(Amadeus). His exceptional good looks made him a matinee idol, and Franco Corelli the Prince of Tenors was dubbed "Mr. Soldout" for 20 consecutive years. In 1958, just seven years after beginning his career, he was already the highest-paid tenor in Italy. Following his Met debut in 1961, he was celebrated as the greatest tenor in the world, a position that he retained until his departure from the Met in 1975. His charismatic performances in such operas as La Vestale and Fedora (both in collaboration with Maria Callas), coupled with a formidable mystique, as well as a number of notorious and colorful incidents, including his real-life sword fight with Boris Christoff in Rome, the Callas walkout there, the beating up of a spectator in Naples, and the alleged biting of Birgit Nilsson on a Boston tour of Turandot, created a mania for Corelli. Nearly a decade in the making, this definitive biography is based on the author's extensive research of theater archives and interviews with the opera star's numerous friends, family members, colleagues (Nilsson, Pavarotti, and many others), as well as the management of some of the world's leading opera houses.

In this classic guide, the foremost Wagner expert of our century discusses ten of Wagner's most beloved operas, illuminates their key themes and the myths and literary sources behind the librettos, and demonstrates how the composer's style changed from work to work. Acclaimed as the most complete and intellectually satisfying analysis of the Wagner operas, the book has met with unreserved enthusiasm from specialist and casual music lover alike. Here, available for the first time in a single paperback volume, is the perfect companion for listening to, or attending, The Flying Dutchman, Tannhauser, Lohengrin, Tristan and Isolde, Die Meistersinger, the four operas of the Ring Cycle, and Parsifal. Newman enriches his treatment of the stories, texts, and music of the operas with biographical and historical materials from the store of knowledge that he acquired while completing his numerous books on Wagner, including the magisterial Life of Richard Wagner. The text of The Wagner Operas is filled with hundreds of musical examples from the scores, and all the important leitmotifs and their interrelationships are made clear in Newman's lucid prose. "This is as fine an introduction as any ever written about a major composer's masterpieces. Newman outlines with unfailing clarity and astuteness each opera's dramatic sources, and he takes the student through the completed opera, step by step, with all manner of incidental insight along the way."--Robert Bailey, New York University"

Few musical works loom as large in Western culture as Richard Wagner's four-part Ring of the Nibelung. In Finding an Ending, two eminent philosophers, Philip Kitcher and Richard Schacht, offer an illuminating look at this greatest of Wagner's achievements, focusing on its far-reaching and subtle exploration of problems of meanings and endings in this life and world.
Kitcher and Schacht plunge the reader into the heart of Wagner's Ring, drawing out the philosophical and human significance of the text and the music. They show how different forms of love, freedom, heroism, authority, and judgment are explored and tested as it unfolds. As they journey across its sweeping musical-dramatic landscape, Kitcher and Schacht lead us to the central concern of the Ring--the problem of endowing life with genuine significance that can be enhanced rather than negated by its ending, if the right sort of ending can be found. The drama originates in Wotan's quest for a transformation of the primordial state of things into a world in which life can be lived more meaningfully. The authors trace the evolution of Wotan's efforts, the intricate problems he confronts, and his failures and defeats. But while the problem Wotan poses for himself proves to be insoluble as he conceives of it, they suggest that his very efforts and failures set the stage for the transformation of his problem, and for the only sort of resolution of it that may be humanly possible--to which it is not Siegfried but rather Brunnhilde who shows the way.
The Ring's ending, with its passing of the gods above and destruction of the world below, might seem to be devastating; but Kitcher and Schacht see a kind of meaning in and throughthe ending revealed to us that is profoundly affirmative, and that has perhaps never been so powerfully and so beautifully expressed.

Richard Wagner remains, almost 130 years after his death, the most controversial composer in the history of music. Creator of huge and hugely ambitious operas, which have an immense immediate impact, as well as providing food for endless thought and discussion, Wagner has had an influence on many fields outside music. In this lively pocket guide, Michael Tanner gives concise accounts of all his operas - the likes of Parsifal, Lohengrin and Tristan und Isolde - showing how important it is to grasp the dramatic situations at every point, and indicating some of the key musical features. He also provides an outline of Wagner's astonishing life, and shows that he has often been unfairly criticised and made a scapegoat, especially for political events which took place long after his death. Key features include: - Wagner: his life year by year - Wagner: his music work by work - Things people said about Wagner - Essential Wagner: ten great moments - Wagner on CD and DVD - Wagner bibliography This indispensable Faber Pocket Guide provides a wealth of insights into Wagner and is essential reading for anyone with an interest in both and the man and his music. '[P]robably the best introduction ever written to this most complex of composers.' Simon Heffer, Telegraph

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.

The man whom W. H. Auden called `perhaps the greatest genius that ever lived' has inspired both greater adulation and greater loathing than any other composer. In this penetrating analysis, Bryan Magee outlines the range and depth of Wagner's achievement, and shows how his complex and often erotic music expresses the repressed and highly charged contents of the psyche. He also examines Wagner's detailed stage directions, and the prose works in which he formulated his ideas, and sheds interesting new light on his anti-semitism.

The inspirational story of Kathleen Ferrier, whose reputation as the greatest lyric contralto of the 20th century is something rarely disputed, is told here with compelling insight and perception. Drawing on a variety of sources--from photographs, diaries, and private letters, to the memoirs and recollections of those who knew her best--this study charts her life from her humble beginnings as a telephone operator in Blackburn to the height of international fame as one of the world's leading concert artists. Despite having no formal musical training, Kathleen worked with all the celebrated conductors of the time, and is remembered for her performances of Brahms, Schubert, and Mahler, as well as a handful of operatic roles before her untimely death at the age of 41. Enlarging considerably on many alternative biographies, this excellent account captures the warmth, humor, and charm of a figure whose astonishing life and career proved to be all too brief.

