This Is A New Release Of The Original 1874 Edition.

This Is A New Release Of The Original 1874 Edition.

Volume One of Two. Other volumes in this set are ISBN(s): 1417971207.

Volume Two of Two. Other volumes in this set are ISBN(s): 1417971193.

Volume Two of Two. Other volumes in this set are ISBN(s): 1417971193.

Volume One of Two. Other volumes in this set are ISBN(s): 1417971207.

This scarce antiquarian book is a facsimile reprint of the original. 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 for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This scarce antiquarian book is a facsimile reprint of the original. 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 for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Snow Bodies is a memoir of a young woman's life on the streets of Calgary and Vancouver in the early 1970s, in the vein of Evelyn Lau's Runaway. Diary of a Street Kid. From her own harrowing experience Elizabeth Hudson graphically renders the deadly underbelly of society and her decent into the abyss of drug addiction and prostitution. In unembellished prose, without fear, shame or explanation, and without imposing hindsight or societal values onto her narrative, Hudson takes the reader with her on a terrifying journey to the bottom. Snow Bodies is a heart-breaking reminder of the horrors occurring daily on Canada's city streets.

Although Verdi began sketching the music for "Il Corsaro" in 1846, a lengthy illness forced him to postpone further work. He finally completed the score in early 1848, but the revolutions of that year delayed its first performance. When it was finally premiered on 25 October at the Teatro Grande of Trieste, Verdi was in Paris and did not participate as usual in the production, which was poorly received. Though more successful in subsequent stagings, "Il Corsaro" was soon eclipsed by the operas of the noted "trilogy" and fell from the repertory. The full score of "Il Corsaro", as well as recent revivals based on pre-publication proofs of this critical edition, reveal the work to be far more rewarding than even Verdi himself would later admit. Showing the gradual consolidation of Verdi's mature style through his contacts with French opera, it amply repays the renewed attention it is receiving.

A versatile and prolific composer whose works dominated opera houses in the late 1830s and 1840s, Gaetano Donizetti (1797-1848) had an enormous influence on subsequent opera composers, including Verdi. Yet the texts of many of his operas pose numerous problems, partly due to the accumulation of changes made by generations of interpreters. With the renewed popularity of his operas, the need for a critical edition became keenly felt. This highly acclaimed edition does not aim to publish all his works, but should offer a variety of operas, from those still in repertory to a selection of titles that are especially significant for historical or musical reasons. The critical edition of "Maria Stuarda", based principally on the rediscovered autograph score, restores the two-act structure, the original opening chorus, a substantial part of the first finale, and Donizetti's original phrasing and orchestration. Appendices include an overture (1835) and original vocal variants. One of Donizetti's most brilliant comedies, "Il Campanello" was initially written as a farce with spoken dialogues, but was revised by the composer with recitatives and new pieces. Based on several newly examined sources, the critical edition presents both the original and revised versions. "La Favorite" was a huge success from the start and a mainstay of the Paris Opera for decades. Yet the version known in this century reflects a coarsely manipulated Italian adaptation of the original. The critical edition reconstructs the 1840 French version from autograph material that in many cases has been examined for the first time. Appendices include an alternate cabaletta in Act Three and contemporary vocal variants.