlando in Seicento Venice: The Road Not Taken, by Ellen RosandEighteenth-Century Orlando: Hero, Satyr, and Fool, by Ellen T. Literary Sources and Their Transformation into OperaDramatic Theory and the Italian Baroque Libretto, by Michael CollinsMythological Subjects in Opera Seria, by Sven HansellAriosto and the Oral Tradition, by C. Vivaldi’s Orlando furioso: The Dallas Opera Production and Symposium, by Elise K.
Contributors to Opera and Vivaldi include Shirley Wynne, John Walter Hill, Andrew Porter, Eleanor Selfridge-Field, Howard Mayer Brown, William Holmes, Ellen Rosand, and the editors. Michael Collins and Elise Kirk, deputy chair and chair of the symposium, edited the papers to produce this groundbreaking study, which will be of great interest to music scholars and opera lovers throughout the world. Authorities from around the world met to discuss the operatic works of Vivaldi, Handel, and other Baroque composers as well as the characteristics of the genre. Concurrently an international symposium on the subject of Baroque opera was held at Southern Methodist University. In 1980, the Dallas Opera produced the American premier of Vivaldi's Orlando furioso, which met with much acclaim. Its popularity, however, has given rise to a number of perplexing and exciting questions regarding literary sources, librettos, theater design, set design, stage movement, and costumes-even the editing of the operas. "Baroque opera experienced a revival in the late twentieth century. As such, the production and its attendant symposium made a positive contribution to the cause of Baroque opera. it was a serious, thoughtful, consistent and imaginative realization of a beautiful, long-neglected work, one that fully deserved all the loving attention it received. From the New York Times review of the Dallas Opera's performance of Orlando furioso and the international symposium on Baroque opera:".
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