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Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.
This monograph presents the most comprehensive investigation yet made into the healing activity of the Early Church. In contrast to early skeptics like B. B. Warfield, the author is convinced there was a vigorous healing ministry in the centuries that followed the apostles, though it fluctuated somewhat and changed its mode. Exorcism is prominently attested throughout the period. The pre-Nicene Fathers recognized its great apologetic value as a dramatic demonstration of the superiority of Jesus Christ over pagan gods. Interest in healing miracles per se appears to have been particularly characteristic of the less educated members of the Church and those who were chaste in their devotion to the cause of Christ. Amongst these groups gifts of healing were found, becoming rare it seems by the mid-third century, but well attested again later in monastic circles. In the pre-Nicene period anointing with oil (in the name of Christ) was clearly an avenue of healing and, though mentioned comparatively rarely, may have been widespread as part of the regular ministry of local clergy to the sick. Baptismal healing, physical as well as spiritual, also took place. In the post-Nicene Church the shrines of the martyrs became a prominent locus of healing. Devotion to this cult may have been encouraged by Church Fathers as an acceptable alternative to magical practices. But evidence suggests syncretism did occur and martyr's relics could be invested with quasi-magical awe. Most Fathers were positive about the medical profession, seeing it as an avenue of God's work, and in the late fourth century one pioneered the hospital which then spread throughout the eastern Mediterranean. In an appendix to his work, the author sets down nine pointers from the healing activity of the Early Church, and his own experience, to assist those engaged in the healing ministry today.
Fifty of the world's most respected scholars cast opera as a fluid entity that continuously reinvents itself in a reflection of its patrons, audience, and creators.
Performed throughout Europe during the 1700s, Italian heroic opera, or opera seria, was the century’s most significant musical art form, profoundly engaging such figures as Handel, Haydn, and Mozart. Opera and Sovereignty is the first book to address this genre as cultural history, arguing that eighteenth-century opera seria must be understood in light of the period’s social and political upheavals. Taking an anthropological approach to European music that’s as bold as it is unusual, Martha Feldman traces Italian opera’s shift from a mythical assertion of sovereignty, with its festive forms and rituals, to a dramatic vehicle that increasingly questioned absolute ideals. She situates these transformations against the backdrop of eighteenth-century Italian culture to show how opera seria both reflected and affected the struggles of rulers to maintain sovereignty in the face of a growing public sphere. In so doing, Feldman explains why the form had such great international success and how audience experiences of the period differed from ours today. Ambitiously interdisciplinary, Opera and Sovereignty will appeal not only to scholars of music and anthropology, but also to those interested in theater, dance, and the history of the Enlightenment.
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