A fresh, elegant and vital enquiry into the elusive character of opera, unfolded through categories and case-studies, with an emphasis on historical background, psychology and performance. This book mounts a searching enquiry into the elusive character of opera. The author argues that any work of art can be grasped primarily through its constellation of Platonic ideas, or 'categories', several of which he explores in light of a new definition of the art-form. He elaborates each category with case-studies rooted in the time, place and circumstance of an opera's origin: most of these are adaptations of previously-published essays, though somedraw on talks for universities, opera houses and the BBC. Although he looks back to the infancy of opera, he concentrates on later, more familiar repertory - principally Wagner, Verdi, Strauss and Britten. Case-studies included under 'Psychology' reveal his long-standing involvement with psychoanalysis, and those under 'Performance' reinforce his view of opera as a branch of rhetoric. As the first of a two-volume project, What Opera Means deals with categories accessible to all: of fifty entries, only two require basic musical knowledge (the second volume will be for specialists). The book is thus suitable for the general reader, as well as for college courses. CHRISTOPHER WINTLE is Emeritus Senior Lecturer in Music at King's College London and General Editor of the series Defining Opera (Plumbago Books). He has published extensively on nineteenth- and twentieth-century music, and for twenty years was an opera critic for the Times Literary Supplement. KATE HOPKINS (Editor) is Content Producer for Opera at the Royal Opera House and Senior Assistant Editor of Plumbago Books. She has written on opera and literature for ENO, WNO and The Royal Opera.

Selection from the musical writing of Bayan Northcott, one of the foremost musical critics of our time. Published in association with the Cosman Keller Art and Music Trust. Over the last forty years Bayan Northcott has established himself as one of London's leading music critics, a figure much admired by Hans Keller [1919-85] whose ideas he frequently invokes. Moving easily between the classics and the moderns, and writing with exceptional acuity, he brings a vast knowledge to bear on every issue great or small. In these years, though, he has alsodeveloped as a composer; and it is the meeting point of critic and artist that this, his first selection of essays, celebrates. The first part deals mainly with musical questions, the second with music for words, the third with agallery of composers, and the fourth with the various states of music. It is a book that will appeal to ordinary music lovers and connoisseurs alike.

Kate Hopkins knew there had to be more to whiskey than using it as a mixer. She had an unquenchable thirst to learn more about "the drink" and set out on an ambitious itinerary researching its history. Combining comprehensive research with informal narrative, Hopkins entertains and educates the readers on whiskey's place in the history of the world. She visited historians and pub owners, went to distilleries owned by corporations who sell thousands of gallons per day, and artisans who sell thousands of gallons per year, and interviewed the aficionados and the common drinkers, because one of the best aspects of whiskey is not just its taste, but the stories about the drink that are told around the bar. As an added bonus, she discusses the fine art of distilling, the proper ways to drink whiskey, and provides tasting notes on different brands, all in the hope of discovering the best shot of the liquor.