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A very scholarly and highly theoretical look at current staging opera praxis. I cheer his defense of allowing recording to also serve as a means to encounter opera, particular since this is how so many experience it now, with the Metropolitan Opera's Live in HD, etc. However, it is an academic work and those that do not have at least a passing familiarity with translation theory, for instance, might find it a bit hard to get into at least at first, though I think Levin makes an excellent effort
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