Geschichten uber die Liebe und den Streit mittelalterlicher Sanger haben eine lange Tradition. So berichten Dichter vom Mittelalter bis in die Gegenwart vom Tannhauser im Venusberg, von Meistersangern in- und ausserhalb Nurnbergs oder vom Sangerkrieg auf der Wartburg. Imaginationen lyrischer Handlungs- und Lebensweisen verdichten sich dabei zu einer spezifisch selbstbezogenen Reflexion uber Kunst. Die Frage, inwiefern darin zugleich ein Phanomen asthetischer Gedachtnisbildung vorliegt, bildet den Gegenstand des Sammelbandes. Er spannt den Bogen von den mittelalterlichen Textzeugen hin zu neuzeitlichen Adaptionen von der Romantik bis in die Postmoderne.

Benjamin Britten was one of the greatest composers of the twentieth century. He wrote a feast of music from an early age, first achieving international fame in 1945 with his opera Peter Grimes; now more operas by Britten are performed worldwide than by any other composer born in the twentieth century. In this incisive guide, John Bridcut discusses Britten's music and explores his musical influences, his complex personality, his emotional and professional relationships, and the fascinating nooks and crannies of his daily life, normally overlooked. An indispensable source of fresh insights into this towering figure in British music, this is an updated edition of the Faber Pocket Guide to Britten, including the full text of Britten's speech On Receiving the First Aspen Award.

It has long been argued that opera is all about sex. "Siren Songs" is the first collection of articles devoted to exploring the impact of this sexual obsession, and of the power relations that come with it, on the music, words, and staging of opera. Here a distinguished and diverse group of musicologists, literary critics, and feminist scholars address a wide range of fascinating topics--from Salome's striptease to hysteria to jazz and gender--in Italian, English, German, and French operas from the eighteenth to the twentieth centuries. The authors combine readings of specific scenes with efforts to situate these musical moments within richly and precisely observed historical contexts. Challenging both formalist categories of musical analysis and the rhetoric that traditionally pits a male composer against the female characters he creates, many of the articles work toward inventing a language for the study of gender and opera.

The collection opens with Mary Ann Smart's introduction, which provides an engaging reflection on the state of gender topics in operatic criticism and musicology. It then moves on to a foundational essay on the complex relationships between opera and history by the renowned philosopher and novelist Catherine Clement, a pioneer of feminist opera criticism. Other articles examine the evolution of the "trouser role" as it evolved in the lesbian subculture of "fin-de-siecle" Paris, the phenomenon of "opera seria's" "absent mother" as a manifestation of attitudes to the family under absolutism, the invention of a "hystericized voice" in Verdi's "Don Carlos, " and a collaborative discussion of the staging problems posed by the gender politics of Mozart's operas.

The contributors are Wye Jamison Allanboork, Joseph Auner, Katherine Bergeron, Philip Brett, Peter Brooks, Catherine Clement, Martha Feldman, Heather Hadlock, Mary Hunter, Linda Hutcheon and Michael Hutcheon, M.D., Lawrence Kramer, Roger Parker, Mary Ann Smart, and Gretchen Wheelock."

Richard Strauss in Context offers a distinctive approach to the study of a composer in that it places the emphasis on contextualizing topics rather than on biography and artistic output. One might say that it inverts the relationship between composer and context. Rather than studies of Strauss's librettists that discuss the texts themselves and his musical settings, for instance, this book offers essays on the writers themselves: their biographical circumstances, styles, landmark works, and broader positions in literary history. Likewise, Strauss's contributions to the concert hall are positioned within the broader development of the orchestra and trends in programmatic music. In short, readers will benefit from an elaboration of material that is either absent from or treated only briefly in existing publications. Through this supplemental and broader contextual approach, this book serves as a valuable and unique resource for students, scholars, and a general readership.

A superb new translation of the libretto to Wagner's Ring cycle 'Smiling in sorrow I sing of love' The Ring of the Nibelung, Wagner's epic cycle of four musical dramas about primal envy, cosmic conflict, the search for glory, spectacular self-sacrifice, redeeming human love and the downfall of gods, revolutionized the nature of opera and conjured up an entire mythological world. It is also one of the greatest texts ever written for the lyric stage, where words are not an adjunct to the music, but an essential part of a transformative experience. John Deathridge's superb new facing page translation of the Ring libretto conveys the pungency and vitality of Wagner's words, reflecting the work's literary power while retaining its sense and dramatic energy. Translated with an introduction and notes by John Deathridge

Truly great compositions spring, like Athena from Zeus' skull, at the juncture of genius and passion. In Mathilde Wesendonck: Isolde's Dream, author Judith Cabaud calls on a host of heretofore undiscovered resources to tell the story of Mathilde Wesendonck, muse and paramour to Richard Wagner and, later, Johannes Brahms. Alma Mahler, eat your heart out. In or about August 1857, Richard Wagner's character changed. He abandoned Der Ring des Nibelungen, the Gesamtkunstwerk he'd begun work on nearly a decade earlier, tore through a short set of songs now known as the Wesendonck Lieder, and dove headlong into Tristan und Isolde, "eine Handlung" whose seminal influence would ricochet down the ensuing century of Western romantic music. Why the dramatic shift? Wagner had been struck by lightning - twice. The first bolt was sighted across Europe; his name was Arthur Schopenhauer. The second was restricted to a insular social world centered at the estate of Otto Wesendonck, one of Wagner's patrons. Her name was Mathilde Wesendonck, and this is her story.