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.
Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeenth-century England, and yet, despite its global renown, it remains cloaked in mystery.
Sarah Caldwell, the leader of the Opera Company of Boston from 1958-1990, was a groundbreaking and idiosyncratic woman who established her own career as a conductor and stage director in an environment resistant to change.
Der Mythos von Orpheus, dem legendären Sänger, der mit seiner Musik die Grenzen zwischen Leben und Tod überwand, hat über Jahrtausende hinweg Künstler und Denker inspiriert.
A rare look at the life and music of renowned Russian composer Nikolai Rimsky-KorsakovDuring his lifetime, Nikolai Rimsky-Korsakov (1844-1908) was a composer whose work had great influence not only in his native Russia but also internationally.
Masque and Opera in England, 1656-1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688-89.
English Dramatick Opera, 1661-1706 is the first comprehensive examination of the distinctively English form known as "e;dramatick opera"e;, which appeared on the London stage in the mid-1670s and lasted until its displacement by Italian through-composed opera in the first decade of the eighteenth century.
In this colorful and detailed history, Joshua Goldstein describes the formation of the Peking opera in late Qing and its subsequent rise and re-creation as the epitome of the Chinese national culture in Republican era China.
The British composer, conductor, and pianist Thomas Ads has achieved a level of recognition and celebrity within the world of classical music today that is almost unmatched.
Opera is a fragile, complex art, but it flourished extravagantly in San Francisco during the Gold Rush years, a time when daily life in the city was filled with gambling, duels, murder, and suicide.
Rolland's biography attempts to provide an overview of Handel's life and works from his early lessons in music to the classical context in which he is commonly placed.
Caritas relates the 'true', yet largely undocumented story of Christine Carpenter, a 14th-century anchoress who moves towards insanity as her desire for a divine revelation continues to be unfulfilled after a period of three years locked in her cell.
Known worldwide as a composer of symphonies and chamber music, Czech composer Antonin Dvorak declared toward the end of his life that his main love was writing operas.
A new and groundbreaking approach to the history of grand opera, Grand Illusion: Phantasmagoria in Nineteenth-Century Opera explores the illusion and illumination behind the form's rise to cultural eminence.
This book asks what theological messages theologically educated Catholics in late-eighteenth-century Prague might have perceived in Mozart's late opera seria La clemenza di Tito.
Building a Career in Opera from School to Stage: Operapreneurship provides early-career singers with an overview of the structure of the opera industry and tools for strategically approaching a career within it.
French Music in Britain 1830-1914 investigates the presence, reception and influence of French art music in Britain between 1830 (roughly the arrival of 'grand opera' and opera comique in London) and the outbreak of the First World War.
The Thomas Fisher Library at the University of Toronto houses a major collection of opera and oratorio librettos associated with performances across Europe.
This book tells the story of how a regional Chinese theatrical form, Shanghai Yue Opera, evolved from the all-male 'beggar's song' of the early twentieth century to become the largest all-female opera form in the nation, only to face increasing pressure to survive under Chinese political and economic reforms in the new millennium.
The name Giuseppe Verdi conjures images of Italians singing opera in the streets and bursting into song at political protests or when facing the firing squad.
Why are some of the most beloved and frequently performed works of the late-romantic period-Mahler, Delius, Debussy, Sibelius, Puccini-regarded by many critics as perhaps not quite of the first rank?
Actors know about "e;falling up"e;: a split-second ignition from the wings, propelling entrance as a new character, an unwilled ascent to a different mode of being, an in-body experience that overlays preparation, opportunity, choice, or chance.
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.
