Brecht at the Opera

“A noteworthy, compelling, and occasionally provocative addition to the vast body of literature about Brecht that even literary scholars would not want to miss perusing." * H-German *
“An impressive book. . . .impeccably researched” * Comparative Drama *
“Excellent. . . . Recommended.” * Opera Journal *
“[An] illuminating way to reconsider opera in the post-Brecht era.” * Opera *
“Demonstrates an astonishing breadth of familiarity with the critical literature, and is able to apply insights from it to her own investigations with uncommon lucidity. [Calico] has also done some excellent archival sleuthing.” -- Stephen Luttmann, * Notes *
“[A] unique scholarly angle—a combination of musicology, performance studies, and cultural history—[which] generates a whole set of new perspectives and theories on Brecht’s work and on 20th-century opera more generally. . . . The result is a study on Brecht that makes a strong case for a continued interest in this writer, and for the increasingly inter-disciplinary approach of a New Musicology.” * German Quarterly *
"Joy Calico's new study of Brecht's work with, in, and against opera deserves to be celebrated across the scholarly spectrum of Brecht studies. Literary scholars will find a subtle, well-grounded, and revealing new exploration of Brecht's textual practices- including some new drafts and revisions of passages of text from his later opera projects that expand the available source material."
  * Brecht Yearbook *
“Brilliant scholarship. . . .does well beyond full justice both to Brecht and to opera.” * Politische Traulichkeiten / Political Intimacies *
“Thoughtful and engaging . . . an impressive debut monograph, and an important one besides; it helps document, with elegance and sensitivity, Brecht’s profound indebtedness and contribution to opera and musical theater. Hopefully, it will inspire other Brecht projects.” -- Howard Pollack, * Opera Quarterly *