Giovanni Battista Rubini (1794-1854) was a legendary tenor and the first 19th-century non-castrati male singer to become an international star of opera. The previous two centuries had been the era of the castrati, with tenors and basses relegated to character and supporting roles in the operas of their time. Rubini stood apart because he not only matched the castrati in coloratura and pathos, but he also had an extraordinarily high voice. With Rubini's rise, and in his wake, several tenors came to sing roles written specifically for them by Rossini, Bellini, Donizetti, and many other lesser-known bel canto composers. Signaling the end of the dominance of castrati on stage, this period would last some forty years until the advent of grand opera, Wagner, and Verdi and the appearance of the first so-called High C from the chest by Gilbert-Louis Duprez in 1837. Since then, the accepted tenor sound has followed the tradition epitomized by Enrico Caruso and, in our own era, Luciano Pavarotti and Placido Domingo. Many composers, conductors, and performers would come to regard bel canto dramatic operas as decorative and vapid until Maria Callas and Tulio Serafin demonstrated the heights this genre of opera could reach. However, opera directors and opera performers of late who have expressed an interest in reviving selected masterpieces from the bel canto tradition have found themselves confronted with the problem of locating tenors versed in the vocal techniques necessary to carry the high tessituras. In Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique, Dan H. Marek explores the extraordinary life of Rubini in order to frame this special period in the history of opera and connect the technique of the castrati who were among Rubini's instructors. Drawing on the work of Berton Coffin, Marek offers long-sought answers to the challenges presented by high tessitura of bel canto operas for tenors. To further assist working singers, Giovanni Battista Rubini and the Bel Canto Tenors includes over sixty pages of exercises written by Rubini himself before 1840, which Marek, for the first time ever, has adapted to acoustical phonetics. Professional singers, teachers and their students, vocal coaches, and opera conductors will find this work indispensable as the only English-language work on high tessitura for tenor and soprano singing.

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: ++++ Giovanna D'Arco: Drama Lirico Giuseppe Verdi Tip. di T. Gorchs, 1847 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera; operes

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 Cuatro Actos Gaetano Donizetti Tomas Gorchs, 1862 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera; operes

This Book Is In Italian And German. Due to the very old age and scarcity of this book, many of the pages may be hard to read due to the blurring of the original text.

The Center for Creative Leadership's continuing studies of executives have found that learning on the job is the best way for a person to develop. Often people are given new positions in order to provide them with developmental experiences. But what if such a transfer is not possible? This report contains eighty-eight assignments that offer individual development opportunities on a current job.

Champagne is flowing in Sloane Square while cash and coke changes hands in the back alleys of Soho. City trader Jonny slinks effortlessly through the city's dark underbelly, on the prowl for new and dangerous experiences. Desired, depraved and dragging his reluctant intern behind him, he leaves a trail of broken hearts and barristers' blood in his wake. Sung in a new English translation and set in the pre-credit crunch days of the early noughties, this is a heady mix of sex, violence and beautiful music. A fantastic new collaboration between Soho Theatre and the UK's hottest opera company, OperaUpClose, Winner of the 2011 Olivier Award for Best Opera Production for their brilliantly 're-magined' La Boheme. Click here to see the rehearsal trailer for Don Giovanni.

In this groundbreaking survey of the fundamentals, methods, and formulas that were taught at Italian music conservatories during the 19th century, Nicholas Baragwanath explores the compositional significance of tradition in Rossini, Bellini, Donizetti, Verdi, Boito, and, most importantly, Puccini. Taking account of some 400 primary sources, Baragwanath explains the varying theories and practices of the period in light of current theoretical and analytical conceptions of this music. The Italian Traditions and Puccini offers a guide to an informed interpretation and appreciation of Italian opera by underscoring the proximity of archaic traditions to the music of Puccini.

An enthralling new biography of the woman behind Bayreuth In this meticulously researched book, Oliver Hilmes paints a fascinating and revealing picture of the extraordinary Cosima Wagner-illegitimate daughter of Franz Liszt, wife of the conductor Hans von Bulow, then mistress and subsequently wife of Richard Wagner. After Wagner's death in 1883 Cosima played a crucial role in the promulgation and politicization of his works, assuming control of the Bayreuth Festival and transforming it into a shrine to German nationalism. The High Priestess of the Wagnerian cult, Cosima lived on for almost fifty years, crafting the image of Richard Wagner through her organizational ability and ideological tenacity. The first book to make use of the available documentation at Bayreuth, this biography explores the achievements of this remarkable and obsessive woman while illuminating a still-hidden chapter of European cultural history.

This scarce antiquarian book is a selection from Kessinger Publishing's 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 world's 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 Book Is In Italian And German. Due to the very old age and scarcity of this book, many of the pages may be hard to read due to the blurring of the original text.

