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A comprehensive guide to Donizetti's LUCIA DI LAMMERMOOR, featuring insightful and in depth Commentary and Analysis, a complete, newly translated Libretto with Italian/English side-by side, and over 25 music highlight examples.
The series will include both new and recent titles drawn from the whole range of the Press's very substantial publishing programs.
Focuses on the operatic soprano as the diva and her relationships with technology from the 1820s to the digital age.
Sir Walter Scott’s story of a Scottish girl forced by her family into an arranged marriage still resonates today, two centuries after it was published. Donizetti’s opera, which premièred in Naples in 1835, is famous particularly for the Mad Scene when Lucia, after leaving for her nuptials, reappears having murdered the man she has just married, the unfortunate Arturo. She truly loves Edgardo, sworn enemy of her family, who turned up moments too late to stop the wedding.The story unfolds in diverse and sensational locations – a fountain haunted by a murdered woman, a ruined tower called The Wolf’s Crag, and a graveyard where Edgardo – a part played by both Domingo and Pavarotti – hears of Lucia’s death and stabs himself. Immortalised by such stars as Joan Sutherland, the role of Lucia herself provides an immense challenge for even the best of sopranos. Written by Michael Steen, author of the acclaimed The Lives and Times of the Great Composers, ‘Short Guides to Great Operas’ are concise, entertaining and easy to read books about opera. Each is an opera guide packed with useful information and informed opinion, helping to make you a truly knowledgeable opera-goer, and so maximising your enjoyment of a great musical experience. Other ‘Short Guides to Great Operas’ that you may enjoy include L’Elisir d’Amore, La Bohème and La Traviata.
The Walter Scott Operas is a study of the approximately 50 operas that are based on the works of Sir Walter Scott, who, except for Shakespeare, inspired more operas than any other writer. Professor Mitchell's scholarly method is literary-historical (rather than "critical") and unabashedly antiquarian. He shows what happened to a Scott novel when it was turned into an opera and how that opera compared and contrasted with others based on the same novel -- all this leading to a fresh slant on Scott's characters and the structure of his novels. The Scott operas are all products of the nineteenth century, and indeed span the century from Rossini's La Donna del Lago (1819) to several done in the 1890s. The operas vary in style from typical early nineteenth-century romantic opera and opera comique to the Wagner-influenced works of the latter part of the century. Each discussion of an opera begins with a brief account of its performance history, but the major part of the discussion is concerned with what "happened" to the novel (poem, novella, or historical work) when it was transformed into an opera. What did the librettist do to the original story -- how did he reshape it -- to make it something the operatic composer could felicitously handle? The concluding chapter brings together for final discussion the elements in Scott's works that are conducive to good opera -- the pictorial element; the theme of "opposing fanaticism," often brought vividly to life in one or more major scenes of drama; the well-drawn characters, from both high and low life; the theatrical direct discourse, including soliloquies. In addition, the concluding chapter tries to determine what influence the Scott operas have had on others now in the standard repertoire. Many parallels can be observed because of the use of certain operatic conventions that are part of the common stock of virtually all librettists and composers. Other parallels, however, are directly traceable to the Scott operas. - Jacket flap.
Father Lee is internationally known for his commentaries on opera. This book gathers his best commentaries and articles on 23 works for the musical stage, from the pioneering Orpheus of Monteverdi to the forward-looking Ariadne of Richard Strauss.
Situated in a dress circle position on the slopes of the village of Les Avants, overlooking Lake Geneva in Switzerland, Chalet Monet is the magnificent home of Dame Joan Sutherland OM AC DBE and her husband, Maestro Richard Bonynge AC CBE. In his charming, eloquent, conversational style, Richard Bonynge takes us inside the home and life he has shared with Dame Joan, and in so doing provides rare insight into two of the greatest international cultural icons in opera of all time. The Chalet was introduced to Dame Joan and Richard by their close friend Noel Coward who resided in the neighbouring property. The opulence of each of the distinctive rooms over the four floors and vistas from the Chalet is artfully captured in stunning photography. Paintings and objets d'art line the walls and fill the cabinets, each with their own provenance; presented by royalty or celebrities, embroided by Dame Joan or collected by Richard. Through the stories of these artefacts, told by Richard in eloquent conversational style, we learn about the life and times of two of the most formidable figures associated with opera in the 20th Century. For those fortunate enough to have discovered and experienced the thrill of opera and all the larger than life characters associated with it, to enter Chalet Monet is somewhat of a fairy tale experience that could be taken right out of a Cinderella story ... Chalet Monet is a house with a thousand stories. It is living history, theatrical, a beautiful home with enormous spirit like its owners. It radiates grandeur yet intimacy with places to sit and contemplate, views to linger over, books to be read, paintings to admire and music to listen to. It is a treasure trove for the senses where many a story has been told or begun. Only its walls and its owners remember the decades of music making here and possibly the odd neighbour and the cows on the grassy slopes ... Thank you, Richard for allowing us to enter your private and colourful world. From the Preface by Fiona Janes Artistic Director | General Manager Joan Sutherland & Richard Bonynge Foundation
Incompletion is an essential condition of cultural history, and particularly the idea of the fragment became a central element of Romantic art which continued being of high relevance to the various strands of modernist and contemporary aesthetics.