Opera and drama in Russia as preached and practiced in the 1860s (Russian music studies 2)

[Taruskin's] book is a masterpiece of criticism in depth and moreover readable.' Gerald Abraham, MUSIC AND LETTERS Upon its publication in 1981, Taruskin's book was hailed as the quintessential English-language study of Russian opera. The 1860s could now undoubtedly be seen as a decade which served as a bridge in the development of opera in Russia, between the heritage of Mikhail Glinka and the following generation of masterful composers, represented by, among others, Tchaikovsky, Rimsky-Korsakov and Mussorgsky.
Musicologists, music historians and students of Russian music alike will glean much from this study, which analyzes the operatic contributions of Aleksandr Dargomyzshky, Aleksandr Serov and Cesar Cui, the latter two of whom were prolific music critics in addition to being composers. By linking their works to the development of intellectual history during the period, Taruskin ensures that the decade of the 1860s will be known as a significant era in the development of Russian opera.
RICHARD F. TARUSKIN is professor of music at the University of California, Berkley. First published in 1981.