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venian Marxist critic Slavoj Zizek to suggest a kind of ecstatic, transformative politics emanating from the body of the prima donna (Currie proposes the election of President Obama as a manifestation of these politics). Currie's essay-- which underscores the point that musicology often doesn't get around to critical trends until they've already fallen out of favor in the other humanities--is positioned as the centerpiece of the book, which strikes me as a miscalculation. One of the most compelling questions raised by The Arts of the Prima Donna is the extent and depth to which a field of study can aspire when its primary sources are, essentially, ephemeral. Sound-recording technology did not yet exist for three-quarters of the book's time period, and the extant primary sources consist mainly of letters, newspaper articles, cadenzas, and, in some cases, longer compositions written by the singers themselves. And even the later documentary record of early audio recordings may be unreliable, since the first singers to have their voices preserved for posterity had been "trained without recourse to playback and [their] arts had been formed for more conventional auditoria [than the recording studio]" (xxix), a phenomenon addressed by Alexandra Wilson in "Galli-Curci Comes
Women and Music: A Journal of Gender and Culture – University of Nebraska Press
Published: Sep 10, 2015
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