Long before Sofia Coppola's Lost in Translation, long before Barthes explicated his empire of signs, even before Puccini's Madame Butterfly, Gilbert and Sullivan's The Mikado presented its own distinctive version of Japan. Set in a fictional town called Titipu and populated by characters named Yum-Yum, Nanki-Poo, and Pooh-Bah, the opera has remained popular since its premiere in 1885. Tracing the history of The Mikado's performances from Victorian times to the present, Josephine Lee reveals the continuing viability of the play's surprisingly complex racial dynamics as they have been adapted to different times and settings. Lee connects yellowface performance to blackface minstrelsy, showing how productions of the 1938-39 Swing Mikado and Hot Mikado, among others, were used to promote African American racial uplift. She also looks at a host of contemporary productions and adaptations, including Mike Leigh's film Topsy-Turvy and performances of The Mikado in Japan, to reflect on anxieties about race as they are articulated through new visions of the town of Titipu. The Mikado creates racial fantasies, draws audience members into them, and deftly weaves them into cultural memory. For countless people who had never been to Japan, The Mikado served as the basis for imagining what "Japanese" was.

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.

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

With Five-Hundred Illustrations And Descriptions Of One-Thousand Victor Opera Records.

The Real Traviata is the rags-to-riches story of a tragic young woman whose life inspired one of the most famous operas of all time, Verdi's masterpiece La traviata, as well as one of the most scandalous and successful French novels of the nineteenth century, La Dame aux Camelias, by Alexandre Dumas fils. The woman at the centre of the story, Marie Duplessis, escaped from her life as an abused teenage girl in provincial Normandy, rising in an amazingly short space of time to the apex of fashionable life in nineteenth century Paris, where she was considered the queen of the Parisian courtesans. Her life was painfully short, but by sheer willpower, intelligence, talent, and stunning looks she attained such prominence in the French capital that ministers of the government and even members of the French royal family fell under her spell. In the 1840s, she commanded the kind of 'paparazzi' attention that today we associate only with major royalty or the biggest Hollywood stars. Aside from the younger Dumas, her conquests included a host of writers and artists, including the greatest pianist of the century, Franz Liszt, with whom she once hoped to elope. When she died Theophile Gautier, one of the most important Parisian writers of the day, penned an obituary fit for a princess. Indeed, he boldly claimed that she had been a princess, notwithstanding her peasant origin and her distinctly demi-monde existence. And although now largely forgotten, in the years immediately after her death, Marie's legend if anything grew in stature, with her immortalization in Verdi's La traviata, an opera in which the great Romantic composer tried to capture her essence in some of the most heart-wrenching and lyrical music ever composed.

Susie Gilbert traces the development of ENO from its earliest origins in the darkest Victorian slums of the Cut, where it was conceived as a vehicle of social reform, through two world wars, and via Sadler's Wells to its great glory days at the Coliseum and beyond. Setting the company's artistic achievements within the wider context of social and political attitudes to the arts and the ever-changing theatrical style, Gilbert provides a vivid cultural history of this unique institution's 150 years. Inspired by the idealism of Lilian Baylis, the company has been based on the belief that opera in the vernacular can not only reach out to even the least privileged members of society but also create a potent and immediate communication with its audience. With full access to ENO's archive, Gilbert has unearthed a rich range of material and held numerous interviews with a fascinating array of personalities, to weave an absorbing tale of life both in front and behind the scenes of ENO as it developed over the years.

The story of an Australian girl who defied convention and became the most famous singer of her era. Growing up in Melbourne, Nellie Mitchell dreamed of fame, but her devout father disapproved. When a chance arose to go to Paris, she trusted in her musical talent and hoped for a lucky break. Within a few years, reborn as Nellie Melba, she was performing to overflowing concert halls, hobnobbing with European royalty and collaborating with some of the most renowned composers of the age. Audiences swooned over the 'heavenly pleasures' of her voice, while the public showed an insatiable appetite for news of her sometimes passionate private life. Dame Nellie Melba was Australia's first international superstar. In this important biography, enhanced by new research, Ann Blainey captures the exuberance, controversy and pathos of Melba's remarkable career. Shortlisted for the Age Book of the Year Award

The Black Dog Opera Library is the most popular, informative, and budget-friendly way to enjoy the greatest operas of all time. Each book contains a history of the opera, a synopsis of the story, a complete libretto in its original language as well as in English, dozens of photos, and a world-class Angel/EMI recording of the entire opera on two CDs. It's a must-have for die-hard opera lovers as well as those in need of an introduction to the timeless art form.

