This scarce antiquarian book is a selection from Kessinger Publishings Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the worlds literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

Description And Interpretation Of The Words And Music Of The Most Celebrated Operas.

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

This is an intriguing look into one of the most important periods in the illustrious history of New York's Metropolitan Opera. "Start-Up at the New Met" looks at ten years between 1966 and 1976, which saw the move from its old home in up-town New York, to the Lincoln Centre - one of the most cutting edge and technologically advanced arts complexes in the world. It also looks at the last six years of Rudolph Bing's tenure as manager, who brought in stars such as Maria Callas, Placido Domingo and Luciano Pavarotti. This fascinating volume looks at all the highs and lows, the backstage turmoil, the front of house controversy and the one hundred and forty performances of this important era in the history of, probably, the world's most revered opera company.

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

In this colorful and detailed history, Joshua Goldstein describes the formation of the Peking opera in late Qing and its subsequent rise and re-creation as the epitome of the Chinese national culture in Republican era China. Providing a fascinating look into the lives of some of the opera's key actors, he explores their methods for earning a living; their status in an ever-changing society; the methods by which theaters functioned; the nature and content of performances; audience make-up; and the larger relationship between Peking opera and Chinese nationalism. Propelled by a synergy of the commercial and the political patronage from the Qing court in Beijing to modern theaters in Shanghai and Tianjin, Peking opera rose to national prominence. The genre's star actors, particularly male cross-dressing performers led by the exquisite Mei Lanfang and the 'Four Great Female Impersonators' became media celebrities, models of modern fashion and world travel. Ironically, as it became increasingly entrenched in modern commercial networks, Peking opera was increasingly framed in post-May fourth discourses as profoundly traditional. "Drama Kings" demonstrates that the process of reforming and marketing Peking opera as a national genre was integrally involved with process of colonial modernity, shifting gender roles, the rise of capitalist visual culture, and new technologies of public discipline that became increasingly prevalent in urban China in the Republican era.

John Hunt was born in Windsor and Graduated from University College London, in German language and literature. He has worked in personnel administration, record retailing and bibliographic research for a government agency and is on the lecture panel of the National Federation of Music Societies. In his capacity as Chairman of the Furtwangler Society UK, John Hunt has attended conventions in Rome, Paris and Zurich and has contributed to important reference works about Furtwangler by John Ardoin and Joachim Matzner. He has also translated from the German Jurgen Kesting's important monograph on Maria Callas. John Hunt has published discographies of over 80 performing artists, several of which have run into two or more editions.

Because, replied Loki, "the gold can be made into a magic ring; if the one who would make the ring will forever give up all love, the magic ring will make its owner master of the whole wide world. Alberich declared that love was nothing to him if he could have all the gold he wanted."

Trapes. There it is now! Whoever heard a man of fortune in England talk of the necessaries of life? If the necessaries of life would have satisfy'd such a poor body as me, to be sure I had never come to mend my fortune to the Plantations. Whether we can afford it or no, we must have superfluities. We never stint our Expence to our own fortunes, but are miserable, if we do not live up to the profuseness of our neighbours.

Bri. No, give me a husband that knows where his limbs are, though he want the use of them--and if he should take you with him--to sleep in a baggage cart, and stroll about the camp like a gipsey, with a knapsack and two children at your back--then by way of entertainment in the evening, to make a party with the Serjeants wife, to drink bohea tea, and play at all fours on a drumhead, 'tis a precious life to be sure.

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!

1898. With illustrations and diagrams. From the Preface: In writing the thousand and first book on Richard Wagner and his work, I do not pretend to accomplish anything better than has yet been done. My aim has been something quite different, -a real practical guide to Bayreuth for the French which will answer the needs and satisfy the curiosity of those of our nation who have not yet taken that little journey, which is so easy and attractive. I have also desired to indicate what state of mind it should be undertaken and what seductive preliminary studies are necessary to the complete enjoyment of the trip; finally, it has been my desire to present the Wagnerian style in its own proper light, by dissipating the clouds with which it has been enveloped by certain of its commentators, who, far from smoothing the way, have made it bristle with difficulties. This is the sole criticism I will allow myself: they write for Wagnerians, not for neophytes.

