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Verdi's operas - composed between 1839 and 1893 - portray a
striking diversity of female protagonists: warrior women and
peacemakers, virgins and courtesans, princesses and slaves, witches
and gypsies, mothers and daughters, erring and idealised wives,
and, last of all, a feisty quartet of Tudor townswomen in Verdi's
final opera, Falstaff. Yet what meanings did the impassioned crises
and dilemmas of these characters hold for the nineteenth-century
female spectator, especially during such a turbulent span in the
history of the Italian peninsula? How was opera shaped by society -
and was society similarly influenced by opera? Contextualising
Verdi's female roles within aspects of women's social, cultural and
political history, Susan Rutherford explores the interface between
the reality of the spectators' lives and the imaginary of the
fictional world before them on the operatic stage.
London, 1820. The British capital is a metropolis that overwhelms
dwellers and visitors alike with constant exposure to all kinds of
sensory stimulation. Over the next two decades, the city's tumult
will reach new heights: as population expansion places different
classes in dangerous proximity and ideas of political and social
reform linger in the air, London begins to undergo enormous
infrastructure change that will alter it forever. It is the London
of this period that editors Roger Parker and Susan Rutherford
pinpoint in this book, which chooses one broad musical
category--voice--and engages with it through essays on music of the
streets, theaters, opera houses, and concert halls; on the raising
of voices in religious and sociopolitical contexts; and on the
perception of voice in literary works and scientific experiments
with acoustics. Emphasizing human subjects, this focus on voice
allows the authors to explore the multifaceted issues that shaped
London, from the anxiety surrounding the city's importance in the
musical world at large to the changing vocal imaginations that
permeated the epoch. Capturing the breadth of sonic stimulations
and cultures available--and sometimes unavoidable--to residents at
the time, London Voices, 1820-1840 sheds new light on music in
Britain and the richness of London culture during this period.
Verdi's operas - composed between 1839 and 1893 - portray a
striking diversity of female protagonists: warrior women and
peacemakers, virgins and courtesans, princesses and slaves, witches
and gypsies, mothers and daughters, erring and idealised wives,
and, last of all, a feisty quartet of Tudor townswomen in Verdi's
final opera, Falstaff. Yet what meanings did the impassioned crises
and dilemmas of these characters hold for the nineteenth-century
female spectator, especially during such a turbulent span in the
history of the Italian peninsula? How was opera shaped by society -
and was society similarly influenced by opera? Contextualising
Verdi's female roles within aspects of women's social, cultural and
political history, Susan Rutherford explores the interface between
the reality of the spectators' lives and the imaginary of the
fictional world before them on the operatic stage.
This book is concerned not so much with the 'prima donna' as with
prime donne: a group of working artists (sometimes famous but more
often relatively unknown and now long forgotten) and the
circumstances of their professional lives. It attempts to locate
these singers within a broader history, including not only the
specificities of operatic stage practice but the life beyond the
opera house - the social, cultural and political framing that
shaped individual experience, artistic endeavour and audience
reception. Rutherford addresses questions such as the multiple
discourses on the image of the singer and their impact on the
changing profile of the professional artist from figlia dell'arte
at the beginning of the era to middle-class woman at the end; the
aspect of the 'stage mother' and patronage; issues of vocal
training and tuition; professional life in the operatic
market-place; and performance (both vocal and dramatic) conventions
and practices.
This book is concerned not so much with the 'prima donna' as with
prime donne: a group of working artists (sometimes famous but more
often relatively unknown and now long forgotten) and the
circumstances of their professional lives. It attempts to locate
these singers within a broader history, including not only the
specificities of operatic stage practice but the life beyond the
opera house - the social, cultural and political framing that
shaped individual experience, artistic endeavour and audience
reception. Rutherford addresses questions such as the multiple
discourses on the image of the singer and their impact on the
changing profile of the professional artist from figlia dell'arte
at the beginning of the era to middle-class woman at the end; the
aspect of the 'stage mother' and patronage; issues of vocal
training and tuition; professional life in the operatic
market-place; and performance (both vocal and dramatic) conventions
and practices.
Walter is a pigeon with many talents. He likes to help his
neighbours and friends whenever he can and in this story he uses
his talents to help a homeless pigeon family find a new home.
A delightful story for young children with colourful, appealing,
characters and a strong underlying moral message. The Monkey Moose
is not happy and sets off on an adventure to find something he
thinks he needs. He meets other characters along the way and makes
new friends as he pursues his quest. By the time he reaches his
destination he finds out that he didn't really need what he set out
to find and that he has found something much, much more important.
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