Marguerite Piazza's autobiography reads more like a popular novel. Pagliacci Has Nothing On Me! recounts her rise to stardom in radio, TV, grand opera and as a Las Vegas headliner from her New Orleans childhood as the grand-daughter of immigrants. Miss Piazza reveals fascinating stories about the very birth of television and the Golden Age of Entertainment. The book delves behind the scenes with celebrities, managers, producers, socialites, her four husbands, six children, President Nixon, the McCarthy era and her near death experience. Variety once wrote that she was "an opera star who knows how to please both the longhairs and the crew cuts." And the broad appeal of her book is no exception. Pagliacci Has Nothing On Me! is a mesmerizing and sometimes harrowing journey through the life and times of an unforgettable Diva.

First published in 1897, this was among the earliest works about Wagner and his works to come from outside Bayreuth and presented careful and probing analyses of both the poems and the music, touching for the first time on the essential themes and questions of Wagner's life and work, the use of the leit-motif and the universe of his creative work. Contains all of the original illustrations. A work explaining and interpreting Wagner and his music, which is extremely valuable for the French point of view which it presents. This title is cited and recommended by Books for College Libraries and the Catalogue of the Lamont Library, Harvard College.

'A Gilbert is of no use without a Sullivan.' With these words, W.S. Gilbert summed up his reasons for persisting in his collaboration with Arthur Sullivan despite the combative nature of their relationship. In fact, Michael Ainger suggests in Gilbert and Sullivan the success of the pair's work is a direct result of their personality clash, as each partner challenged the other to produce his best work. After exhaustive research into the D'Oyly Carte collection of documents, Ainger offers the most detailed account to date of Gilbert and Sullivan's starkly different backgrounds and long working partnership. Having survived an impoverished and insecure childhood, Gilbert flourished as a financially successful theater professional, married happily and established himself as a property owner. His sense of proprietorship extended beyond real estate, and he fought tenaciously to protect the integrity of his musical works. Sullivan, the product of a supportive family who nourished his talent, was much less satisfied with stability than his collaborator. His creative self-doubts and self-demands led to nervous and physical breakdowns, but it also propelled the team to break the successful mode of their earliest work to produce more ambitious pieces of theater, including The Mikado and The Yeoman of the Guards . Offering previously-unpublished draft libretti and personal letters, this thorough double-biography will be an essential addition to the library of any Gilbert and Sullivan fan.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This book is a facsimile reprint and may contain imperfections such as marks, notations, marginalia and flawed pages.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

George Bernard Shaw was born in Dublin in 1856. Before becoming a playwright he wrote music and literary criticism. Shaw used his writing to attack social problems such as education, marriage, religion, government, health care, and class privilege. Shaw was particularly conscious of the exploitation of the working class. The Perfect Wagnerite is a politically oriented essay. Shaw was a life-long Socialist and one of the earliest Wagner enthusiasts. He praises Wagner's "Ring Cycle" as a denunciation of the evils of capitalism and as a musical triumph.

"What should I perform?" This book is to serve as a study guide of twentyfive works for the dramatic soprano voice with orchestra. Criteria used for inclusion include range, tessitura, orchestral scoring, dramatic intensity, and cultural diversity. There are examples of works dating from 1787 through 2004, and include song cycles, monoperas, monodramas, scena and arias, symphonic rhapsodies, cantatas, symphonic cycles, and lyric tragedies. Adhering to the basic requirement of the piece being suitable for the dramatic soprano voice, the chosen works are eclectic in language, style, ethnic origin, and musical period. A cursory definition of the dramatic soprano voice and its rise in operatic history is included. Information is provided for each listing, including a brief biographical sketch of the composer and the work's history and lyrics. This book is addressed to all professionals in the performing arts as well as specifically to dramatic sopranos, conductors, composers, and lovers of extraordinary and compelling vocal/orchestral works. It is also directed toward professors and educators in music, voice, orchestra, theatre, and their students.