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This Companion provides a biographical, theatrical, and social-cultural background for Verdi's operas, examines in detail important general aspects of its style and method of composing, and synthesizes stylistic themes in discussions of representative works. Aspects of Verdi's milieu, style, creative process, and critical reception are explored in essays by highly reputed specialists. Like others in the series this Companion is aimed primarily at students and opera lovers.
This book investigates the narrative of nationhood during the Italian Risorgimento and its ability to reach a new and wider audience. In Italy, an extraordinary emotional excitement pervaded the struggle for national independence, suffusing the speeches and actions of patriots. This book shows how this ardour borrowed the tones, figures and spectacular nature of the melodramatic imagination feeding the theatre and literature of the time, and how it could resonate with a largely uneducated audience. An important contribution to the new historiography on the Italian Risorgimento and on nineteenth-century nationalism in Europe, it offers a fresh perspective on the public sphere during the Risorgimento, focusing on the transnational links between political mobilisation and the growth of new media and burgeoning mass culture.
(Amadeus). The great baritone Leonard Warren was history's most notable interpreter of Verdi, making his mark in the title roles of Rigoletto , Macbeth and Simon Boccanegra . Warren's dramatic death over 40 years ago is famous: he collapsed and died onstage at the Met on March 4, 1960 in a performance as Carlo in La forza del destino . In this definitive biography, Mary Jane Phillips-Matz, author of an acclaimed biography of Giuseppe Verdi, offers an intimate portrait of a beloved opera star, based on hundreds of interviews. More than 100 rare photographs capture Warren in his great roles as well as in private moments. HARDCOVER.
First Published in 1998. Giuseppe Verdi already stood out as a distinctive and unusually significant composer by the time his career was barely underway. Today, Verdi scholars build their work on a vast foundation of earlier research. For researchers who have not spent years with the Verdi literature or who may just be starting to explore some aspect of this giant’s fife and works, this foundation may seem daunting indeed. It is primarily for these researchers that this guide is intended. Its purpose is to index and describe some of the most significant studies about the composer, presenting enough material in annotations that researchers may survey the many myriad directions Verdi research has gone, ascertain the relevance of individual items to their individual interests, and pursue significant patterns and threads in which they are interested.
Well-known for leading audiences to a new appreciation of Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli here turns his attention to the intriguing question of how musical theater works. In this collection of lively, penetrating essays, Petrobelli analyzes specific operas, mainly by Verdi, in terms of historical context, musical organization, and dramaturgical conventions. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Opera has been around ever since the late 16th century, and it is still going strong in the sense that operas are performed around the world at present, and known by infinitely more persons than just those who attend performances. On the other hand, it has enjoyed periods in the past when more operas were produced to greater acclaim. Those periods inevitably have pride of place in this Historical Dictionary of Opera, as do exceptional singers, and others who combine to fashion the opera, whether or not they appear on stage. But this volume looks even further afield, considering the cities which were and still are opera centers, literary works which were turned into librettos, and types of pieces and genres. While some of the former can be found on the web or in other sources, most of the latter cannot and it is impossible to have the whole picture without them. Indeed, this book has an amazingly broad scope. The dictionary section, with about 340 entries, covers the topics mentioned above but obviously focuses most on composers, not just the likes of Mozart, Verdi and Wagner, but others who are scarcely remembered but made notable contributions. Of course, there are the divas, but others singers as well, and some of the most familiar operas, Don Giovanni, Tosca and more. Technical terms also abound, and reference to different genres, from antimasque to zarzuela. Since opera has been around so long, the chronology is rather lengthy, since it has a lot of ground to cover, and the introduction sets the scene for the rest. This book should not be an end but rather a beginning, so it has a substantial bibliography for readers seeking more specific or specialized works. It is an excellent access point for readers interested in opera.
In these 12 essays, the author explores the concept of opera as a dramatic event and an essential moment in the history of theatre. Examining the meaning of opera and the devices that produce and transmit this meaning, he looks at the complex verbal, musical and scenic mechanisms in parts of 'La Sonnambula', 'Ernani', 'Aida', 'Le Nozze di Figaro', 'Macbeth' and 'Il Trovatore'. He argues that approaches to the study of opera must address performance, interpretation, composition, reception, and cultural ramifications.
This comprehensive research guide surveys the most significant published materials relating to Giuseppe Verdi. This new edition includes research since the publication of the first edition in 1998.
The Reader's Guide to Music is designed to provide a useful single-volume guide to the ever-increasing number of English language book-length studies in music. Each entry consists of a bibliography of some 3-20 titles and an essay in which these titles are evaluated, by an expert in the field, in light of the history of writing and scholarship on the given topic. The more than 500 entries include not just writings on major composers in music history but also the genres in which they worked (from early chant to rock and roll) and topics important to the various disciplines of music scholarship (from aesthetics to gay/lesbian musicology).