This publication grew out of a need to look at the state of American contemporary opera and attempt to define some of its problems and to examine the forces that have presumably deterred the development of a vital indigenous opera in this country. We hope these articles, which range from the practical to the polemical, will provide fresh viewpoints and new approaches, ultimately serving as catalysts for change. [p ix].

CONTENTS

• Preface.
• Introduction by Ellen Blassingham.
  Definitions by Gregory Sandow.
• Notes for an American musical theater by Eric Salzman.
• The making of an opera: some considerations by Carlisle Floyd.
• Training the composer and writer for the music theater by Robert Ward.
• Creating opera: The composer as collaborator by Stephen Paulus.
• An American opera network by Kirke Mechem.
• Combating the repertory blues by Christopher Keene.
• An interview with David Gockley.
• Some observations on the libretto by Gary Schmidgall.
• The craft of creating opera - restoring a lost legacy through the workshop process by H. Wesley Balk.
• The singer and contemporary opera and musical theater by Timothy Nolen.
• The music critic and today's music by Patrick J. Smith.
• Special delivery: a contentious view of modern opera production by David Bamberger.
• Commissioning operas by John Duffy.
• Marketing opera: is there an audience for new works? by Ellen Blassingham.

This publication grew out of a need to look at the state of American contemporary opera and attempt to define some of its problems and to examine the forces that have presumably deterred the development of a vital indigenous opera in this country. We hope these articles, which range from the practical to the polemical, will provide fresh viewpoints and new approaches, ultimately serving as catalysts for change.