Giacomo Puccini is one of the most frequently performed and best loved of all operatic composers. In Il Trittico, Turandot, and Puccini's Late Style, Andrew Davis takes on the subject of Puccini's last two works to better understand how the composer creates meaning through the juxtaposition of the conventional and the unfamiliar situating Puccini in past operatic traditions and modern European musical theater. Davis asserts that hearing Puccini s late works within the context of la solita forma allows listeners to interpret the composer s expressive strategies. He examines Puccini s compositional language, with insightful analyses of melody, orchestration, harmony, voice-leading, and rhythm and meter."

Die Oper macht uns zu Zeugen erfolgreicher wie erfolgloser Versuche der Protagonisten, ihr Schicksal voller konflikthafter Verstrickungen zu wenden. Doch durch diese Dramen erwachsener Menschen schimmern die Dramen der Kindheit hindurch, jene Ereignisse im phantasmatischen Raum unserer kindlichen Seele. Damals waren sie in ihrer Heftigkeit viel zu uberfordernd, um angemessen verarbeitet und integriert zu werden. Sie drangen uns dazu, sich ihnen erneut zuzuwenden, und sei es durch die Identifikation mit den Darstellern auf der Opernbuhne, die diese Probleme - oftmals auf einer symbolischen Ebene - stellvertretend fur uns zu losen versuchen. Oper ist Seelendrama und fordert die Psychoanalyse heraus, beim Verstehen jener vielschichtigen Vorgange behilflich zu sein. Dieser Sammelband zeugt davon, dass das Operngeschehen eminent psychologisch ist und wie entwicklungs- und personlichkeitspsychologische, ja, psychopathologische Phanomene in den Opern von Monteverdi bis Britten thematisiert werden. Mit Beitragen von Anja Guck-Nigrelli, Peter Kutter, Sebastian Leikert, Eckhart Neumann, Antje Niebuhr, Karin Nohr, Bernd Oberhoff, Dieter Ohlmeier und Claudia Rapp-Neumann

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.

Bedrich Smetana's comic opera Prodana nevesta/The Bartered Bride is cherished as the Czech national opera and is the most popular Czech opera in the world. As performances in English-speaking countries have moved from German to English back to the original Czech, The Bartered Bride - Prodana nevesta: Performance Guide with Translations and Pronunciation fills the need for an accessible, detailed guide to singing the work in Czech, as well as being valuable for those wishing to make or improve on an English singing translation. Timothy Cheek provides idiomatic and word-for-word translations of the complete libretto for The Bartered Bride, including the International Phonetic Alphabet for Czech pronunciation, as well as translations of stage and musical directions. In addition, he offers an extensive performance history, a synopsis of the opera, general musical comments, a discussion of the roles, notes on the dances and choreographers, and an overview of Czech pronunciation and inflection. Appendixes list the Czech editions and English singing translations of the opera, as well as recordings on LP, CD, DVD, and film. With a sampling of historical and recent photos from opera productions, this guide is indispensable for singers and coaches, conductors and stage directors, and amateurs and professionals.

Erik Satie's "drame symphonique" was composed on a commission from the Princess Edmond de Polignac. Satie based his text on selections from the Plato works Symposium, Phaedrus, and Phaedo which mention the Greek philospher in the French translation by Victor Cousin. The work was first performed at the salon of Pricess de Polignac in April of 1918 with soprano Jane Bathori singing all four roles and the composer at the piano. This new vocal score, produced in an easy-to-read format, is a digitally enhanced reprint of the one first issued in 1919 by Editions de la Sirene in Paris. Also included is an English translation of the relevant sections from Plato prepared by Benjamin Jowett.

Operntextb cher erfreuten sich in den vergangenen beiden Jahrhunderten gro er Popularit t, doch fand bislang die berpr fung und Auswertung der berlieferten authentischen Quellen dieser Texte wenig Beachtung. Der vorliegende Band er ffnet eine neue Reihe, die ausgew hlte Operntexte auf der Grundlage ihrer authentischen Quellen in kommentierten kritischen Editionen vorlegen will. Textvorlagen zu Opernkompositionen erfahren oftmals schon in der Entstehungsphase der Werke tiefgreifende Umwandlungen, von den h ufigen Ver nderungen im Verlaufe ihrer Rezeption ganz zu schweigen. Wichtig erscheint daher zun chst eine Wiedergabe der Libretti in der vom Komponisten (und dem Textdichter) f r die Premiere oder eine andere wichtige Auff hrung vorgesehenen Form. Selbstverst ndlich werden aber auch ggf. existierende sp tere autorisierte Fassungen in geeigneter Weise dokumentiert. Die Texte werden auf der Grundlage authentischer Quellen ediert, sp tere blich gewordene berformungen werden dagegen beseitigt. Ziel ist die Pr sentation eines verl sslichen Textes und eine Darstellung seiner Entstehungsgeschichte. Der Er ffnungsband der Reihe, das Textbuch zu Webers "Freisch tz," ist aufgrund der reichhaltigen berlieferungslage und der Popularit t der Oper ein unverzichtbarer Band f r jeden Opernfreund.