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While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.
"Italian Literature before 1900 in English Translation provides the most complete record possible of texts from the early periods that have been translated into English, and published between 1929 and 2008. It lists works from all genres and subjects, and includes translations wherever they have appeared across the globe. In this annotated bibliography, Robin Healey covers over 5,200 distinct editions of pre-1900 Italian writings. Most entries are accompanied by useful notes providing information on authors, works, translators, and how the translations were received. Among the works by over 1,500 authors represented in this volume are hundreds of editions by Italy's most translated authors - Dante Alighieri, [Niccoláo] Machiavelli, and [Giovanni] Boccaccio - and other hundreds which represent the author's only English translation. A significant number of entries describe works originally published in Latin. Together with Healey's Twentieth-Century Italian Literature in English Translation, this volume makes comprehensive information on translations accessible for schools, libraries, and those interested in comparative literature."--Pub. desc.
A rollicking debut novel from award-winning playwright and screenwriter John Pielmeier reimagines the childhood of the much-maligned Captain Hook: his quest for buried treasure, his friendship with Peter Pan, and the story behind the swashbuckling world of Neverland. Long defamed as a vicious pirate, Captain James Cook (a.k.a. Hook) was in fact a dazzling wordsmith who left behind a vibrant, wildly entertaining, and entirely truthful memoir. His chronicle offers a counter narrative to the works of J.M. Barrie, a “dour Scotsman” whose spurious accounts got it all wrong. Now, award-winning playwright John Pielmeier is proud to present this crucial historic artifact in its entirety for the first time. Cook’s story begins in London, where he lives with his widowed mother. At thirteen, he runs away from home, but is kidnapped and pressed into naval service as an unlikely cabin boy. Soon he discovers a treasure map that leads to a mysterious archipelago called the “Never-Isles” from which there appears to be no escape. In the course of his adventures he meets the pirates Smee and Starkey, falls in love with the enchanting Tiger Lily, adopts an oddly affectionate crocodile, and befriends a charming boy named Peter—who teaches him to fly. He battles monsters, fights in mutinies, swims with mermaids, and eventually learns both the sad and terrible tale of his mother’s life and the true story of his father’s disappearance. Like Gregory Maguire’s Wicked, Hook’s Tale offers a radical new version of a classic story, bringing readers into a much richer, darker, and enchanting version of Neverland than ever before. The characters that our hero meets—including the terrible Doctor Uriah Slinque and a little girl named Wendy—lead him to the most difficult decision of his life: whether to submit to the temptation of eternal youth, or to embrace the responsibilities of maturity and the inevitability of his own mortality. His choice, like his story, is not what you might expect.
(Vocal Collection). Contents: Purcell: When I am laid in earth (Dido and Aeneas) Gluck: Che faro senza Euridice? (Orfeo ed Euridice) Mozart: Non so piu (Le Nozze di Figaro) * Voi, che sapete (Le Nozze di Figaro) * Smanie implacabili (Cosi fan tutte) Rossini: Cruda sorte!...Gia so per pratica (L'Italiana in Algeri) * Una voce poco fa (Il Barbiere di Siviglia) * Non piu mesta (La Cenerentola) Donizetti: Il segreto per esser felici (Orsini's Drinking Song) (Lucrezia Borgia) * O mio Fernando (La Favorita) Meyerbeer: Nobles seigneurs, salut! (Les Huguenots) Verdi: Stride la vampa! (Il Trovatore) Gounod: Faites-lui mes aveux (Faust) * Que fais-tu, blanche tourterelle (Romeo et Juliette) J. Strauss: Chacun a son got (Die Fledermaus) Bizet: Habanera (Carmen) * Seguidilla (Carmen) * En vain, pour eviter les reponses ameres (Carmen) Ponchielli: Voce di donne (La Gioconda) Saint-Saens: Printemps qui commence (Samson et Dalila) * Amour! viens aider ma faiblesse! (Samson et Dalila) * Mon coeur s'ouvre a ta voix (Samson et Dalila) Mascagni: Voi lo sapete (Cavalleria Rusticana) Massenet: Va! laisse couler mes larmes (Werther) Cilea: Acerba volutta (Adriana Lecouvreur) Thomson: We cannot retrace our steps (The Mother of Us All) Menotti: Lullaby (The Consul) * Au, Michele, don't you know (The Saint of Bleecker Street) Moore: Augusta! How can you turn away? (The Ballad of Baby Doe) Barber: Must the Winter Come so Soon? (Vanessa).
Offers brief summaries of the plots of one hundred operas, and includes background commentary and recommendations for favorite recordings of each opera.
A brand new comedy about science and ethics by "a new young dramatist of exceptional wit and promise for the future" - Daily Telegraph "No, really, who needs evolution when you have plastic surgery?" Malibu, California. The present. Charles Darwin has wound up in a beach house overlooking the Pacific with a girl young enough to be his daughter. One hundred and forty-five years have passed since the publication of The Origin of Species, and over a hundred and twenty years since Darwin's own death. But his peace is rudely disturbed when his old friend Thomas Huxley washes up on the beach, closely followed by the Bishop of Oxford. Darwin suddenly finds himself entangled in a sparkling comedy of life and death, love and loss, and the sex lives of hermaphroditic barnacles. Darwin in Malibu premiered at Birmingham Repertory Theatre where it was nominated for the TMA Award for Best New Play. "Fiercely intelligent...an exceptionally spry play, with big ideas and a big heart. You should see it - not just because it's there, but because we are here. Along with the barnacles and stars." Guardian
Stendhal's Life of Rossini is a captivating biography of the famous Italian composer Gioachino Rossini. Through extensive research and firsthand accounts, Stendhal paints a vivid picture of Rossini's life, career, and artistic output. This book is a must-read for anyone interested in music history or classical music. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.