A complete vocal score of Somtow Sucharitkul's 2003 horror opera, "Mae Naak," edited and with a piano reduction by Trisdee na Patalung. The Nation called this opera "a truly great work" with its exotic colors and ironic cross-breeding of Thai folk music with the tropes of horror film music. As noted for its grand guignol as its sweeping lyricism, "Mae Naak" has been garnering rave reviews since its Bangkok Opera debut with Nancy Yuen in the title role.

PRAISE FOR THE PREVIOUS EDITIONS: "If you are for opera, this book is for you."--"New York Times Book Review"The most influential recent book on opera criticism. . . in the English-speaking world"--"New Grove Dictionary of Opera"Affords the serious reader and listener an absorbing encounter with a sensitive and superbly trained intelligence in the act of thinking about music and music criticism. . . . We come away remembering the sound of Kerman's prose voice, mellifluous, elegant, eminently civilized, beneath its cool control a ground bass of urgent feeling."--"San Francisco Chronicle Book Review"The author's clarity and pungency...make for enjoyable, challenging reading. It is a collection that can tease the person who is primarily interested in opera into wanting to explore the song literature of the English Renaissance or to listen more knowledgeably to Mozart's piano concertos and Beethoven's symphonies."--William Ashbrook, "Opera Quarterly ""Kerman's musicological activity is technical without neglecting the importance of text, cultural context, meaning, expression, and value, and is likely to appeal to educated lay people.... Kerman's scholarship is careful and sensitive, and often subtle and witty. Yet this subtle scholarship has evoked strong and widespread reaction and provided significant leadership within musicology and beyond."--Renee Cox Lorraine, "Notes ""Lucid, lively.... Many aspects of his work can provide inspiration."--Oliver Neighbour, "Music and Letters"

This scarce antiquarian book is a selection from Kessinger Publishings Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the worlds literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

1902. Illustrated. Contents: Ballad Opera; English Opera; Italian Opera-Max Maretzek; Italian Opera-Hackett and Ullman; Italian Opera-Strakosch and De Vivo; Italian Opera-Mapleson; German Opera; Grand Opera of Recent Years; and Opera in English.

Lakme is the daughter of Nilakantha, a fanatical Brahmin priest, who has withdrawn to a ruined temple deep in an Indian forest. In his retreat the old man nurses his wrath against the British invader, prays assiduously to Brahma (thus contributing a fascinating Oriental mood to the opening of the opera), and waits for the time to come when he shall be able to wreak his revenge on the despoilers of his country. Lakme sings Oriental duets with her slave, Mallika.

1882. This volume contains The Rhine-Gold (Das Rheingold), the prelude to Wagner's trilogy: The Nibelung's Ring. Acknowledged as the master of German opera, and one of the most progressive composers in history, his monumental cycle of four musical dramas, collectively titled Der Ring des Nibelungen (The Ring of the Nibelungs) and comprised of Das Rheingold, Die Walkure, Siegfried and Die Gotterdammerung, took 22 years to complete, and stands as one of the most remarkable and influential achievements in Western music.

In the sometimes faulty and incomplete records of the American stage to which writers on musical history have hitherto been forced to repair, 1750 is set down as the natal year for English ballad opera in America. It is thought that it was in that year that "The Beggar's Opera" found its way to New York, after having, in all probability, been given by the same company of comedians in Philadelphia in the middle of the year preceding. But it is as little likely that these were the first performances of ballad operas on this side of the Atlantic as that the people of New York were oblivious of the nature of operatic music of the Italian type until Garcia's troupe came with Rossini's "Barber of Seville," in 1825.