12 Burkholder ⦁ Opera Party example. If all of the operas composed at the height of this genre were evaluated, the proof of political intervention would be insurmountable. This is not to say that every work is riddled with possible political interpretations, but that every opera should be carefully examined with political context in mind to be properly understood. Bibliography Aspden, Suzanne. “Ariadne’s Clew: Politics, Allegory, and Opera in London (1734).” The Musical Quarterly 85, no. 4 (Winter, 2001): 735–770. Accessed September 26, 2023. https://www.jstor.org/stable/3600967. Black, Jeremy. The Politics of Britain, 1688–1800. Manchester: Manchester University Press, 1993. Glover, Jane. Handel in London: A Genius and His Craft. New York: Pegasus Books, 2018. Green, V. H. H. The Hanoverians: 1714–1815. London: Edward Arnold & Co., 1951. Grout, Donald Jay, and Hermine Weigel Williams. A Short History of Opera. 4th ed. Columbia University Press, 2003. https://doi.org/10.7312/grou11958. Hume, Robert D. “The Politics of Opera in Late Seventeenth Century London.” Cambridge Opera Journal 10, no. 1 (Mar. 1998): 15–43. Accessed September 26, 2023. https://www.jstor.org/stable/823724. Langer, William L. An Encyclopedia of World History: Ancient, Medieval, and Modern, Chronologically Arranged. 5th ed. Boston: Houghton Mifflin Company, 1980. McGeary, Thomas. Opera and Politics in Queen Anne’s Britain, 1705– 1714. Rochester: Boydell & Brewer, 2022. ——— The Politics of Opera in Handel’s Britain. New York: Cambridge University Press, 2013. Timms, Colin, and Bruce Wood. Music in the London Theatre from Purcell to Handel. Cambridge: Cambridge University Press, 2016.
RkJQdWJsaXNoZXIy MTM4ODY=