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Drama (1956), on a series of essays written for The Hudson Review beginning in 1948. Published in several languages and multiple editions, Opera as Drama expresses Kerman's view that an opera's story is key and provides the basis for the structuring of both the librettist's text (which expresses the narrative) and the composer's music (which expresses the emotions in the story). For Kerman, the value of an opera as drama is undermined when there is a perceived disconnection

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