A full-length Hercule Poirot novel, adapted from Agatha Christie’s stage play by Charles Osborne Sir Claud Amory’s revolutionary new formula for a powerful explosive is stolen. Locking his house-guests in the library, Sir Claud switches off the lights to allow the thief to replace the formula, no questions asked. When the lights come on, he is dead, and Hercule Poirot and Captain Hastings have to unravel a tangle of family feuds, old flames and suspicious foreigners to find the killer and prevent a global catastrophe. BLACK COFFEE was Agatha Christie’s first playscript, originally performed in 1930 and made into a now rarely-seen film the following year. Combining her typically beguiling plot and sparkling dialogue with his own faithful narrative, Charles Osborne’s novelisation is ‘A worthy addition to the Christie canon’ (The Spectator)

A young man, broken down in the fog, witnesses a murder he is asked to conceal... A full-length novel adapted by Charles Osborne from Agatha Christie's acclaimed play. When a stranger runs his car into a ditch in dense fog in South Wales and makes his way to an isolated house, he discovers a woman standing over the dead body of her wheelchair-bound husband, gun in her hand. She admits to murder, and the unexpected guest offers to help her concoct a cover story. But is it possible that Laura Warwick did not commit the murder after all? If so, who is she shielding? The victim's young half-brother or his dying matriarchal mother? Laura's lover? Perhaps the father of the little boy killed in an accident for which Warwick was responsible? The house seems full of possible suspects... THE UNEXPECTED GUEST is considered to be one of the finest of Christie's plays. Hailed as 'another Mousetrap' when it opened on 12 August 1958 in the West End, it ran for 604 performances over the succeeding 18 months and has been staged many times around the world over the last 40 years.

A full-length novel by Charles Osborne adapted from Agatha Christie's stage play, in which a diplomat's wife finds a body that mustn't be discovered... Following BLACK COFFEE and THE UNEXPECTED GUEST comes the final Agatha Christie play novelisation, bringing her superb storytelling to a new legion of fans. Clarissa, the wife of a Foreign Office diplomat, is given to daydreaming. 'Supposing I were to come down one morning and find a dead body in the library, what should I do?' she muses. Clarissa has her chance to find out when she discovers a body in the drawing-room of her house in Kent. Desperate to dispose of the body before her husband comes home with an important foreign politician, Clarissa persuades her three house guests to become accessories and accomplices. It seems that the murdered man was not unknown to certain members of the house party (but which ones?), and the search begins for the murderer and the motive, while at the same time trying to persuade a police inspector that there has been no murder at all...

"Thomson Exam Essentials: First Certificate Practice Tests" have been fully updated to the specifications of the new FCE exam starting in December 2008. It features: 2 fully guided Tests with Essential Tips; 6 complete tests; all the essential information on the exam at-a-glance on a special cover flap for easy reference; quick guide to encourage self-study; special section on the Speaking Paper in full colour, includes additional helpful phrases and expressions; Separate Writing Bank with fully writtenout model compositions, useful language and notes on content and organisation; Objective Mark Sheets that enable students to practice copying their answers as in the actual exam; and, additional practice by using ExamView[registered]Pro CD-ROM.

Bertolt Brecht's extraordinary historical novel presents an aspiring scholar's efforts to write an idealized life of Julius Caesar twenty years after his death. But the historian abandons his planned biography, confronted by a baffling range of contradictory views. Was Caesar an opportunist, a permanently bankrupt businessman who became too big for the banks to allow him to fail - as his former banker claims? Did he stumble into power while trying to make money, as suggested by the diary of his former slave? Across these different versions of Caesar's career in the political and economic life of Rome, Brecht wryly contrasts the narratives of imperial progress with the reality of grasping self-interest, in a sly allegory that points to the Weimar Republic and perhaps even to our own times. Brecht reminds his readers of the need for constant vigilance and critical suspicion towards the great figures of the past. In an echo of his dramatic theories, the audience is confronted with its own task of active interpretation rather than passive acceptance -- we have to work out our own views about Mr Julius Caesar. This edition is translated by Charles Osborne and features an introduction and editorial notes by Anthony Phelan and Tom Kuhn.

A full-length Hercule Poirot novel, adapted from Agatha Christie's stage play by Charles Osborne Sir Claud Amory's revolutionary new formula for a powerful explosive is stolen. Locking his house-guests in the library, Sir Claud switches off the lights to allow the thief to replace the formula, no questions asked. When the lights come on, he is dead, and Hercule Poirot and Captain Hastings have to unravel a tangle of family feuds, old flames and suspicious foreigners to find the killer and prevent a global catastrophe. BLACK COFFEE was Agatha Christie's first playscript, originally performed in 1930 and made into a now rarely-seen film the following year. Combining her typically beguiling plot and sparkling dialogue with his own faithful narrative, Charles Osborne's novelisation is 'A worthy addition to the Christie canon' (The Spectator)

A young man, broken down in the fog, witnesses a murder he is asked to conceal... A full-length novel adapted by Charles Osborne from Agatha Christie's acclaimed play. When a stranger runs his car into a ditch in dense fog in South Wales and makes his way to an isolated house, he discovers a woman standing over the dead body of her wheelchair-bound husband, gun in her hand. She admits to murder, and the unexpected guest offers to help her concoct a cover story. But is it possible that Laura Warwick did not commit the murder after all? If so, who is she shielding? The victim's young half-brother or his dying matriarchal mother? Laura's lover? Perhaps the father of the little boy killed in an accident for which Warwick was responsible? The house seems full of possible suspects... THE UNEXPECTED GUEST is considered to be one of the finest of Christie's plays. Hailed as 'another Mousetrap' when it opened on 12 August 1958 in the West End, it ran for 604 performances over the succeeding 18 months and has been staged many times around the world over the last 40 years.

