The Thomas Fisher Library at the University of Toronto houses a major collection of opera and oratorio librettos associated with performances across Europe.
Best known as the story from the 1904 Puccini opera, the compelling modern myth of Madame Butterfly has been read, watched, and re-interpreted for over a century, from Pierre Loti's 1887 novel Madame Chrysanthème to A.
Father Owen Lee is internationally known for his intermission commentaries featured during the Saturday afternoon broadcasts from the Metropolitan Opera House in New York.
Lyric diction is a portal to powerful and meaningful vocal performance because diction enables singers to communicate the vision of both the poet and the composer.
In Staging Scenes from the Operas of Donizetti and Verdi, veteran opera director William Ferrarapresents a detailed, practical exploration of the staging of twenty-one scenes from two of opera's most beloved composers.
French Vocal Literature: Repertoire in Context introduces singers to the history and performance concerns of a vast body of French songs from the twelfth century to the present, focusing on works for solo voice or small vocal ensembles with piano or organ accompaniment, suitable for recitals, concerts, and church performances.
Lyric diction is a portal to powerful and meaningful vocal performance because diction enables singers to communicate the vision of both the poet and the composer.
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.
On 10 December 1910, Giacomo Puccini's seventh opera, La fanciulla del West, had its premiere before a sold-out audience at New York City's Metropolitan Opera House.
On 10 December 1910, Giacomo Puccini's seventh opera, La fanciulla del West, had its premiere before a sold-out audience at New York City's Metropolitan Opera House.
The study of opera in the second half of the eighteenth century has flourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social, and political context has vastly increased.
The study of opera in the second half of the eighteenth century has flourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social, and political context has vastly increased.
Hailed at its premiere at the London Coliseum in 1986 as the most important musical and theatrical event of the decade, The Mask of Orpheus is undoubtedly a key work in Harrison Birtwistle's output.
Hailed at its premiere at the London Coliseum in 1986 as the most important musical and theatrical event of the decade, The Mask of Orpheus is undoubtedly a key work in Harrison Birtwistle's output.
The articles reprinted in this volume treat operas as opera and from some sort of critical angle; none of the articles uses methodology appropriate for another kind of musical work.
