Contents: Introduction; Part I Aesthetics and Dramaturgy: The theory and practice of piccinnisme, Julian Rushton; Recitative and dramaturgy in the dramma per musica, Raymond Monelle; Opera versus drama: Romeo and Juliet in 18th-century Germany, Thomas Bauman; Mozart's operas and the myth of musical unity, James Webster. Part II Singers: Raaff's last aria: a Mozartian idyll in the spirit of Hasse, Daniel Heartz; Galuppi, Tenducci, and Motezuma: a commentary on the history and musical style of opera seria after 1750, Dale E. Monson; 'Ich bin die erste SÃ¤ngerin': vocal profiles of two Mozart sopranos, Patricia Lewy Gidwitz; Mozart's Ilia and Elettra: new perspectives on Idomeneo, Paul Corneilson. Part III Sensibility, Sentiment, and the Pastoral: 'Pamela': the offspring of Richardson's heroine in 18th-century opera, Mary Hunter; Human nature in the unnatural garden: Figaro as pastoral, Wye J. Allanbrook; From Nina to Nina: psychodrama, absorption and sentiment in the 1780s, Stefano Castelvecchi; L'arbore di Diana: a model for CosÃ¬ fan tutte, Dorothea Link; The sentimental muse of opera buffa, Edmund J. Goehring. Part IV Orientalism and Exoticism: Mozart in Turkey, Benjamin Perl; Oriental tyranny in the extreme West: reflections on Amiti e Ontario and Le gare generose, Pierpaolo Polzonetti. Part V Opera and Politics: On the freedom of the theatre and censorship: the Adrien controversy (1792), Elizabeth C. Bartlet; Songs to shape a German nation: Hiller's comic operas and the public sphere, Estelle Joubert. Part VI Mozart and His Viennese Contemporaries: Mozart's fee for CosÃ¬ fan tutte, Dexter Edge; How original was Mozart? Evidence from opera buffa, John Platoff; Salieri's CosÃ¬ fan tutte, Bruce Alan Brown and John ; Die ZauberflÃ¶te, Masonic opera, and other fairy tales, David J. Buch. Part VII Opera Seria: The Venetian role in the transformation of Italian opera seria in the 1790s, Marita P. McClymonds; Mayr, Rossini, and the development of the opera seria du
Eugene Onegin (Russian: Евгений Онегин, Yevgény Onégin), Op. 24, is an opera ("lyrical scenes" ) in 3 acts (7 scenes), composed by Pyotr Ilyich Tchaikovsky. The libretto, organised by the composer and Konstantin Shilovsky, very closely follows certain passages in Alexander Pushkin's novel in verse, retaining much of his poetry. Shilovsky contributed M. Triquet's verses in Act 2, Scene 1, while Tchaikovsky himself arranged the text for Lensky's arioso in Act 1, Scene 1, and almost all of Prince Gremin's aria in Act 3, Scene 1. Eugene Onegin is a well-known example of lyric opera, to which Tchaikovsky added music of a dramatic nature. The story concerns a selfish hero who lives to regret his blasé rejection of a young woman's love and his careless incitement of a fatal duel with his best friend. The opera was first performed in Moscow in 1879. There are several recordings of it, and it is regularly performed. The work's title refers to the protagonist.
An essential feature of religious experience across many cultures is the intuitive feeling of God's presence. More than any rituals or doctrines, it is this experience that anchors religious faith, yet it has been largely ignored in the scientific literature on religion.
"... [Dr. Wathey's] book delves into the biological origins of this compelling feeling, attributing it to innate neural circuitry that evolved to promote the mother-child bond...[He] argues that evolution has programmed the infant brain to expect the presence of a loving being who responds to the child's needs. As the infant grows into adulthood, this innate feeling is eventually transferred to the realm of religion, where it is reactivated through the symbols, imagery, and rituals of worship. The author interprets our various conceptions of God in biological terms as illusory supernormal stimuli that fill an emotional and cognitive vacuum left over from infancy.
These insights shed new light on some of the most vexing puzzles of religion, like: