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The automa Pinocchio has always been duty-bound to serve in the floating palace of Venice's emperor. So when Pinocchio finds himself locked in a trunk and delivered to a new master-a wanted criminal and alchemist named Geppetto-he is curious about everything around him. But most curious is the way Pinocchio seems to be changing from a wooden servant into a living, human boy. Before Geppetto and Pinocchio can uncover the mystery surrounding the automa's transformation, Pinocchio is stolen away. Determined to find Geppetto again, Pinocchio begins a harrowing journey across the Empire, where danger in the form of half-beast outlaws and winged airmen abounds for a lost automa. Meanwhile, Princess Lazuli, the daughter of the ruler of a magical kingdom called Abaton, is also on a quest through the emperor's territory. Her father, Prester John, has been captured by the Venetian Empire, and Lazuli is desperate to rescue him. With the emperor's airmen closing in fast, Lazuli learns the only hope for saving her father-and her beloved home-lies in Pinocchio and Geppetto. /DIV In a masterful reimagining of Pinocchio, John Claude Bemis weaves an enchanting, thrilling adventure for middle-grade readers in the first installment in the Out of Abaton duology. Praise for The Wooden Prince "Wow! John Claude Bemis hides new magic in old stories." -Tom Angleberger, New York Times best-selling author of the Origami Yoda seriesDIV "Young readers will find this reimagined adventure an exhilarating and insightful journey." -Kirkus Reviews "Pinocchio gets a new look in this curious, complex novel of betrayal, rebellion, and loyalty. . .the world-building is impressive, and the captivating setting will likely attract fantasy, steampunk, and adventure fans alike." -Bulletin of the Center for Children's Books "Flying lions, fiery salamanders, chimera, sylphs, gnomes, men with wings, and an enormous sea monster all play roles in this fantastical retelling of Pinocchio." -School Library Journal "Pinocchio's growth is sometimes uncomfortable, sometimes heartwarming, and bound to entrance readers." -Booklist
Pinocchio can't believe the Moonlit Court is his home! With royal banquets, a regal wardrobe, and a whole new set of rules, Pinocchio has a lot to adjust to in his new life as prester alongside Princess Lazuli. But before they can get comfortable in their thrones, a fancy dinner at the palace is interrupted by an unwelcome guest-a monster! And this isn't just any monster; it's a manticore, a beast that was imprisoned centuries earlier. Desperate to locate the prison and make sure none of its other monsters were able to escape, Lazuli, Pinocchio, and their Celestial Brigade set out to save Abaton from these ancient beings. Their journey requires intelligence, strength, and a dash of the magic only presters control. But when Pinocchio tries to use his powers, they have an unintended effect: he is turning back into a wooden automa. And if he's not careful, he may lose his human form forever. The second book in the Out of Abaton series continues John Claude Bemis's reimagining of Pinocchio in an action-packed adventure that celebrates friendship, tolerance, and the power of being yourself. Praise for The Wooden Prince "Wow! John Claude Bemis hides new magic in old stories." -- Tom Angleberger, New York Times best-selling author of the Origami Yoda series
This is the first book-length examination of Bartók's 1911 opera Duke Bluebeard's Castle, one of the twentieth century's enduring operatic works. Writing in an engaging style, Leafstedt adopts an interdisciplinary approach to the opera by introducing, in addition to music-dramatic analysis, a number of topics that are new to the field of Bartók studies. These new areas of critical and scholarly terrain include a detailed literary study of the libretto and a gender-focused analysis of the opera's female character, Judith. Leafstedt begins with a short introductory chapter that places Duke Bluebeard's Castle within the context of Bartók's early composing career, his discovery of folk music, and its impact on his later work. The book goes on to explore the composition's troubled history, its failure to win two early Hungarian opera competitions, and the three versions of the ending that resulted, discussed here in depth for the first time. The core of the book is devoted to the musical and dramatic organization of the opera and offers an analysis of the seven individual door scenes, including a detailed analysis of scene six, the "lake of tears" scene, illustrating the work's complex tonal organization and dramatic structure. A separate chapter places this darkly psychological version of the Bluebeard story within the broader context of European history and literature. Throughout the book, Leafstedt draws on original Hungarian source material, much of it newly translated by the author and available here for the first time in English, and he includes a generous selection of musical examples. Inside Bluebeard's Castle is an ideal starting point for research in twentieth-century music, Hungarian cultural history, and opera studies, as well as an invaluable guide for anyone interested in Bartók's only opera.
(Boosey & Hawkes Scores/Books). HPS 393