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: ++++ Belisario: Tragedia Lirica In Tre Parti: Da Rappresentarsi Nell'I. R. Teatro Alla Scala Il Carnevale 1840 Gaetano Donizetti, Giovanni Galzerani, Salvatore Cammarano Truffi, 1840 Music; Genres & Styles; Ballet; Music / Genres & Styles / Ballet; Music / Genres & Styles / Classical; Performing Arts / Dance / Classical

This is a new release of the original 1956 edition.

This is a new release of the original 1940 edition.

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: Opera In Quattro Atti Gaetano Donizetti Truffi, 1841

Ernst Lichtenhahn ist ohne UEbertreibung ein Doyen der schweizerischen Musikforschung. Als einer der wenigen Musikwissenschaftler im deutschsprachigen Raum hat er unterschiedliche sprachkulturelle und disziplinare Forschungstraditionen zusammengefuhrt. In seinem Wissenschaftsverstandnis sind historische und systematische Musikwissenschaft, Musikethnologie und Musikpraxis ganz im Sinne des von Guido Adler formulierten holistischen Konzepts sowohl methodisch wie auch inhaltlich immer eng aufeinander bezogen. Mit dem Titel "Communicating Music" versucht diese Festschrift zum 80. Geburtstag von Ernst Lichtenhahn, die durch dieses Verstandnis hervortretende Vielschichtigkeit wissenschaftlicher Fragestellungen aufzugreifen und weiterzudenken. Sie versammelt Beitrage, die sich aus ganz unterschiedlichen methodischen und theoretischen Perspektiven mit Fragen nach dem diskursiven Charakter von Musik, den musikalischen Vermittlungs- und Transformationsprozessen sowie dem Sprechen uber Musik an sich auseinandersetzen. Without any exaggeration one can call Ernst Lichtenhahn a doyen of Swiss music research. As one of the few musicologists in the German-speaking sphere he has succeeded in merging different linguistic-cultural and disciplinary research traditions. In his manner of scientific understanding, historical and systematic musicology, ethnomusicology and music practice are methodologically and topically related closely to each other, entirely consistent with the holistic concept of music research as developed by Guido Adler. With the title "Communicating Music", this Festschrift for Ernst Lichtenhahn's 80 birthday attempts to take up and to further develop the diversity of scientific issues as emerged through such an understanding. It collects papers that come from a variety of methodological and theoretical perspectives to deal with issues about the discursive nature of music, about mediation and transformation processes of music as well as about the discourse on music itself.

Opera Acts explores a wealth of new historical material about singers in the late nineteenth century and challenges the idea that this was a period of decline for the opera singer. In detailed case studies of four figures - the late Verdi baritone Victor Maurel; Bizet's first Carmen, Celestine Galli-Marie; Massenet's muse of the 1880s and 1890s, Sibyl Sanderson; and the early Wagner star Jean de Reszke - Karen Henson argues that singers in the late nineteenth century continued to be important, but in ways that were not conventionally 'vocal'. Instead they enjoyed a freedom and creativity based on their ability to express text, act and communicate physically, and exploit the era's media. By these and other means, singers played a crucial role in the creation of opera up to the end of the nineteenth century.

The name Giuseppe Verdi conjures images of Italians singing opera in the streets and bursting into song at political protests or when facing the firing squad. While many of the accompanying stories were exaggerated, or even invented, by later generations, Verdi's operas-along with those by Rossini, Donizetti, and Mercadante-did inspire Italians to imagine Italy as an independent and unified nation. Capturing what it was like to attend the opera or to join in the music at an aristocratic salon, Waiting for Verdi shows that the moral dilemmas, emotional reactions, and journalistic polemics sparked by these performances set new horizons for what Italians could think, feel, say, and write. Among the lessons taught by this music were that rules enforced by artistic tradition could be broken, that opera could jolt spectators into intense feeling even as it educated them, and that Italy could be in the vanguard of stylistic and technical innovation rather than clinging to the glories of centuries past. More practically, theatrical performances showed audiences that political change really was possible, making the newly engaged spectator in the opera house into an actor on the political stage.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Opera Jakobin (The Jacobin in English) belongs together with Rusalka, Cert a Kaca among most often played operas by Antonin Dvorak. Final version of Jacobin was composed by Dvorak in 1897. Songs and arias are recorded in the notes in consecutive order. Therefore I have no choice, but to wish wonderful experience with an amazing romantic music. The book is written for a standard ukulele (g-c-e-a) with high g string. Check out samples from books: http: //osos.sweb.cz/preview-ukulele.pdf The are in the book songs without text

This book is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Race, politics, and opera production during apartheid South Africa intersect in this historiographic work on the Eoan Group, a "coloured" cultural organization that performed opera in the Cape. The La Traviata Affair charts Eoan's opera activities from the group's inception in 1933 until the cessation of their productions by 1980. It explores larger questions of complicity, compromise, and compliance; of assimilation, appropriation, and race; and of "European art music" in situations of "non-European" dispossession and disenfranchisement. Performing under the auspices of apartheid, the group's unquestioned acceptance of and commitment to the art of opera could not redeem it from the entanglements that came with the political compromises it made. Uncovering a rich trove of primary source materials, Hilde Roos presents here for the first time the story of one of the premier cultural agencies of apartheid South Africa.

Orchestral Symbolism In Wagner's "Das Rheingold" uncovers a new layer of meaning concealed in the orchestration of Wagner's Ring. While leitmotives have helped stage directors, conductors, and audiences appreciate the work on a deeper level, they are no longer the final word. Richter presents considerable evidence that Wagner used orchestral scorings to represent another symbolic subtext, one that has been hidden for over a century. First published in 1980, Martin S. Richter's newly-revised edition includes evidence from prominent leitmotives, analyses of instrumental and vocal sections, symbolic references, and discusses the implications of orchestral symbolism to craft a more sensitive and nuanced production of Das Rheingold.

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 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: ++++ Il Crociato In Egitto: Melo-dramma Eroico Giacomo Meyerbeer, Gaetano Rossi Fantosini, 1824

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: ++++ Il Crociato In Egitto Giacomo Meyerbeer, Gaetano Rossi Fontana, 1826

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: ++++ Il Crociato In Egitto: Dramma Per Musica Giacomo Meyerbeer, Gaetano Rossi, Antonio Cortesi Derossi, 1827

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

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

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: ++++ Il Barbiere Di Siviglia (The Barber Of Seville) Gioacchino Rossini, Cesare Sterbini, Pierre Augustin Caron de Beaumarchais O. Ditson Co., 1888 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera; Operas

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 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 Pazza Per Amore: Melo-dramma Pietro Antonio Coppola, Jacopo Ferretti Bisesti, 1836 Music; Genres & Styles; Opera; Music / Genres & Styles / Opera

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: ++++ Beatrice Di Tenda: Tragedia Lirica In Tre Atti: Da Rappresentarsi Nel Gran Teatro Comunale Di Bologna L'autunno Dell'anno 1837 Vincenzo Bellini, Felice Romani Music; Genres & Styles; Opera; Music / Genres & Styles / Opera