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.
The Futurist opera Victory over the Sun, first staged in 1913 in St Petersburg, was a key event of the Russian avant-garde, notorious for its libretto, its unconventional score and its pioneering abstract sets and costumes designed by Kazimir Malevich.
In Bewitching Russian Opera: The Tsarina from State to Stage, author Inna Naroditskaya investigates the musical lives of four female monarchs who ruled Russia for most of the eighteenth century: Catherine I, Anna, Elizabeth, and Catherine the Great.
This book offers a stimulating introduction to the Hokkien music drama known as liyuanxi ('pear garden theatre'), heir and current expression of one of China's oldest unbroken xiqu ('Chinese opera') traditions.
Giochino Rossini: A Research and Information Guide is designed as a tool for those beginning to study the life and works of Gioachino Rossini as well as for those who wish to explore beyond the established biographies and commentaries.
The Singer's Guide to German Diction is the essential foundation for a complete course in German diction for singers, vocal coaches, choral conductors, and anyone wishing to learn the proper pronunciation of High German.
Vanishing Sensibilities examines once passionate cultural concerns that shaped music of Schubert, Beethoven, Schumann, and works of their contemporaries in drama or poetry.
This classic test first published in 1966 has withstood the test of time as a teaching aid for English-speaking singers, coaches, and accompanists, in order that their art may be more communicative to the public.
Opera for the People is an in-depth examination of a forgotten chapter in American social and cultural history: the love affair that middle-class Americans had with continental opera (translated into English) in the 1870s, 1880s, and 1890s.
With its first public live performance in Paris on 11 February 1896, Oscar Wilde's Salome took on female embodied form that signalled the start of 'her' phenomenal journey through the history of the arts in the twentieth century.
The mention of the term "e;melodrama"e; is likely to evoke a response from laymen and musicians alike that betrays an acquaintance only with the popular form of the genre and its greatly heightened drama, exaggerated often to the point of the ridiculous.
Since his 1991 debut at New York's Metropolitan Opera, Hao Jiang Tian has appeared on the world's greatest stages, more than 300 times at the Met alone.
After 50 years of analysis we are only beginning to understand the quality and complexity of Alban Bergs most important twelve-tone work, the opera Lulu.
Opera Outside the Box: Notions of Opera in Nineteenth-Century Britain addresses operatic "e;experiences"e; outside the opera houses of Britain during the nineteenth century.
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 Pre-history of 'The Midsummer Marriage' examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett's first mature opera and charts the developments that grew out of that phase.
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.
A tale of forbidden love and inevitable death, the medieval legend of Tristan and Isolde recounts the story of two lovers unknowingly drinking a magic potion and ultimately dying in one another's arms.
The psychiatrist John Cordingly examines twelve operatic heroes under six sub-categories of personality disorder, placing them within the histories of mental disorder, sexuality, Byronism and their cultural contexts.
The Pre-history of 'The Midsummer Marriage' examines the early collaborative phase (1943 to 1946) in the making of Michael Tippett's first mature opera and charts the developments that grew out of that phase.
From the Wall Street Journal's opera critic, a history of how and why the New York City Opera went bankrupt-and what it means for the future of the arts.