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Oscar Wilde in Vienna is the first book-length study in English of the reception of Oscar Wilde's works in the German-speaking world. Charting the plays' history on Viennese stages between 1903 and 2013, it casts a spotlight on the international reputation of one of the most popular English-language writers while contributing to Austrian cultural history in the long twentieth century. Drawing on extensive archival material, the book examines the appropriation of Wilde's plays against the background of political crises and social transformations.It unravels the mechanisms of cultural transfer and canonisation within an environment positioned - like Wilde himself - at the crossroads of centre and periphery, tradition and modernity.

Measure for Measure, written between 1603 and 1604, is seen as one of Shakespeare's problem plays due to its shift in mood. Vienna is beset with brothels and loose morality, so it's up to the Duke to provide some divine intervention.

A vampire in 1930s Vienna seeks marriage counseling from Sigmund Freud and meets the reincarnation of his one true love in this ensemble comedy, a hilarious mess of mistaken identities that proves 500 years of marriage is enough.

Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide \"sheer\" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the \"merely entertaining\" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions. Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discussesCos\" fan tutteas a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.