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Expertly arranged Vocal Score by Gioacchino Rossini from the Kalmus Edition series. This is from the Romantic era.
Vols. 277-230, no. 2 include Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.
From ancient Greek actors to all-male Elizabethan casts to the drag queens of today, cross-dressing performers have been around for nearly as long as live performance itself. In It’s a Drag, Janet Tennant provides a fascinating and colorful look at performing artists who adopt the characters and dress of others. With a particular focus on theatrical history in Britain and North America, Tennant also turns to modern performers like RuPaul, Mj Rodriquez, David Bowie, and Billy Porter. She surveys the many reasons that performers have cross-dressed over the years, whether to tell stories, to amuse audiences, to create distinctive alter egos, to call attention to social and political issues—or merely for reasons of expediency. In addition to its memorable portraits of Shakespearean boy actors, pantomime dames, and other cross-dressing performers across history, It’s a Drag takes stock of the present and considers the future of the practice: How will the drive toward equality affect the use of cross-dressing and cross-gender role casting? Will gender-blind roles become as prevalent as color-blind casting? And will cross-dressing continue to amuse and impress audiences, or can we imagine a time when gender differences will cease to be important?
In the early 1800s, Rossini’s operas permeated Italy, from the opera house to myriad arrangements heard in public and private. But after Rossini stopped composing, a sharp decline in popularity drove most of his works out of the repertory. In the past half century, they have made a spectacular return to operatic stages worldwide, but this recent fame has not been accompanied by a comparable critical reevaluation. Emanuele Senici’s new book provides a fresh look at the motives behind the Rossinian furore and its aftermath by examining the composer’s works in the historical context in which they were conceived, performed, seen, heard, and discussed. Situating the operas firmly within the social practices, cultural formations, ideological currents, and political events of early nineteenth-century Italy, Senici reveals Rossini’s dramaturgy as a radically new and specifically Italian reaction to the epoch-making changes witnessed in Europe at the time. The first book-length study of Rossini’s Italian operas to appear in English, Music in the Present Tense exposes new ways to explore nineteenth-century music and addresses crucial issues in the history of modernity, such as trauma, repetition, and the healing power of theatricality.