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Acknowledgments

My first debt is to the staff of the Austrian National Library, especially that of the Musiksammlung, and that of the Wien-Bibliothek, along with the Österreichische Staatsarchiv at its two branches, including the Haus-, Hof- und Staatsarchiv. I am also grateful to Dr. Rudi Risatti and Dr. Thomas Trabitsch at the Österreichisches Theatermuseum, and to Dr. Andreas Gamerith at the library of Stift Zwettl. Further thanks are due to Franco Colussi, Rubens Bertini, and Tommaso Sabbatini for checking on various matters in Italy. But this book could not have been finished without the aid of Austrian colleagues: Martin Eybl, Gernot Mayer, and Franz Eybl. The previous work on the overall Viennese repertory by Herbert Seifert, Steven Saunders, Alfred Noe, Andrea Sommer-Mathis, Harry White, Marko Deisinger, Çiğdem Özel, and Janet Page has been of enormous aid, and I strongly recommend reading their works in conjunction with the present study. For art-historical advice, I am indebted to Alice Jarrard and Walter Melion; for expert wisdom in historical acoustics, to Dorothea Baumann; and for guidance in political history, to Georg Michels and Gianvittorio Signorotto. My thoughts about tonal constructs in this repertory are predicated on the fundamental work of Gregory Barnett and Michael Dodds. Helpful critiques of chapters were provided by my 2016–17 colleagues at the Franke Institute for the Humanities, not least its director, James Chandler, and by the readers for the University of California Press. Just as the final version went in, the performance of Le Memorie dolorose by New York City’s Tenet and Acronym ensembles gave me the privilege of hearing one of these rare works come to life, for which I am grateful to Kivie Cahn-Lipman and Jolle Greenleaf. For counsel in literary matters, I thank Armando Maggi, Erminia Ardissino, and Eugenio Refini. At a key point, Jonathan Glixon encouraged me to tackle prejudice in the texts head-on. I remember Ray Gadke, who, alas, passed away just as the manuscript was completed, for his unending help with microfilms and many other library moments. Other individuals and institutions were also vital sources of information: the Biblioteca Federiciana of Fano; Dr. Angela De Benedictis at the Paul-Sacher-Stiftung; Michele Chiappini; the Archivio Segreto Vaticano; Nicoletta Pisu in Trent; and, for special help in Mantua, Licia Mari at the Archivio Storico Diocesano. I am grateful to Andrew McManus for running the music examples, and to Clare Snarski for Photoshop expertise. As always, Lucia Marchi has aided the book’s gestation in many ways.

One other scholar, from the past, deserves commemoration here. It must not have been easy for Flora Biach-Schiffmann, older than the other students and from a Jewish family, to complete her dissertation in art history at the University of Vienna in the 1920s on Giovanni and Ludovico Burnacini’s set designs for operas, oratorios, and sepolcri, given that the faculty members Professor Josef Stryzgowski and his Assistent Karl Ginhart espoused racist theories or were even Nazi Party members. Still, she published her work in 1931, and it remains the starting point for work on theater design in this repertory. Along with her husband, she was deported from the temporary mass housing for Jews in Vienna’s Second District, via the Aspergbahnhof, to Theresienstadt on 22 July 1942 and was murdered on 13 October of that year. At a moment when many phantoms of hate have come back to haunt Europe and North America, remembering past wrongs becomes more important than ever.