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: ++++ I Capuleti E I Montecchi: Tragedia Lirica: Da Rappresentarsi Nel Gran Teatro La Fenice Nel Carnovale 1840 Vincenzo Bellini, Felice Romani Dalla tipografia di Giuseppe Molinari, in Rugagiuffa, S. Zaccaria, n. 4879, 1840 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera; Operas

This generously illustrated selection of fifty reviews and essays, written between 1914 and 1962 by thirty American critics, draws together some of the best, most influential, and most interesting writing on Montemezzi, revealing for the first time the full depth of his impact in the United States, the country to which he moved in 1939.

Title: Ariodante, HWV 33 Composer: George Frideric Handel Original Publisher: Deutsche Handelgesellschaft The complete score to Handel's Ariodante, HWV 33, as edited by Friedrich Chrysander and published as part of the Deutsche Handelgesellschaft, Band 85, in 1881. Performer's Reprints are produced in conjunction with the International Music Score Library Project. These are out of print or historical editions, which we clean, straighten, touch up, and digitally reprint. Due to the age of original documents, you may find occasional blemishes, damage, or skewing of print. While we do extensive cleaning and editing to improve the image quality, some items are not able to be repaired. A portion of each book sold is donated to small performing arts organizations to create jobs for performers and to encourage audience growth."

Title: Poro, re dell'Indie, HWV 28 Composer: George Frideric Handel Original Publisher: Deutsche Handelgesellschaft The complete score to Handel's Poro, re dell'Indie, HWV 28, as edited by Friedrich Chrysander and originally published as part of the Deutsche Handelgesellschaft, Band 79, in 1880. Performer's Reprints are produced in conjunction with the International Music Score Library Project. These are out of print or historical editions, which we clean, straighten, touch up, and digitally reprint. Due to the age of original documents, you may find occasional blemishes, damage, or skewing of print. While we do extensive cleaning and editing to improve the image quality, some items are not able to be repaired. A portion of each book sold is donated to small performing arts organizations to create jobs for performers and to encourage audience growth."

Performing in a country rife with racism and segregation, the tenor Roland Hayes was the first African American man to reach international fame as a concert performer and one of the few artists who could sell out Town Hall, Carnegie Hall, Symphony Hall, and Covent Garden. His trailblazing career carved the way for a host of African American artists, including Marian Anderson and Paul Robeson. Performing the African American spirituals he was raised on, Hayes's voice was marked with a unique sonority which easily navigated French, German, and Italian art songs. A multiculturalist both on and off the stage, he counted among his friends George Washington Carver, Eleanor Roosevelt, Ezra Pound, Pearl Buck, Dwight Eisenhower, and Langston Hughes. This engaging biography spans the history of Hayes's life and career and the legacy he left behind as a musician and a champion of African American rights. It is an authentic, panoramic portrait of a man who was as complex as the music he performed.

This book is part of the TREDITION CLASSICS series. The creators of this series are united by passion for literature and driven by the intention of making all public domain books available in printed format again - worldwide. At tredition we believe that a great book never goes out of style. Several mostly non-profit literature projects provide content to tredition. To support their good work, tredition donates a portion of the proceeds from each sold copy. As a reader of a TREDITION CLASSICS book, you support our mission to save many of the amazing works of world literature from oblivion.

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: Melodrama En 4 Actos Gaetano Donizetti D. Gorchs, 1855

A riveting history of the early male and female sopranos for whom many of the greatest roles in opera were written During its first two centuries, opera was dominated by sopranos. There were male sopranos, or castrati, whose supercharged voices (female vocal cords powered by male lungs) were capable of feats of vocalism that are hard to imagine today. And there were female sopranos, or prima donnas, whose long battle for social acceptance and top billing was crowned in the early nineteenth century when the castrati disappeared from the opera stage and left them supreme. Whether they were male or female, these singers were amazing virtuosi, perhaps the greatest singers there have ever been-"angels." Unfortunately, some of them (and often the most famous) were also capable of behaving extremely badly, both on and off stage-"monsters." This book tells their colorful stories. Besides providing fascinating anecdotes about some of those who graced and disgraced the operatic stage, Richard Somerset-Ward tells the story of their greatest glory-the singing tradition they founded and perfected, which we know as bel canto and which is still the backbone of operatic singing today. Rich in musical, social, and cultural lore, Angels and Monsters illuminates a unique and vanished tradition and will be irresistible to opera lovers everywhere.

