Friedrich Nietzsche regarded himself as the most musical philosopher--he played the piano, wrote his own compositions and espoused a philosophy encouraging all to dance for joy.
In its revised third edition, this volume argues that an appreciation of opera is based on understanding of several key aspects: history, language, theatrical production, the power of the conductor, vocal tradition and standard repertory.
Covering famous operas from 14 Italian, French and German composers, this handbook is designed to help listeners understand and appreciate the special skills required to sing famous operatic songs.
In Performing Opera: A Practical Guide for Singers and Directors Michael Ewans provides a detailed and practical workbook to performing many of the most commonly produced operas.
In Performing Opera: A Practical Guide for Singers and Directors Michael Ewans provides a detailed and practical workbook to performing many of the most commonly produced operas.
Something sinister has crawled into the heart of the man that should be a father, a guide, a leader and the first nurturer to future relationships, but yet turns a childs worst nightmare into reality.
In Robert Ward's The Crucible: Creating an American Musical Nationalism, Robert Paul Kolt explores the life of the American composer Robert Ward through an examination of his most popular and enduring work, The Crucible.
The Metropolitan Opera on Record: A Discography of the Commercial Recordings is a comprehensive listing of all the commercial sound recordings involving the Chorus and Orchestra of the Metropolitan Opera, one of the worlds leading musical organizations.
A wide-ranging look at the interplay of opera and political ideas through the centuriesThe Politics of Opera takes readers on a fascinating journey into the entwined development of opera and politics, from the Renaissance through the turn of the nineteenth century.
Giacomo Puccini (1858-1924) is the world's most frequently performed operatic composer, yet he is only beginning to receive serious scholarly attention.
Unfinished at Puccini's death in 1924, Turandot was not only his most ambitious work, but it became the last Italian opera to enter the international repertory.
This volume offers a cross-section of English-language scholarship on German and Slavonic operatic repertories of the "e;long nineteenth century,"e; giving particular emphasis to four areas: German opera in the first half of the nineteenth century; the works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky-Korsakov; and the operas of Richard Strauss and JanA!
This volume offers a cross-section of English-language scholarship on German and Slavonic operatic repertories of the "e;long nineteenth century,"e; giving particular emphasis to four areas: German opera in the first half of the nineteenth century; the works of Richard Wagner after 1848; Russian opera between Glinka and Rimsky-Korsakov; and the operas of Richard Strauss and JanA!
Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period.
Unlike collections of essays which focus on a single century or whose authors are drawn from a single discipline, this collection reflects the myriad performance options available to London audiences, offering readers a composite portrait of the music, drama, and dance productions that characterized this rich period.
Medievalism, or the reception or interpretation of the Middle Ages, was a prominent aesthetic for German opera composers in the first half of the nineteenth century.
Medievalism, or the reception or interpretation of the Middle Ages, was a prominent aesthetic for German opera composers in the first half of the nineteenth century.
Studies in the history of French nineteenth-century stage music have blossomed in the last decade, encouraging a revision of the view of the primacy of Austro-German music during the period and rebalancing the scholarly field away from instrumental music (key to the Austro-German hegemony) and towards music for the stage.
Studies in the history of French nineteenth-century stage music have blossomed in the last decade, encouraging a revision of the view of the primacy of Austro-German music during the period and rebalancing the scholarly field away from instrumental music (key to the Austro-German hegemony) and towards music for the stage.
Jonathan Harvey (1939-2012) was one of Britain's leading composers: his music is frequently performed throughout Europe, the United States (where he lived and worked) and Japan.
Jonathan Harvey (1939-2012) was one of Britain's leading composers: his music is frequently performed throughout Europe, the United States (where he lived and worked) and Japan.
