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Abstract

An inclusive sense of ‘opera’ is distinguished from the Western high-art sense. The problem of aesthetic unity in opera is discussed in relation to (i) hybrid art forms (Kivy’s idea of antithetical arts, Levinson’s account of hybridity, and Ridley’s critique of it); (ii) specific operatic styles (Hegel on Handel and Rossini, Kerman, Kivy and Davies on Mozart, Goehr and Magee on Wagner); (iii) individual operatic productions and performances (Tanner on Kupfer, Williams on Sellars). The article includes links to video clips from operatic performances.