David W. Barber has delighted readers all around the world with the quirky definitions of Accidentals on Purpose: A Musician's Dictionary, the irreverent history of Bach, Beethoven and the Boys, a hilariously offbeat history of dance and ballet in Tutus, Tights and Tiptoes and a host of other internationally bestselling books of musical humor. With When the Fat Lady Sings, the popular author and musical humorist turns his attention to what Dr. Johnson called that "exotick and irrational entertainment," the world of opera. Here are stories of love and lust, jealousy, intrigue, murder and tragic death - and that's just the stuff happening off stage, in the composers' personal lives. Wait till you read about the opera plots. Informal yet informative, witty yet wise, this book will both enlighten and entertain you. As always, Dave Donald has provided witty and clever cartoons that perfectly complement the text. This completely revised and expanded edition includes new material and an index, to make it easier for readers to find all their favorite references. "This is a very humorous book, but at the same time it tells it like it is, or was. David's not really fabricating anything, he just manages to give you the gist of the history while leaving out all the boring bits." - Maureen Forrester

Title: Admeto, HWV 22 Composer: George Frideric Handel Original Publisher: Deutsche Handelgesellschaft The complete orchestral score to Handel's Admeto, HWV 22, as edited by Friedrich Chrysander and published as part of the Deutsche Handelgesellschaft, Band 73, in 1877. Performer's Reprints are produced in conjunction with the International Music Score Library Project. These are out of print or historical editions, which we clean, straighten, touch up, and digitally reprint. Due to the age of original documents, you may find occasional blemishes, damage, or skewing of print. While we do extensive cleaning and editing to improve the image quality, some items are not able to be repaired. A portion of each book sold is donated to small performing arts organizations to create jobs for performers and to encourage audience growth."

The inspirational memoir by international classical music star Paul Potts, winner of Britain's Got Talent.

One Chance is the remarkable true story of Paul Potts, cell phone salesman by day, amateur singer by night, who stepped onto the stage in the premiere season of Britain's Got Talent, and changed his life. When he opened his mouth to sing Puccini's "Nessun Dorma," judge Simon Cowell and millions of viewers were stunned. Paul went on to win the show's competition and become a YouTube sensation and multiplatinum artist virtually overnight.

Filled with personal recollections not featured in the upcoming film, this is the wonderful story of the shy, bullied Welsh store manager who seized his biggest dreams and won audiences around the world.

Opera is a thrilling art form that deals with life's rawest emotions and greatest passions: love, jealousy, revenge, forgiveness, sex, passion, corruption, fate, power and death. Combining music with drama creates an exciting spectacle which can convey emotions, create moods, and portray the inner feelings and desires of characters more powerfully than words alone. Add in wonderful sets, costumes and increasingly complex technical effects, and you have a genre that embraces all the arts in one. This accessible and engaging introduction has been written for both students and newcomers to opera. Simply explained, and illustrated with pictures from a wide range of productions, it includes: A guide to what to expect when you go to the opera Behind-the-scenes insights into how an opera is put together and staged, including set design, costumes, lighting and technical effects An overview of the history and development of opera through the ages An in-depth look at 12 featured operas from different periods and styles A playlist of video clips has been chosen to accompany the book.

This Is A New Release Of The Original 1911 Edition.

This Is A New Release Of The Original 1906 Edition.