A full-length novel by Charles Osborne adapted from Agatha Christie's stage play, in which a diplomat's wife finds a body that mustn't be discovered... Following BLACK COFFEE and THE UNEXPECTED GUEST comes the final Agatha Christie play novelisation, bringing her superb storytelling to a new legion of fans. Clarissa, the wife of a Foreign Office diplomat, is given to daydreaming. 'Supposing I were to come down one morning and find a dead body in the library, what should I do?' she muses. Clarissa has her chance to find out when she discovers a body in the drawing-room of her house in Kent. Desperate to dispose of the body before her husband comes home with an important foreign politician, Clarissa persuades her three house guests to become accessories and accomplices. It seems that the murdered man was not unknown to certain members of the house party (but which ones?), and the search begins for the murderer and the motive, while at the same time trying to persuade a police inspector that there has been no murder at all...

A classic collection of well-loved poems, now brought together in one comprehensive paperback edition. This classic anthology, which was first published nearly twenty years ago, and has sold consistently well, is now available for the first time in paperback. There are nearly one hundred and fifty poems featured in the collection, written by some of the world's most prominent and well-loved poets. These include Philip Larkin, William Blake, John Keats, W.H. Auden, Lord Tennyson, T.S. Eliot, William Shakespeare, Emily Dickinson, John Betjeman, Robert Browning and many, many more.

A comprehensive and authorised biographical companion to the works of Agatha Christie covering books, films, TV and plays - revised and updated edition. Agatha Christie was the author of over 100 plays, short story collections and novels which have been translated into 103 languages; she is outsold only by the Bible and Shakespeare. Many have tried to copy her but none has succeeded. Attempts to capture her personality on paper, to discover her motivations or the reasons for her popularity, have usually failed. Charles Osborne, a lifelong student of Agatha Christie, has approached this most private of persons above all through her books, and the result is a fascinating companion to her life and work. This 'professional life' of Agatha Christie provides authoritative information on each book's provenance, on the work itself and on its contemporary critical reception set against the background of the major events in the author's life. Illustrated with many rare photographs, this comprehensive guide to the world of Agatha Christie has been fully updated to include details of all the publications, films and TV adaptations in the 25 years since her death.

W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.

The leading publication on Brecht, his work, and topics of interest to him; this annual volume documents the International Brecht Society's 2016 symposium, "Recycling Brecht." Published for the International Brecht Society by Camden House, the Brecht Yearbook is the central scholarly forum for discussion of Brecht's life and work and of topics of particular interest to him, especially the politics of literature and of theater in a global context. It includes a wide variety of perspectives and approaches, and, like Brecht himself, is committed to the concept of the use value of literature, theater, and theory. Volume42 features a selection of the papers given and protocols of the events held at the International Brecht Society's "Recycling Brecht" symposium at St. Hugh's College, Oxford, in June 2016. The theme of recycling is understood bothas a description of Brecht's own creative practice and as an activity applied to his works by others. The volume includes keynote papers by Hans-Thies Lehmann and Amal Allana on Brecht's reception of Antigone and on the reception and recycling of Brecht in India, respectively. Other papers are on a wide range of topics, from Brecht's own "recycling" of Shakespeare and others, through the reception of his own works in a range of contexts and by later writers, to contemporary works that may be understood as post-Brechtian. The final section, introduced by an extended interview with American playwright Tony Kushner, documents additional creative responses to the theme. Volume co-editors Tom Kuhn and David Barnett are, respectively, Professor of Twentieth-Century German Literature at the University of Oxford and Professor of Theatre at the University of York. Managing Editor Theodore F. Rippey is Associate Professor of German at Bowling Green State University.

The Dramatic Story Of How In World War II The American Armed Forces Swept The Enemy From The Seas.

