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Building a masterpiece explores some of the untold chapters in the long history of the Opera House's gestation, development and completion -- of individuals whose careers were made or broken by the Opera House, the companies whose reputations were secured through their association with the building, and the pioneering construction methods, innovative technologies and methodologies developed to meet the demands of its unprecedented design and challenging construction. The workers who built the building, the politicians, architects and members of the public who championed it and its often beleaguered architect are discussed as is its current world status as a symbol of Australia.To coincide with the 40th anniversary of the opening of the Sydney Opera House, this new edition of Building a Masterpiece will include a new chapter on another little known and much misunderstood story: the architect who took over from Utzon and completed the project.
This was the first work to have applied a systematised feminist theory to opera. It concentrates on the stories & text of opera, that perhaps have more relevence today in a growing literature than it had when it was the "sacrilegious" pioneering work.
A snob and a slob. Can they work together to unravel a complex murder?
A New York Times bestseller: The “magnificent” memoir by one of the bravest and most original writers of our time—“A tour de force of literature and love” (Vogue). One of the New York Times’ “50 Best Memoirs of the Past 50 Years” Jeanette Winterson’s bold and revelatory novels have established her as a major figure in world literature. Her internationally best-selling debut, Oranges Are Not the Only Fruit, tells the story of a young girl adopted by Pentecostal parents, and has become a staple of required reading in contemporary fiction classes. Why Be Happy When You Could Be Normal? is a “singular and electric” memoir about a life’s work to find happiness (The New York Times). It is a book full of stories: about a girl locked out of her home, sitting on the doorstep all night; about a religious zealot disguised as a mother who has two sets of false teeth and a revolver in the dresser, waiting for Armageddon; about growing up in a north England industrial town now changed beyond recognition; about the universe as a cosmic dustbin. It is the story of how a painful past, rose to haunt the author later in life, sending her on a journey into madness and out again, in search of her biological mother. It is also a book about the power of literature, showing how fiction and poetry can form a string of guiding lights, or a life raft that supports us when we are sinking. Witty, acute, fierce, and celebratory, Why Be Happy When You Could Be Normal? is a tough-minded story of the search for belonging—for love, identity, home, and a mother.
Fernando the mouse loves helping at the opera, but singer Dolores thinks she deserves a bigger assistant.
When the opera diva Madame SoSo gets laryngitis, her singing cat Alma fills in for her.
An imaginative and sensitive story of the life of the Phantom of the Opera; winner of the Boots Romantic Novel Award.
“Revelatory to young audiences in more ways than one.” —Kirkus “Many STEM-for-girls biographies fan excitement over women’s achievements, but this title actually brings the central scientific concept within middle-grade reach.” —The Bulletin of the Center for Children’s Books Movie star by day, ace inventor at night: learn about the hidden life of actress Hedy Lamarr! To her adoring public, Hedy Lamarr was a glamorous movie star, widely considered the most beautiful woman in the world. But in private, she was something more: a brilliant inventor. And for many years only her closest friends knew her secret. Now Laurie Wallmark and Katy Wu, who collaborated on Sterling’s critically acclaimed picture-book biography Grace Hopper: Queen of Computer Code, tell the inspiring story of how, during World War Two, Lamarr developed a groundbreaking communications system that still remains essential to the security of today’s technology.
Opera developed during a time when the position of women—their rights and freedoms, their virtues and vices, and even the most basic substance of their sexuality—was constantly debated. Many of these controversies manifested themselves in the representation of the historical and mythological women whose voices were heard on the Venetian operatic stage. Drawing upon a complex web of early modern sources and ancient texts, this engaging study is the first comprehensive treatment of women, gender, and sexuality in seventeenth-century opera. Wendy Heller explores the operatic manifestations of female chastity, power, transvestism, androgyny, and desire, showing how the emerging genre was shaped by and infused with the Republic's taste for the erotic and its ambivalent attitudes toward women and sexuality. Heller begins by examining contemporary Venetian writings about gender and sexuality that influenced the development of female vocality in opera. The Venetian reception and transformation of ancient texts—by Ovid, Virgil, Tacitus, and Diodorus Siculus—form the background for her penetrating analyses of the musical and dramatic representation of five extraordinary women as presented in operas by Claudio Monteverdi, Francesco Cavalli, and their successors in Venice: Dido, queen of Carthage (Cavalli); Octavia, wife of Nero (Monteverdi); the nymph Callisto (Cavalli); Queen Semiramis of Assyria (Pietro Andrea Ziani); and Messalina, wife of Claudius (Carlo Pallavicino).