After 50 years of analysis we are only beginning to understand the quality and complexity of Alban Berg's most important twelve-tone work, the opera Lulu. Patricia Hall's new book represents a primary contribution to that understanding-the first detailed analysis of the sketches for the opera as well as other related autograph material and previously inaccessible correspondence to Berg. In 1959, Berg's widow deposited the first of Berg's autograph manuscripts in the Austrian National Library. The complete collection of autographs for Lulu was made accessible to scholars in 1981, and a promising new phase in Lulu scholarship unfolded. Hall begins her study by examining the format and chronology of the sketches, and she demonstrates their unique potential to clarify aspects of Berg's compositional language. In each chapter Hall uses Berg's sketches to resolve a significant problem or controversy that has emerged in the study of Lulu. For example, Hall discusses the dramatic symbolism behind Berg's use of multiple roles and how these roles contribute to the large-scale structure of the opera. She also revises the commonly held view that Berg frequently invoked a free twelve-tone style. Hall's innovative work suggests important techniques for understanding not only the sketches and manuscripts of Berg but also those of other twentieth-century composers. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.

Norma Jeane Baker of Troy is a partly spoken, partly sung performance piece by poet, essayist, and scholar Anne Carson, and an exploration of the lives and myths of Marilyn Monroe and Helen of Troy-iconic beauties who lived millennia apart. A thrilling and thoughtful meditation on the destabilising and destructive power of beauty, it had its world premiere at The Shed in New York City, starring Ben Whishaw and Renee Fleming.

This acclaimed edition of Scarlatti's operas is making available for the first time authentic versions of the works of one of the key figures in the history of the genre. In this fifth volume of the series, Cohn Slim provides a definitive edition of "Massimo Puppieno," an opera from the middle years of Scarlatti's career. In his introduction he discusses the opera and performance practices of the day. A translation of the libretto is included.

H. Cohn Slim is Professor of Music, University of California, Irvine.

Other operas available are "Eraclea, Marco Attilio Regolo, Griselda," and "The Faithful Princess."

Nabucodonosor, one of the early Verdi operas, is the third work to be published in The Works of Giuseppe Verdi. Following the strict requirements of the series, the edition is based on Verdi's autograph and other authentic sources, and has been reviewed by a distinguished editorial board--Philip Gossett, Julian Budden, Martin Chusid, Francesco Degrada, Ursula Gunther, Giorgio Pestelli, and Pierluigi Petrobelli. Nabucodonosor is available as a two-volume set: a full orchestral score and a critical commentary. The score, which has been beautifully bound and autographed, is printed on high-grade paper in an oversized, 10-1/2 x 14-1/2-inch format. The introduction to the score discusses the work's genesis, sources, and performance history as well as performance practices, instrumentation, and problems of notation. The critical commentary, printed in a smaller format, discusses editorial decisions and identifies the sources of alternate readings of the music and libretto.