This is a new release of the original 1956 edition.

This is a new release of the original 1940 edition.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ La Favorita: Opera In Quattro Atti Gaetano Donizetti Truffi, 1841

The Gesamtkunstwerk ('total work of art'), once a key concept in Wagner studies, has become problematic. This book sheds light on this conundrum by first tracing the development of the concept in the 19th century through selected examples, some of which include combinations of different art forms. It then focuses on the culmination of the Gesamtkunstwerk in Wagner's theories and in the practice of his late music dramas, of which Der Ring des Nibelungen is the most complete representation. Finally, the book contrasts the view of the Ring as a fusion of dramatic text and music with the 20th century trend towards Deconstruction in Wagnerian productions and the importance of Regie. Against this trend a case is made here for a fresh critical approach and a reconsideration of the nature and basis for the fundamental unity which has hitherto been widely perceived in Wagner's Ring. Approaches through Leitmotiv alone are no longer acceptable. However, in conjunction with another principle, Moment, which Wagner insisted on combining with Motive, these can be ingeniously 'staged' and steered to dramatic ends by means of musical dynamics and expressive devices such as accumulation. Analysis of the two Erda scenes demonstrates how this complex combination of resources acts as a powerful means of fusion of the musical and dramatic elements in the Ring and confirms its status as a Gesamtkunstwerk.

Opera Jakobin (The Jacobin in English) belongs together with Rusalka, Cert a Kaca among most often played operas by Antonin Dvorak. Final version of Jacobin was composed by Dvorak in 1897. Songs and arias are recorded in the notes in consecutive order. Therefore I have no choice, but to wish wonderful experience with an amazing romantic music. The book is written for a standard ukulele (g-c-e-a) with high g string. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf The are in the book songs without text

This book is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Orchestral Symbolism In Wagner's "Das Rheingold" uncovers a new layer of meaning concealed in the orchestration of Wagner's Ring. While leitmotives have helped stage directors, conductors, and audiences appreciate the work on a deeper level, they are no longer the final word. Richter presents considerable evidence that Wagner used orchestral scorings to represent another symbolic subtext, one that has been hidden for over a century. First published in 1980, Martin S. Richter's newly-revised edition includes evidence from prominent leitmotives, analyses of instrumental and vocal sections, symbolic references, and discusses the implications of orchestral symbolism to craft a more sensitive and nuanced production of Das Rheingold.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Il Crociato In Egitto Giacomo Meyerbeer, Gaetano Rossi Fontana, 1826

Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His Orfeo, Il ritorno d'Ulisse in patria, and L'incoronazione di Poppea are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi's music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama, and dance. This impressive book is the first to survey Monteverdi's entire output of music for the theater-his surviving operas, lost operas, and other dramatic musical compositions. Tim Carter, a leading Monteverdi expert, begins by charting the progress of early opera from the north Italian courts to the "public" theaters of Venice. He places Monteverdi's stage works in the broader context of early seventeenth-century theatrical endeavor and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life in the theater and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans, creators, and performers. With insightful commentary on the composer's individual works and on the cultural and theatrical contexts in which they were performed, Carter casts new light on Monteverdi's remarkable achievement as a man of the theater.