caa a22 4500 388066466 CHVBK 20180307125134.0 cr unu---uuuuu 161130e199907 xx s 000 0 eng 10.1017/S0954586700005000 doi S0954586700005000 pii (NATIONALLICENCE)cambridge-10.1017/S0954586700005000 Grover-Friedlander Michal ‘The phantom of the Opera': the lost voice of opera in silent film [Elektronische Daten] [Michal Grover-Friedlander] Film's attraction to opera began not with the technical possibility of synchronising the operatic voice with the image, but earlier, in the silent era. In the New York Times of 27 August 1910 Thomas Edison declared: ‘We'll be ready for the moving picture shows in a couple of months, but I'm not satisfied with that. I want to give grand opera.' What did silent film seek in opera? Would a silent film of or about opera have any meaning? What are the possibilities for silent opera? How would a mute operatic voice appear in film? Copyright © Cambridge University Press 1999 Cambridge Opera Journal Cambridge University Press 11/2(1999-07), 179-192 0954-5867 11:2<179 1999 11 OPR https://doi.org/10.1017/S0954586700005000 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0954586700005000 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Grover-Friedlander Michal NATIONALLICENCE 773 0- Cambridge Opera Journal Cambridge University Press 11/2(1999-07), 179-192 0954-5867 11:2<179 1999 11 OPR CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge