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Books : Entertainment : Music : Musical Genres : Opera : General
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English National Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. "A Landmark in Musical History" is John Luke Rose's title for the introduction to this extraordinary piece of theater. It belongs to the German tradition of mystical writing and a short note on the poem itself by Martin Swales and Timothy McFarland elucidates some of Wagner's literary techniques. Anthony Negus, who assisted Reginald Goodall on the WNO production of this opera, has contributed a penetrating analysis of the musical structure of the opera, while Patrick Carnegy assesses the remarkable solutions to staging an opera which some argue is best experienced with your back to the performers!
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Now in paperback, the scandalous international sensation: brash, candid, and utterly hilarious, Luciano Pavarotti’s longtime manager tells all.
The name “Luciano Pavarotti” is as central to the world of opera as high C’s and dueling sopranos. Pavarotti has had, quite inarguably, the most successful career in the history of the operatic profession, having gone from a once-reserved but brilliant tenor to a media-stupefying superstar. In The King and I, Herbert Breslin, Pavarotti’s publicist, manager, and friend for thirty-six years, reveals, in a fashion that is witty and bitingly frank, the truth about that white-hot career in all its delicious grandeur. Full of jaw-dropping anecdotes about the most famous divas and disputes of the past three decades, The King and I even features an afterword by the famed tenor himself. A one-of-a-kind read, The King and I is the ultimate backstage book about the greatest opera star ever.
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This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.
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Commentary on and a concise, lucid interpretation of the opera world's most complex masterwork, expanded from the author's popular intermission talks during Met Opera broadcasts.
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Offered in two accessible keys suitable for all singers, it is likely to be the first publication a voice teacher will ask a first-time student to purchase. The classic Parisotti realizations result in rich, satisfying accompaniments which allow singers pure musical enjoyment.
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In a city as ancient as Venice, myths and legends passed down from generation to generation record more than just love or murder. They are the storehouse of a city's mores, emblems of its identity. In "Venetian Curiosities", acclaimed novelist Donna Leon recounts some of Venice's most intriguing tales: an elephant brought in for Carnival wreaks havoc upon the city before seeking refuge in a church, the city employs prostitutes in an attempt to prevent homosexuality, innocent men are mistakenly condemned to death, a gambler bets the family palazzo. In an introduction and seven essays, Leon offers enchanting details and astute insights into Venetian customs of the past and present. "Venetian Curiosities" is beautifully illustrated and, like Handel's Bestiary, it comes with a CD. Here the music is by Antonio Vivaldi, with tracks for each section of the book, expertly played by Il Complesso Barocco. With the splendid music, the delightful images, and the perceptive, amusing words of Donna Leon, "Venetian Curiosities" is a harmonious exploration of one of the world's most beloved cities.
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Learn the "Long Story Short" and the "Who's Who" of Puccini's Madama Butterfly with a quick lesson from Seattle Opera. Brush up on - or discover for the first time - the music, history, and stories of all the operas in the 2011-2012 season. These easy-to-read guides are a favorite among Seattle Opera patrons, and we're happy to make them available on Kindle.
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The opera singer Giusto Ferdinando Tenducci was one of the most famous celebrities of the eighteenth century. Mozart and Bach both composed for him. He was nothing less than a rock star of his day, with a massive female following. He was also a castrato.
Ranging from the salons of princes and the grand opera houses of Europe to the remote hill towns of Tuscany, Helen Berry's compelling account of the unconventional love story of the castrato and his wife offers fascinating insight into the world of opera and the history of sex and marriage in Georgian Britain. Berry vividly describes how women flocked to Tenducci's concerts and found him irresistible. Indeed, his young singing pupil, Dorothea Maunsell, found him so irresistible that she eloped with him. A huge scandal erupted and her father persecuted them mercilessly.
Dorothea joined her husband at his concerts, achieving a status she could never have dreamed of as a respectable girl. She also wrote a sensational account of their love affair, an early example of a teenage novel. Embroiled in debt, the Tenduccis fled to Italy, and the marriage collapsed when she fell in love with another man. There followed a highly publicized and unique marriage annulment case in the London courts. Everything hinged on the status of the marriage, whether the husband was capable of consummation, and what exactly had happened t
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(Foreword, by Lorin Hollander, concert pianist)Eloise Ristad deals here with complex problems which torment and cripple so many of our most creative and talented people, and she does so with compassion, wisdom, and wit. The problem of stage fright, for instance, is a suffering of epidemic proportions in our society, and involves modalities of thought and projections that rob spontaneity and enthusiasm in artistic performance.
Those interested in creative education have long felt that an entirely new, holistic and nurturing process of allowing individuals to discover and express themselves is needed if our educational system is to avoid the neuroses and creative blocks of the past generation. This book illuminates through its conversational style the destructive inhibitions, fears, and guilt experienced by all of us as we fail to break through to creativity. This story is told to me day after day in conservatories and college campuses around the world. Indeed I felt at times that she was telling of my own most petty and debilitating fears.
But what is important, A Soprano on Her Head supplies answers and methods for overcoming these universal psychological blocks--methods that have not only been proven in her own studio, but which trace back through history to the oldest and wisest systems of understanding the integration of mind and body. The work bears scrutiny both scientific
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This new translation of the original texts of over 750 songs allows the reader to follow, line by line, the English directly opposite the German. "Will no doubt become the standard lieder-resource for the English-speaking world..." - Choice
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Contents: Purcell: When I am laid in earth (Dido and Aeneas) - Gluck: Che faro senza Euridice? (Orfeo ed Euridice) - Mozart: Non so piu (Le Nozze di Figaro) * Voi, che sapete (Le Nozze di Figaro) * Smanie implacabili (Cosi fan tutte) - Rossini: Cruda sorte!...Gia so per pratica (L'Italiana in Algeri) * Una voce poco fa (Il Barbiere di Siviglia) * Non piu mesta (La Cenerentola) - Donizetti: Il segreto per esser felici (Orsini's Drinking Song) (Lucrezia Borgia) * O mio Fernando (La Favorita) - Meyerbeer: Nobles seigneurs, salut! (Les Huguenots) - Verdi: Stride la vampa! (Il Trovatore) - Gounod: Faites-lui mes aveux (Faust) * Que fais-tu, blanche tourterelle (Romeo et Juliette) - J. Strauss: Chacun a son got (Die Fledermaus) - Bizet: Habanera (Carmen) * Seguidilla (Carmen) * En vain, pour eviter les reponses ameres (Carmen) - Ponchielli: Voce di donne (La Gioconda) - Saint-Saens: Printemps qui commence (Samson et Dalila) * Amour! viens aider ma faiblesse! (Samson et Dalila) * Mon coeur s'ouvre a ta voix (Samson et Dalila) - Mascagni: Voi lo sapete (Cavalleria Rusticana) - Massenet: Va! laisse couler mes larmes (Werther) - Cilea: Acerba volutta (Adriana Lecouvreur) - Thomson: We cannot retrace our steps (The Mother of Us All) - Menotti: Lullaby (The Consul) * Au, Michele, don't you know (The Saint of Bleecker Street) - Moore: Augusta! How can you turn away? (The Ballad of Baby Doe) - Barber:
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There has long been a need for a new English translation of the text of Wagner's Ring - a modern version, both reliable and readable yet truly reflecting the literary quality of the original. As Wagner emphasized, his words and music form an indissoluble unity, neither fully comprehensible without the other. Stewart Spencer, a lifelong devotee of Wagner and an editor of the journal of the Wagner society, is ideally qualified for such a task. The poem of The Ring bristles with difficulties: of interpretation and of rendition into English. Spencer's version, which exactly follows the original verse form, reads smoothly and idiomatically, yet is the result of prolonged thought and deep background knowledge. The German text is given in parallel, and Spencer also contributes footnotes and an introductory essay. Other specially commissioned essays discuss the cycle's musical structure, its philosophical implications, its medieval sources and Wagner's own changing attitude to its meaning. There is also a glossary of names, a review of audio and video recordings, and a select bibliography. Armed with this complement to Wagner's master-work, the newcomer can approach it without fear of being mystified, while for those already under its spell there are new ideas.
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Do you cringe when your opera-loving friends start raving about the latest production of Tristan? Do you feel faint just thinking about the six-hour performance of Parsifal you were given tickets to? Does your mate accuse you of having a Tannhäuser complex? If you're baffled by the behavior of Wagner worshipers, if you've longed to fathom the mysteries of Wagner's ever-increasing popularity, or if you just want to better understand and enjoy the performances you're attending, you'll find this delightful book indispensable.
William Berger is the most helpful guide one could hope to find for navigating the strange and beautiful world of the most controversial artist who ever lived. He tells you all you need to know to become a true Wagnerite--from story lines to historical background; from when to visit the rest room to how to sound smart during intermission; from the Jewish legend that possibly inspired Lohengrin to the tragic death of the first Tristan. Funny, informative, and always a pleasure to read, Wagner Without Fear proves that the art of Wagner can be accessible to everyone.
Includes:
- The strange life of Richard Wagner--German patriot (and exile), friend (and enemy) of Liszt and Nietzsche
- Essential opera lore and "lobby talk"
- A scene-by-scene analysis of each opera
- What to listen for to get the most from the music
- Recommended recordings, films, and sound tracks
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The triumphant presentation of this work ran for five years in New York. Includes: "Ballad of Mack the Knife." Approved by the Kurt Weill Society.
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Because," replied Loki, "the gold can be made into a magic ring; if the one who would make the ring will forever give up all love, the magic ring will make its owner master of the whole wide world. Alberich declared that love was nothing to him if he could have all the gold he wanted.
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Paper Edition - Italian only.
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The Pirates of Penzance, premiered in 1879, confirmed the comic genius of librettist W.S. Gilbert and composer Arthur Sullivan, following on the heels of their wildly successful H.M.S. Pinafore. Pirates invade the rocky coast of Cornwall in this topsy-turvy tale of love and duty, highlighted by the famous strains of "Poor Wandering One," "I Am the Very Model of a Modern Major-General," "Oh, Is There Not One Maiden Breast" and "With Cat-Like Tread, Upon Our Prey We Steal." This vocal score includes the complete music and all dialogue, a plot synopsis, articles on the famous partnership and the history of The Pirates of Penzance, a filmography and a discography.