Every opera lover enjoys a performance more when accompanied by a knowledgeable friend. In this indispensable guide, well-known opera critic Charles Osborne provides exactly that. Osborne fills in the details on 175 of the world's most frequently performed operas, including facts about the composer and the music, a plot outline, accounts of famous performers, and much more. "This book is exactly what the title claims: an opera lover's companion. Reading it is like going to the opera with a knowledgeable friend who tells you enough to make you want to see the piece but not so much you're drowned in superfluous detail."-Richard Fawkes, Opera Now "What this invaluable book contains is the ideal rundown on 175 operas from Auber's Fra Diavolo to Zimmerman's Die Soldaten, in each case putting the work in context within the composer's development, with a list of characters, a short synopsis and pointers towards the most imortant arias, duets and ensembles, all in a personal congenial tone, like unto an operatically wise and loving uncle."-Denby Richards, Musical Opinion "An erudite, instructive and unpretentious guide."-Michael Kennedy, The Sunday Telegraph "It's hard to imagine any other book on the subject more informative and helpful to the average enthusiast. . . . This book is one you'll cherish."-Books in Canada

Bertolt Brecht's extraordinary historical novel presents an aspiring scholar's efforts to write an idealized life of Julius Caesar twenty years after his death. But the historian abandons his planned biography, confronted by a baffling range of contradictory views. Was Caesar an opportunist, a permanently bankrupt businessman who became too big for the banks to allow him to fail - as his former banker claims? Did he stumble into power while trying to make money, as suggested by the diary of his former slave? Across these different versions of Caesar's career in the political and economic life of Rome, Brecht wryly contrasts the narratives of imperial progress with the reality of grasping self-interest, in a sly allegory that points to the Weimar Republic and perhaps even to our own times. Brecht reminds his readers of the need for constant vigilance and critical suspicion towards the great figures of the past. In an echo of his dramatic theories, the audience is confronted with its own task of active interpretation rather than passive acceptance -- we have to work out our own views about Mr Julius Caesar. This edition is translated by Charles Osborne and features an introduction and editorial notes by Anthony Phelan and Tom Kuhn.

Frida Leider, the greatest Wagnerian soprano of the pre-war period, has a permanent place in operatic history. In this, her own memoirs, Leider recreates the fascinating operatic world of her day, and recounts her association with Bruno Walter, Wilhelm Furtwangler, Lauritz Melchior, Lotte Lehmann, Maria Jeritza, Elisabeth Schumann, Erich Kleiber, as well as many other great musical figures of the twentieth century. Leider's story embraces her entire career from her childhood in Berlin at the turn of the century, through her apprentice years in the provincial German opera houses, to her years of international triumph when she was acclaimed at Covent Garden, Bayreuth, the Berlin State Opera and the Metropolitan Opera. Her account of musical life in Nazi Germany adds yet another dimension to an autoEdition Biography which, by virtue of its charm and warmth, is already far removed from more conventional operatic memoirs.

Wagner's operas can be counted among the most important works of art of the nineteenth century. But Wagner was a composer around whom violent artistic, political, and literary controversies raged during his lifetime. Even today, Wagner's music seems to arouse either adulation or antipathy. In The Complete Operas of Richard Wagner, as in the first four volumes of his famous series on the great opera composers, Charles Osborne first describes the composer's life at the time he wrote each opera, thus providing a biographical thread which runs through the book follows it with a thorough examination of the libretto and its sources and lastly tells the story of the opera, which he links to the major musical features.This book is, in effect, a musical biography of Wagner, tracing his development from his first complete opera, Die Feen, to his last, Parsifal. It serves as an invaluable guide to the often perplexing Wagner oeuvre both for the regular opera-goer and the armchair listener.

While Puccini wrote only twelve operas during a long life--three of them one-acters designed to be performed together--he has to be ranked today as the world's most popular composer of opera. His "La Boheme" and "Tosca" are more frequently performed in the major opera houses than works by other composers, and "Madame Butterfly" and "Manon Lescaut" rank not far behind. What is the explanation for Puccini's enormous success? How do his operas work as music and drama? What was he like to contemporaries such as Verdi, Toscanini, and Caruso? Charles Osborne, author of highly successful "Complete Operas of Verdi" and "Complete Operas of Mozart, " here analyzes the entire Puccini oeuvre--from "Tosca" and "Turandot" to the less-often performed "Edgar, La Fanciulla del West, " and "La Rondine." His fourfold approach--linking biography with musical, textual, and dramatic analysis--is especially valuable for Puccini, who revealed many of his personal contradictions in his music and whose sense of detail can be appreciated by close study of the scores and characters. For the legions of Puccini lovers everywhere, this guide to his life and work can serve as an ideal reference source and opera companion.

The major operas of Mozart--"Don Giovanni, The Marriage of Figaro, The Magic Flute, Cosifan Tutte"--are well known to music listeners everywhere, having secured a permanent place in the repertoire of companies throughout the world. But how much do you know about "La Clemenza di Tito, Idomeneo, L'Oca del Cairo, Zaide?" Charles Osborne here provides detailed descriptions of all of these and fourteen others in a volume that serves both a first-rate biography and an exhaustive critical guide to the Mozart oeuvre. Charles Osborne is obviously in command of the literature: He quotes copiously from the mountain of letters, contemporary journals, and the most recent scholarship dealing with the period. His fourfold approach--linking biography with musical, textual, and dramatic analysis--is uniquely satisfying for those seeking an integrated understanding of opera's many dimensions. With a plot summary and character listings of each work, "The Completes Operas of Mozart" can be read in one sitting for a panoramic sweep of Mozart's operatic genius or for reliable reference by the phonograph or radio.