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A definitive reference for the diction, pronunciation and translation of Lustige Witwe authored by the leading authority (Nico Castel) on opera diction.
"When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth‐century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life—one whose transgressions helped define the musical hierarchies of its day.
A stunning portrait of the complicated woman who becomes Ernest Hemingway's fourth wife, tracing her adventures before she meets Ernest, exploring the tumultuous years of their marriage, and evoking her merry widowhood as she shapes Hemingway's literary legacy. Mary Welsh, a celebrated wartime journalist during the London Blitz and the liberation of Paris, meets Ernest Hemingway in May 1944. He becomes so infatuated with Mary that he asks her to marry him the third time they meet—although they are married to other people. Eventually, she succumbs to Ernest's campaign, and in the last days of the war joined him at his estate in Cuba. Through Mary's eyes, we see Ernest Hemingway in a fresh light. Their turbulent marriage survives his cruelty and abuse, perhaps because of their sexual compatibility and her essential contribution to his writing. She reads and types his work each day—and makes plot suggestions. She becomes crucial to his work and he depends upon her critical reading of his work to know if he has it right. We watch the Hemingways as they travel to the ski country of the Dolomites, commute to Harry's Bar in Venice; attend bullfights in Pamplona and Madrid; go on safari in Kenya in the thick of the Mau Mau Rebellion; and fish the blue waters of the gulf stream off Cuba in Ernest's beloved boat Pilar. We see Ernest fall in love with a teenaged Italian countess and wonder at Mary's tolerance of the affair. We witness Ernest's sad decline and Mary's efforts to avoid the stigma of suicide by claiming his death was an accident. In the years following Ernest's death, Mary devotes herself to his literary legacy, negotiating with Castro to reclaim Ernest's manuscripts from Cuba, publishing one-third of his work posthumously. She supervises Carlos Baker's biography of Ernest, sues A. E. Hotchner to try and prevent him from telling the story of Ernest's mental decline, and spends years writing her memoir in her penthouse overlooking the New York skyline. Her story is one of an opinionated woman who smokes Camels, drinks gin, swears like a man, sings like Edith Piaf, loves passionately, and experiments with gender fluidity in her extraordinary life with Ernest. This true story reads like a novel—and the reader will be hard pressed not to fall for Mary.
An award-winning author kicks off a new series featuring the Merry Widows, a secret society of respectable ladies with some scandalous ideas. "A delicious and irresistible concoction, one part simple friendships, one part wicked delights, and all parts wonderful!'--Connie Brockway. Original.
(Faber Piano Adventures ). An excellent collection of symphonic and operatic works by the great composers. The pieces were chosen for their appealing melodies and rhythmic vitality. Includes: Theme from Don Giovanni (La ci darem la mano) by Mozart * Egyptian Ballet Dance (from the opera Sanson & Delilah ) by Saint Saens * Liebestraum by Liszt * The Merry Widow Waltz (from the opera The Merry Widow ) by Lehar * Minuet (Op. 14, No. 1) by Paderewski * Canon by Pachelbel * Spring (from The Four Seasons ) by Vivaldi * Suitor's Song (from the operetta The Gypsy Baron ) by J. Strauss, Jr. * Theme from Symphony No. 1 (Third Movement, "Frere Jacques" theme) by Mahler * Prince of Denmark's March (Trumpet Voluntary) by Clarke.
Saturday, September 22 1. Get a dog cat. 2. Get a man. 3. Get adventurous (go skinny-dipping!) 4. Get a life! She'd been the pampered and protected wife. Now she was a widow with both daughters off at college and she was suddenly desperate to fill her empty nest with something—anything. So when Jill Townsend finds a mysterious key in her late husband's office she sets out to find the door it opens. Saying so long to suburbia, she heads for the wilds of Manhattan, where new friends and career opportunities loom—and sexy men are hitting on her! But will Jill ever be able to step beyond the safe and secure world she's always known and take that leap into merry widowhood?
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
The Cambridge Companion to the Musical provides an accessible introduction to one of the liveliest and most popular forms of musical performance. Written by a team of specialists in the field of musical theatre especially for students and theatregoers, it offers a guide to the history and development of the musical in England and America (including coverage of New York s Broadway and London s West End traditions). Starting with the early history of the musical, the volume comes right up to date and examines the latest works and innovations, and includes information on the singers, audience and critical reception, and traditions. There is fresh coverage of the American musical theatre in the eighteenth and nineteenth centuries, the British musical theatre in the middle of the twentieth century, and the rock musical. The Companion contains an extensive bibliography and photos from key productions.