Grand palaces of culture, opera theaters marked the center of European cities like the cathedrals of the Middle Ages. As opera cast its spell, almost every European city and society aspired to have its own opera house, and dozens of new theaters were constructed in the course of the "long" nineteenth century. At the time of the French Revolution in 1789, only a few, mostly royal, opera theaters, existed in Europe. However, by the turn of the nineteenth and twentieth centuries nearly every large town possessed a theater in which operas were performed, especially in Central Europe, the region upon which this book concentrates.
This volume, a revised and extended version of two well-reviewed books published in German and Czech, explores the social and political background to this "opera mania" in nineteenth century Central Europe. After tracing the major trends in the opera history of the period, including the emergence of national genres of opera and its various social functions and cultural meanings, the author contrasts the histories of the major houses in Dresden (a court theater), Lemberg (a theater built and sponsored by aristocrats), and Prague (a civic institution). Beyond the operatic institutions and their key stage productions, composers such as Carl Maria von Weber, Richard Wagner, Bedrich Smetana, Stanislaw Moniuszko, Antonin Dvorak, and Richard Strauss are put in their social and political contexts. The concluding chapter, bringing together the different leitmotifs of social and cultural history explored in the rest of the book, explains the specificities of opera life in Central Europe within a wider European and global framework.

For a long time opera was dominated by larger-than-life characters: kings and queens, gods and goddesses, mythic figures with power over life and death. However, as opera became a more and more popular form of entertainment, the perspective changed. The challenge for composers and librettists was to give these legendary characters common feelings - to put little sorrow in great souls - so that ordinary people could easily identify with on stage dramas. Composers turned to stories about simpler, more realistic characters, creating a whole new set of challenges in the process. Nobody knew that better than Giacomo Puccini whose operas tell us that at some point in their lives, people everywhere, in all walks of life, endure the same trials: love and envy, loss and heartbreak. This is especially true in La Boheme, a drama of everyday events and common people, a story set among struggling artists in the Latin Quarter of Paris. Certain critics have analyzed his music and his stories and concluded that his operas are too easily enjoyable, and maybe not intellectual enough, to justify Puccini's great success. It would be easy to argue that other composers produced operas far more complex and innovative than Puccini's, but that conclusion may also be too simple. Regardless of his methods, Puccini mastered the unique and mystifying synthesis of music, drama and stagecraft that only opera can deliver, and with powerful results. His enduring, popular dramas are graced by appealing and believable characters whose feelings are portrayed so deeply and so vividly that, as we look on, their emotions soon become ours as well, and their heartbreaks seem as wrenching as our own. Luca Andrea Giordano lives in Italy. He holds doctorate degrees in Foreign Languages, Modern Philology, Vocal Performance (Opera and Chamber music) and Oboe. He dedicates his time equally as a linguist and interpreter assisting professional departments at various Italian Music Conservatories in English and French, and as author of extensive analytical works in musicology, linguistics and composition for important publishing houses. He has been associated with the Opera House "Giuseppe Verdi" in Salerno, as chorus member, since 1999. He also performs frequently as classical singer and oboist at national and international levels."

This is a new release of the original 1943 edition.

The tale of the onstage fight between prima donnas Francesca Cuzzoni and Faustina Bordoni is notorious, appearing in music histories to this day, but it is a fiction. Starting from this misunderstanding, The Rival Sirens suggests that the rivalry fostered between the singers in 1720s London was in large part a social construction, one conditioned by local theatrical context and audience expectations, and heightened by manipulations of plot and music. This book offers readings of operas by Handel and Bononcini as performance events, inflected by the audience's perceptions of singer persona and contemporary theatrical and cultural contexts. Through examining the case of these two women, Suzanne Aspden demonstrates that the personae of star performers, as well as their voices, were of crucial importance in determining the shape of an opera during the early part of the eighteenth century.

Benjamin Britten's works for the stage developed from the traditional late nineteenth-century romantic opera structure of Peter Grimes to the experimental format of the church parables and of Death in Venice, his last opera. At the core of this development seems to have been Britten's intention to use the stage as a pulpit to express his philosophical views. This book explores an assessment of how these influenced his creative choices, mainly examining the composer's own writings, from his early involvement with left wing activism during the Thirties through to his more spiritually oriented objectives after the war, and offers alternative readings of two of Britten's most controversial works for the stage, The Rape of Lucretia and Death in Venice.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. 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.