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This book describes the pre-eminent achievement from the first years of collaboration between two great artists of the twentieth century, Hugo von Hofmannsthal and Richard Strauss. It explains how the poet drew upon a wealth of classical and literary sources to fashion his vivid characters, and how the composer further enhanced their lifelike charm in his potent and often magical score. An explanation of the psychological undertones of the libretto is supplemented by an appendix on Hofmannsthal's use of language. Critical comments and attacks on Der Rosenkavalier from its premiere to recent times are described and assessed, and the opera's stage history is recounted. The long central chapter of the book, adapted by Norman Del Mar from his celebrated three-volume study of the composer, combines musical analysis with a detailed synopsis. An appendix discusses versions of the opera as film and play. The book includes a bibliography and a detailed discography.
A full account of the making, during 1909-10, of Der Rosenkavalier with emphasis on its derivation from a French opérette of 1907, L'Ingenu libertin. L'Ingenu libertin was seen in Paris by Count Harry Kessler and formed the basis of the opera then to be written by Hofmannsthal and Strauss. Previous scholarship has credited the narrative and characters of Der Rosenkavalier to much older French sources known to and studied by Hofmannsthal, but this book shows clearly how every element in L'Ingenu libertin is in fact taken (and transformed) by Kessler and Hofmannsthal into the work that made fortunes for Hofmannsthal and Strauss, but left Kessler on the sidelines. Michael Reynolds casts a major new light on Strauss's most popular operatic success, highlighting in particular how it was that Hofmannsthal - who had not until then had any theatrical success as an original playwright - was advised and empowered by Kessler to produce a work that succeeded onstage from its very first performance and went rapidly on to conquer the stages of the world. Michael Reynolds is an established writer on opera, a translator and an online music critic, an interest that he sustained throughout thirty years in the world of international diplomacy. His previous book for Boydell, About Suffolk, was an anthology of writing about his adopted county.
Der Rosenkavalier has one of the longest and most exquisitely crafted texts of all opera. The depth and subtlety of the characterization can only be appreciated after a careful reading. Derrick Puffett notes that the sentimentality and parody of the subject perfectly matched Strauss's genius. Michael Kennedy's detailed musical commentary shows how the large orchestra is handled with exceptional skill. Peter Branscombe points out that Hofmannsthal set a new standard of libretto-writing and shows how the ideas in Der Rosenkavalier may be traced to his other works for the stage, in his prose and poetry. Contents: An Introduction to 'Der Rosenkavalier', Derrick Puffett; Comedy for Music, Michael Kennedy; Hugo von Hofinannsthal – Man of Letters, Peter Branscombe; Der Rosenkavalier: Libretto by Hugo von Hofmannsthal; Der Rosenkavalier: English translation by Alfred Kalisch
A comprehensive guide to Richard Strauss' DER ROSENKAVALIER, featuring Principal Characters in the opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis by Burton D. Fisher, noted opera author and lecturer.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
Passion, infidelity, social climbing, and one very special white rose weave a seductive narrative in this intelligent and tender novel. At forty-eight, Marian Kahn, a professor of history at Columbia, has reached a comfortable perch. Married, wealthy, and the famed discoverer of the eighteenth-century adventuress, Lady Charlotte Wilcox, she ought to be content. Instead, she is horrified to find herself profoundly in love with twenty-six-year-old Oliver, the son of her eldest friend. When Marian's cousin, the snobbish Barton, announces his engagement to Sophie, a graduate student in Marian's department, Marian, Oliver, and Sophie find their lives woefully entangled, and their hearts turned in unfamiliar directions. All three of them will learn that love may seldom be straightforward, but it's always a gift. From the West Village to the Upper East Side, from the Hamptons to Millbrook, The White Rose is at once a nuanced and affectionate reimagining of Strauss's beloved opera, Der Rosenkavalier, and a mesmerizing novel of our own time and place.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
The fascinating personal story of one of the most celebrated talents in today’s music scene The star of the Metropolitan Opera's recent revival of Dvorak's Rusalka, soprano Renée Fleming brings a consummately beautiful voice, striking interpretive talents, and compelling artistry to bear on performances that have captivated audiences in opera houses and recital halls throughout the world. In The Inner Voice—a book that is the story of her own artistic development and the “autobiography” of her voice—this great performer presents a unique and privileged look at the making of a singer and offers hard-won, practical advice to aspiring performance artists everywhere. From her youth as the child of two singing teachers through her years at Juilliard, from her struggles to establish her career to her international success, The Inner Voice is a luminous, articulate, and candid self-portrait of a contemporary artist—and the most revelatory examination yet of the performing life.