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In this guide to Verdi's popular opera, Marcello Conati of the
Institute for Verdi Studies points out that, although audiences
have always adored it, critics are only now coming to see that it
represents a step forward, not back, from the revolutionary drama
of Rigoletto, completed a year before. Professor D.R.B. Kimbell, an
expert on Verdi's music, clarifies the story and takes us through
the score, while Professor Donald Shaw examines the unusual
symbolism of the Spanish Romantic movement. Il Trovatore can be
approached just as a theatrical experience, but these essays give
brief and valuable insights into the type of drama it is, and the
way it works. Contents: 'Higher than the highest', Marcello Conati;
'Il trovatore': Music and Drama, D.R.B. Kimbell; Antonio Garcia
Gutierrez's 'El trovador', Donald Shaw; Il trovatore: Libretto by
Salvatore Cammarano; Il trovatore: English translation by Tom
Hammond
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Fidelio (Paperback)
Ludwig Van Beethoven; Translated by Tom Hammond, Rodney Blumer; Volume editing by Nicholas John
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R305
R261
Discovery Miles 2 610
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Ships in 12 - 17 working days
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Fidelio is Beethoven's only opera, and the composition he is said
to have loved the most. Elizabeth Forbes introduces the background
and composition of the opera, written and revised over the years
when Europe was caught up in the Napoleonic campaigns. Basil
Deane's musical commentary is the fruit of a life's study and
devotion to the work. The last contribution is an extract from
Ernest Newman's translation of Romain Rolland's classic study of
Beethoven the Creator. Contents: Introduction, Elizabeth Forbes;
Fidelio: an operatic marriage, Basil Deane; Leonore: an extract
from Romain Rolland's 'Beethoven the Creator', translated by Ernest
Newman; Fidelio: Libretto after Bouilly by Sonnleithner, Breuning
and Treitschke; Fidelio: Lyrics by Tom Hammond, Dialogue by Rodney
Blumer
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Salome/Elektra (Paperback)
Richard Strauss; Translated by Tom Hammond; Volume editing by Nicholas John
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R310
R268
Discovery Miles 2 680
Save R42 (14%)
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Richard Strauss turned his genius to opera at the turn of the
twentieth century, and this guide contains the texts and
introductions to his first two masterpieces in what was, for him, a
new genre. Despite obvious similarities - both operas consisting of
one act, centred upon one female title role - the works are quite
different in subject and treatment. Salome, based on Oscar Wilde's
notorious play, has a kaleidoscopic range of orchestral colour and
a lurid climax. Elektra, derived from the myths of the ancient
Greeks and the first collaboration between Strauss and
Hofmannsthal, is a study in neurosis, ripe for Jungian comparative
analysis. Contents: Richard Strauss and the Unveiling of 'Salome',
Paul Banks; Salome: Libretto by Hedwig Lachmann; Salome: English
translation by Tom Hammond; Hofmannsthal's 'Elektra': from Drama to
Libretto, Kenneth Segar; Elektra and the 'Elektra Complex',
Christopher Wintle; Elektra: Libretto by Hugo von Hofmannsthal;
Elektra: English translation by Anthony Hose; Strauss's Orchestra
in 'Salome' and 'Elektra', Jonathan Burton
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