Aim & Scope
Since its inception in 1983, The Opera Quarterly has earned the enthusiastic praise of opera lovers and scholars alike. In 2005, David J. Levin, a dramaturg at various opera houses and critical theorist at the University of Chicago, reconceived the journal with the goal of extending its reputation as a rigorous and cutting-edge forum for all aspects of opera and operatic production. Today, The Opera Quarterly sits squarely at the intersection of performance, theory, and history. Fundamentally interdisciplinary, it addresses both historical and contemporary developments on the stage and in the academy, embracing opera as well as considerations of voice and musical theater more broadly. [1]
2024
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