Tired of Tannhäuser? Bored with Bohème? Open your imagination to boundless creativity and wide-ranging repertory of American opera. Elise K. Kirk provides a treasure trove of information that fills in the long-neglected history of opera in the United States. Looking at more than 100 works, Kirk sketches the musical traits, provides plot summaries, describes sets and stagings, and offers in-depth profiles of performers, composers, and librettists. 

Beginning with the English-influenced harle-quinade of the revolutionary period, Kirk follows the development of comic opera, the rise of melodramatic romanticism, the emergence of American grand opera and verismo, and the explosion of eclectic forms that characterized American opera in the twentieth century. Devoting particular attention to women and African American composers and librettists, Kirk explores how American operas incorporated indigenous elements such as jazz, popular song, folk music, Native American motifs, and Hollywood's cinematic techniques. She also discusses radio and television's impact, the advent of opera workshops in universities, the integration of multimedia effects into productions, and the ways innovations such as co-commissioning and joint staging have helped sustain the genre in the face of declining federal support.

Verdi’s Attila, his ninth opera, had its premiere at Venice’s Teatro La Fenice in March 1846. Based on the German play Attila, King of the Huns, the libretto has its own storied history: as Verdi fell seriously ill before the work’s completion, the main librettist moved permanently to Madrid, leaving the last act of Attila only a sketch. It was then that Verdi called upon Francesco Maria Piave, the librettist for two of his earlier works, who at the composer’s behest scratched plans for a large choral finale and decided instead to concentrate on the dramatic roles of the protagonists.

In years since, Attila has become one of Verdi’s most popular and oft-staged early works. The composer's inimitable vitality, soaring arcs of melody, grand choruses, and passion are here amply apparent. This critical edition, based on Verdi’s autograph full score preserved at the British Library, restores the opera’s original text and accurately reflects the composer's colorful and elaborate musical setting, while Helen M. Greenwald’s masterful introduction discusses the opera’s origins, sources, and performance questions, and her critical commentary details editorial problems and their solutions.