![Medonte, Re di Epiro. Dramma per musica [in three acts and in verse], da rappresentarsi nel Teatro alla Scala il Carnevale 1790, etc. [By G. de'Gamerra.] PDF](https://books.google.com/books/content/images/frontcover/gDdRt1OuY0sC?fife=w150-h200)
Author: Publisher:
ISBN:
Category :
Languages : en
Pages : 64
Book Description
Medonte, Re di Epiro. Dramma per musica [in three acts and in verse], da rappresentarsi nel Teatro alla Scala il Carnevale 1790, etc. [By G. de'Gamerra.]
![Medonte, Re di Epiro. Dramma per musica [in three acts and in verse], da rappresentarsi nel Teatro alla Scala il Carnevale 1790, etc. [By G. de'Gamerra.] PDF](https://books.google.com/books/content/images/frontcover/gDdRt1OuY0sC?fife=w80-h100)
Author: Medonte, Re d Epiro. A new serious opera [by G. de'Gamerra], as performed at the King's Theatre, etc. Ital. & Eng
![Medonte, Re d Epiro. A new serious opera [by G. de'Gamerra], as performed at the King's Theatre, etc. Ital. & Eng PDF](https://books.google.com/books/content/images/frontcover/mkDJ3jOyXb8C?fife=w80-h100)
Author: Catalogue of Opera Librettos Printed Before 1800: Author list, composer list and aria index
Author: Library of Congress. Music DivisionPublisher:
ISBN:
Category : Operas
Languages : en
Pages : 522
Book Description
Catalogue of Opera Librettos Printed Before 1800
Author: Library of Congress. Music DivisionPublisher:
ISBN:
Category : Librettos
Languages : en
Pages : 516
Book Description
The Grove Book of Opera Singers
Author: Laura Williams MacyPublisher:
ISBN: 0195337654
Category : Biography & Autobiography
Languages : en
Pages : 649
Book Description
Covering over 1500 singers from the birth of opera to the present day, this marvelous volume will be an essential resource for all serious opera lovers and an indispensable companion to the enormously successful Grove Book of Operas. The most comprehensive guide to opera singers ever produced, this volume offers an alphabetically arranged collection of authoritative biographies that range from Marion Anderson (the first African American to perform at the Met) to Benedict Zak (the classical tenor and close friend and colleague of Mozart). Readers will find fascinating articles on such opera stars as Maria Callas and Enrico Caruso, Ezio Pinza and Fyodor Chaliapin, Lotte Lehmann and Jenny Lind, Lily Pons and Luciano Pavarotti. The profiles offer basic information such as birth date, vocal style, first debut, most memorable roles, and much more. But these articles often go well beyond basic biographical information to offer colorful portraits of the singer's personality and vocal style, plus astute evaluations of their place in operatic history and many other intriguing observations. Many entries also include suggestions for further reading, so that anyone interested in a particular performer can explore their life and career in more depth. In addition, there are indexes of singers by voice type and by opera role premiers. The articles are mostly drawn from the acclaimed Grove Music Online and have been fully revised, and the book is further supplemented by more than 40 specially commissioned articles on contemporary singers. A superb new guide from the first name in opera reference, The Grove Book of Opera Singers is a lively and authoritative work, beautifully illustrated with color and black-and-white pictures. It is an essential volume--and the perfect gift--for opera lovers everywhere.
Catalogue of Opera Librettos; Printed Before 1800
Author: Library of Congress. Music DivisionPublisher:
ISBN:
Category : Operas
Languages : en
Pages : 518
Book Description
National Register of Microform Masters
Author: Library of Congress. Catalog Publication DivisionPublisher:
ISBN:
Category : Books on microfilm
Languages : en
Pages : 976
Book Description
The Oxford Handbook of the Operatic Canon
Author: Cormac NewarkPublisher: Oxford University Press, USA
ISBN: 0190224207
Category : Music
Languages : en
Pages : 639
Book Description
Opera has always been controversial, not only because of how vastly expensive it is to produce. It has historically been a vital and complex mixture of high art and commerce, socially elite and popular or middle-class, the new and the increasingly old. When a city wants a new landmark building, an opera house is very often the solution: why should this still be the case? The Oxford Handbook of the Operatic Canon examines how opera has become the concrete edifice it was never meant to be, by looking at how it evolved from a market entirely driven by novelty to one of the most arthritically canonic art forms still in existence. This new collection addresses questions that are key to opera's past, present and future. Why is the art form apparently so arthritically canonical, with the top ten titles, all more than a century old, accounting for nearly a quarter of all performances world-wide? Why is this top-heavy system of production becoming still more restrictive, even while the repertory is seemingly expanding, notably to include early music? Why did the operatic canon evolve so differently from that of concert music? And why has that evolution attracted so comparatively little attention from scholars? Why, finally, if opera houses all over the world are dutifully honoring their audiences' loyalty to these favorite works, are they having to struggle so hard financially? Answers to these and other problems are offered here by 26 musicologists, historians, and industry professionals working in a wide range of contexts. Topics range from the seventeenth century to the present day, and from Russia to England and continental Europe to the Americas. In an effort to reflect the contested nature of most of the issues facing opera, each topic is addressed by two essays, introduced jointly by the respective authors, and followed by a jointly compiled list of further reading. These paired essays complement each other in different ways: for example, by treating the same geographical location in different periods, by providing different national or regional perspectives on the same period, or by thinking through similar conceptual issues in contrasting or changing contexts. Posing its questions in fresh, provocative terms, The Oxford Handbook of the Operatic Canon challenges scholarly assumptions and expectations, and breathes fresh air into the fields of music and cultural history.
The National Union Catalog, Pre-1956 Imprints
Author: Opera in London
Author: Theodore FennerPublisher: SIU Press
ISBN: 9780809319121
Category : Music
Languages : en
Pages : 830
Book Description
Theodore Fenner’s Opera in London offers a vivid portrait of the operatic and cultural life of a London under the influence of Romanticism as perceived by the English press and the public who viewed the performances. In part 1, Fenner discusses the rise of the periodical press in early nineteenth-century London and the critics of these publications who reviewed opera performances, such as Leigh Hunt and William Hazlitt. Fenner lists in the appendixes for part 1 the leading periodicals—including the Althenaeum, Examiner, and Spectator,— the critics, and reviews by leading critics. Fenner, in part 2, examines the productions of Italian opera in London at the King’s Theatre, including the problems in theatre management and financing; the varied nature of the audience; the operas and performances— those that were popular and those that failed in the words of the critics and the responses of the audience; the singers; and themes and attitudes of the period as expressed by the critics. In part 3, Fenner explores the same topics for the English operas presented at Drury Lane, Covent Garden, and other playhouses. Parts 2 and 3 also contain extensive appendixes listing seasonal and annual performances and reviews, productions by composers and by librettists, comic and serious productions, operas by known playwrights, and minor singers. Forty-eight illustrations of singers, critics, performances, composers, and theatres add to the richness of this study.