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.

The musical dramas of Richard Wagner have, for the last 150 years, thrilled and amazed listeners everywhere. In "Wagner Moments", author J.K. Holman has assembled 100 such moments, from the living and dead, famous and not so famous, from Charles Baudelaire to Placido Domingo, musicians and non-musicians. Mr. Holman edits these stories and asides, placing them in their biographical and historical context to the certain enjoyment of Wagner aficionados everywhere.

What's it like to grow up on a small farm in Illinois only to find yourself, some 20 years later, performing on the stage of the Metropolitan Opera House? And then to travel the world, singing in historic theaters from La Scala in Milan to Vienna, Paris, London, and beyond? Former Met star Sherrill Milnes tells all in this completely updated, first-time-in-paperback edition of his very successful biography.

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This scarce antiquarian book is a facsimile reprint of the original. 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 for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

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!

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!

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.

This tremendous reference is in dictionary style for the easy reference and use by researchers, scholars, and any reader interested in the opera. It is an excellent source for looking up anything from specific data on a particular opera to which aria is connected with which opera. This volume is generously cross-referenced and should prove invaluable in answering many questions on the opera.

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

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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."

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.

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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.

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.

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!

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.

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.

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.