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Foreword by Jost Hermand The libretti of the greatest German operas: Mozart's The Magic Flute, Beethoven's Fidelio, Wagner's Parsifal, Strauss's Der Rosenkavalier, and Schoenberg's Moses and Aron.
Were those who worked in the theatres of the Third Reich willing participants in the Nazi propaganda machine or artists independent of official ideology? To what extent did composers such as Richard Strauss and Carl Orff follow Nazi dogma? How did famous directors such as Gustaf Grüdgens and Jürgen Fehling react to the new regime? Why were Shakespeare and George Bernard Shaw among the most performed dramatists of the time? And why did the Nazis sanction Jewish theatre? This is the first book in English about theater in the entire Nazi period. The book is based on contemporary press reports, research in German archives, and interviews with surviving playwrights, actors, and musicians.
The New Pocket Kobbe's Complete Opera Book is the world's leading reference work on opera, and (in the words of Bernard Levin) 'no single-volume operatic guide can possibly compare with it'. Kobbe is the only book which summaries the libretti of the world's opera, describes their music and gives a history of their performance within a single volume. But it is a large and relatively expensive book. The new pocket edition, at a price accessible to the huge new audience for opera, has been redesigned and extended, existing entries have been rewritten, and new operas included. The total number of works covered is now over 200, including important new works like John Adams Nixon in China, Harrison Birtwistle's Gawain and Thomas Ades's Powder Her Face, and a number of half-forgotten works that are now undergoing revival. Unlike the previous edition, it is now simply arranged, alphabetically by composer. Lord Harewood's strongly individual commentaries, together with his unparalleled knowledge of and enthusiasm for opera, make the New Pocket Kobbe a book no opera-goer can afford to be without.
(Limelight). Martin provides a guide to opera that is sweeping in its scope, thorough in its detail, and authoritative in its commentary. He recalls a century of achievement in an art form that today enjoys unprecedented popularity and that has been generously enriched by challenging works in many cases yet to be fully recognized of the modern era.
Presents stories of more than 300 operas, with musical examples. Also gives dates, places, and casts of significant premieres and revivals of each work.
Spanning 400 years of musical drama, Eyewitness Companions: Opera is your guide to the musical world. Explore operas and composers from the late Renaissance on, including such classical masters as Verdi, Puccini, and Bizet. Eyewitness Companions: Opera is the complete visual guidebook to the great operas, their composers and performance history. Eyewitness Companions: Opera includes more than 160 operas by 66 composers around the world. This richly illustrated eBook includes act-by-act plot synopses and storyline highlights, plus detailed profiles cover composers, Librettists, singers, and more.
David Amram has played and rambled and galloped and staggered through a remarkably broad sweep of American life, experience, and creative struggle. The Boston Globe has described him as "the Renaissance man of American Music." Amram and Jack Kerouac collaborated on the first-ever jazz poetry reading in New York City in 1957 as well as the subsequent legendary film Pull My Daisy in 1959, combining Amram's music with Kerouac's narration. Amram, honored as the first Composer-in-Residence of the New York Philharmonic, has composed more than 100 orchestral and chamber works, written two operas, and has collaborated with Leonard Bernstein, Dizzy Gillespie, Lionel Hampton, Charles Mingus, Dustin Hoffman, Thelonious Monk, Willie Nelson, Nancy Griffith, Johnny Depp, and more. Vibrations is the story of one boy's adventures growing up on a farm in Pennsylvania, working odd jobs, misfitting in the U.S. Army, barnstorming through Europe with the famous Seventh Army Symphony, exiling in Paris, scuffling on the Lower East Side, day-laboring-often down but never out-finally emerging as a major musical force. With its stage-setting foreword by Douglas Brinkley and a new afterword by Kerouac biographer Audrey Sprenger, this new edition is not to be missed.