'Idiosyncratic, humorous, enlightening and written by one of the finest conductors alive ... This is the book to buy if you are going to see Wagner or listen to him at home' LITERARY REVIEW Over a distinguished career conducting some of the world's finest orchestras, Christian Thielemann has earned a reputation as the leading modern interpreter of Richard Wagner. MY LIFE WITH WAGNER chronicles his ardent personal and professional engagement with the composer whose work has shaped his thinking and feeling from early childhood. Thielemann retraces his journey with Wagner - from Berlin to Bayreuth via Venice, Hamburg and Chicago. Next he takes each opera in turn, his appraisal illuminated by a deep affinity for the music, an intimate knowledge of the scores and the inside perspective of an outstanding practitioner. And yet for all the adulation Wagner's art inspires in him, Thielemann does not shy away from unpalatable truths about the man himself, explaining why today he is venerated and reviled in equal measure. The result is a richly rewarding read for admirers of a composer who continues to fascinate long after his death.

Composed between October 1846 and the spring of 1847, "I masnadieri" features a libretto based on Schiller's play "Die Rauber" (The Robbers). The opera premiered in July 1847 at Her Majesty's Theatre, London, with Jenny Lind as the "prima donna." Verdi himself supervised the rehearsals for the premiere, and the original performing parts, which contain annotations made by the players under Verdi's direction and changes made by the composer during the rehearsals, have been preserved at the archives of the Royal Opera House.
The critical edition is the first publication of "I masnadieri" in full score. Based on the composer's autograph and on important secondary sources such as the performing parts mentioned above, this edition provides scholars and performers alike with unequaled means for interpretation and study of one of Verdi's less well known works. The detailed critical commentary discusses problems and ambiguities in the sources, while a wide-ranging introduction to the score traces the opera's genesis, sources, and performance history and practices.

This book presents in comprehensive fashion the extraordinary development of Ariadne auf Naxos from its conception to the final operatic version. The unique collaboration of Hofmannsthal and Strauss is examined and the classical myths that served as a basis for the libretto are investigated. The detailed analysis and interpretation of both the text and the music demonstrate that this work is epochal in the history of early nineteenth-century opera and commands central importance in the overall production of its authors.

Those whose thoughts of musical theatre are dominated by the Broadway musical will find this book a revelation. From the 1850s to the early 1930s, when urban theatres sought to mount glamorous musical entertainment, it was to operetta that they turned. It was a form of musical theatre that crossed national borders with ease and was adored by audiences around the world. This collection of essays by an array of international scholars examines the key figures in operetta in many different countries. It offers a critical and historical study of the widespread production of operetta and of the enthusiasm with which it was welcomed. Furthermore, it challenges nationalistic views of music and approaches operetta as a cosmopolitan genre. This Cambridge Companion contributes to a widening appreciation of the music of operetta and a deepening knowledge of the cultural importance of operetta around the world.