Fallen Woman Redeemed: Eliot, Victorianism, and Opera in Andrew Lloyd Webber’s<i>Cats</i>

Lowerre, Kathryn

doi:10.1080/01411890490884472

Journal of Musicological Research

2004

DOI: 10.1080/01411890490884472

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Fallen Woman Redeemed: Eliot, Victorianism, and Opera in Andrew Lloyd Webber’sCats

Kathryn Lowerre

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Politics and the Reception of Andrew Lloyd Webber’sThe Phantom of the Opera

Winkler¹

2014

OPR

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This article analyses the complicated and conflicted critical response to Andrew Lloyd Webber’sThe Phantom of the Operawithin the political, economic and cultural context of the Thatcher/Reagan era. British critics writing for Conservative-leaning broadsheets and tabloids took nationalist pride in Lloyd Webber’s commercial success, while others on both sides of the Atlantic claimed thatPhantomwas tasteless and crassly commercial, a musical manifestation of a new Gilded Age. Broader issues regarding the relationship between the government and ‘elite’ culture also affected the critical response. For some,Phantomforged a path for a new kind of populist opera that could survive and thrive without government subsidy, while less sympathetic critics heardPhantom’s ‘puerile’ operatics as sophomoric jibes against an art form they esteemed.

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Politics and the Reception of Andrew Lloyd Webber’sThe Phantom of the Opera

Winkler¹

2014

OPR

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A Study on the Melodic Characteristics of Andrew Lloyd Webber's Musicals

Park¹

2011

musicandculture

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Fallen Woman Redeemed: Eliot, Victorianism, and Opera in Andrew Lloyd Webber’sCats

Cited by 2 publications

References 0 publications

Politics and the Reception of Andrew Lloyd Webber’sThe Phantom of the Opera

Politics and the Reception of Andrew Lloyd Webber’sThe Phantom of the Opera

A Study on the Melodic Characteristics of Andrew Lloyd Webber's Musicals

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