OOIR: Observatory of International Research

Papers

(The TQCC of Opera Quarterly is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-08-01 to 2026-08-01.)

Article	Citations
Electrical Effects at the Paris Opera: Instrument Makers, the Arc Lamp, and Giacomo Meyerbeer’s 1849 Le Prophète	1
“Whether it has a certain musical form, maybe no one cares, except for some people”: George E. Lewis, Sean Griffin, and Catherine Sullivan talk with Alexander K. Rothe about Afterword, an opera	1
Franz Lehár’s Das Land des Lächelns and Totalitarian Listenership	0
Complaint and the Aesthetics of Inexpression	0
Jennifer Walshe on Opera, Music Theater, and Collaboration: Interview by Elaine Fitz Gibbon	0
Leveling Up in Oper Frankfurt’s Lost Highway (2018)	0
My approach is always empathy	0
Italian Opera Audiences and the Emotional Turn of the 1830s	0
Is the Queen of the Night Modernity’s Most Unhappy Subject?	0
Lost in the House of Mirrors: Reflections on Opera Audiences	0
Innere Stimme: Recordings and the Imaginal Engagements of the Ear	0
The CHEAP Collective’s Magic Flute: An Opera in Six Steps	0
Staging Opera in the Films of João César Monteiro	0
low intensity conflicts—a mini-opera for non-musicians	0
From Film to Opera – A Note from the Guest Editors	0
Lethal Timbres and Exploding Tenors: Changing Operatic Laryngeal Techniques of the Mid-Nineteenth Century	0
Abandoned or Embalmed?: A Semi-Staged Conversation Between Nina Sun Eidsheim and Juliana Snapper	0
Jeremy Eichler, Time’s Echo: The Second World War, the Holocaust, and the Music of Remembrance	0
Dallapiccola’s Ulisse in Frankfurt	0
Experiments in Opera Today: Opera and Multidisciplinary Art after 2000 – A Note from the Guest Editors	0
“You died yesterday, I’m sorry for your loss”: After Life in Film and Opera	0
Opera on Social Media: Institutional Dramaturgy in Italy and the United Kingdom	0
Graphanalysis, Technological Reproduction, and the Acoustical Unconscious: Reflections on an Error in Beckett’s Krapp’s Last Tape	0
Puccini’s Material Girls: Tensions of the Spiritual Body in Le Villi	0
Selling Integration: Opera, Race Relations, and Black Commodification at The Radio Corporation of America	0

Martha C. Nussbaum, The Republic of Love: Opera and Political Freedom	0
The Tense Present	0
The Intimacies of Camilla Williams’s “Black Butterfly”: Negotiating Racial Fictions and Subjectivities on the Operatic Stage	0
Vilhelmine’s Virtuosity Reenacted: (Re)Presenting Femininity in Eighteenth-Century Comic Opera	0
Terence Blanchard: An Oral History of Fire and Champion	0
When Film Becomes Opera: The Challenges of Adaptation on the Verge of Metamorphosis	0
At the Edge of Vanishing: Late Listening and Plácido Domingo	0
What Opera Can Be: Joan La Barbara and Gelsey Bell in Conversation	0
Opera and Film in the Loop: Persona Speaking, Persona Singing. A Conversation with Composer Keeril Makan	0
Hybridity in Translation: The Libretto and Surtitles of the Contemporary Chinese American Opera Paradise Interrupted	0
Transcribing Disnarration	0
Between Exclusivity and Accessibility: An Analysis of Instagram Branding at Two Nordic Opera Companies	0
Dramaturgies of the Ear: Experiments in Opera’s Expanded Field. A Note from the Guest Editor	0
An Audience of One: Watching Opera Online	0
Breathe in the World (the problems with you, me, we, they, hear and see)	0
Rethinking Baroque Musical Theater	0
Opera on the Way: Jonathan Harvey’s Wagner Dream	0
Philip Glass’s Cocteau Trilogy, or the Multiple Ways of Adapting Film into Opera	0
On Cannibal Poetry: William Kentridge’s The Great Yes, The Great No	0
Afterthoughts on Lost Highway	0
In Opera, the Close-up Is the Aria	0
A Dramaturgy of Blood and Breath	0
“To see what lovely Japanese our young people can be”: American Jewish Community Performance, Racial Appropriation, and Gilbert and Sullivan’s Mikado, 1885–1939	0
Operatic Fictions: Technology, Identity, and Profit A Note from the Guest Editor	0
In Ear-Shot: Lin-Manuel Miranda’s Hamilton: An American Musical	0
Omar at the San Francisco Opera	0
“Il souffre de partir”: History, Performance, and Dramaturgical Consequences of a Significant Cut in Carmen	0