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Since its inception in 1983, The Opera Quarterly has earned the enthusiastic praise of opera lovers and scholars alike. In 2005, David J. Levin, a dramaturg at various opera houses and critical theorist at the University of Chicago, reconceived the journal with the goal of extending its reputation as a rigorous and cutting-edge forum for all aspects of opera and operatic production. Today, The Opera Quarterly sits squarely at the intersection of performance, theory, and history. Fundamentally interdisciplinary, it addresses both historical and contemporary developments on the stage and in the academy, embracing opera as well as considerations of voice and musical theater more broadly.

自1983年創(chuàng)刊以來，《歌劇季刊》贏得了歌劇愛好者和學者的熱烈贊譽。2005年，芝加哥大學批判理論家、多家歌劇院的戲劇大師David J.Levin對該雜志進行了重新構想，旨在擴大其作為歌劇和歌劇制作各個方面的嚴謹和前沿論壇的聲譽。如今《歌劇季刊》正處于表演、理論和歷史的交匯點?；旧鲜强鐚W科的，它解決了舞臺和學院的歷史和當代發(fā)展，更廣泛地涵蓋了歌劇以及聲樂和音樂劇的考慮。

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