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"Just the Echo of a Sigh" and "Faint Harmony" concentrate on the life and career of famous British tenor, Malcolm Craig and his tumultuous private life. He marries three times, but none of his marriages work out well. Even his third "perfect" marriage to soprano Marina Dunbar who becomes his singing partner, has many problems. The four novels in the Malcolm Craig series are a mixture of Roman à clef, and biographical-autobiographical novel, in other words, a novel about real life, overlaid with a façade of fiction.The four novels in the Malcolm Craig series are broadly based on fact, but many incidents are purely products of my imagination and do not pretend to be true. The first two novels included in this volume are based on my knowledge and research into the lives of "Malcolm Craig" and "Marina Dunbar" before I met them, overlaid with many fictional elements.
Julian Budden's monumental three-volume survey of the operas of Verdi. Hailed on publication for its extraordinary comprehensibility, the set has become the classic reference work on its subject. Volume I traces the organic growth and development of the composer's style from 1839 to 1851--from the first opera, Oberto, to the seventeenth, Rigoletto. Budden examines each opera in detail with a full account of its dramatic and historical origins and a brief critical evaluation. More than 350 musical examples point to the significance of the early operas in Verdi's developing style. Volume 2 covers those works written during the decadence of the post-Rossini period. During this time, Verdi, having exhausted the vein of simple lyricism to be found in Il Trovatore and La Traviata, achieved self-renewal in direct confrontation with the masters of the Paris Opera with his Les Vêpres Siciliennes. A new scale and variety of musical thought can be sensed in the Italian operas that follow, culminating in La Forza del Destino. Volume 3 covers roughly a quarter of a century, a period which saw grand opera on the Parisian model established throughout Italy, the reform of the Conservatories, and the spread of cosmopolitan influences to an extent that convinced many that Italian music was losing its identity. Verdi produced his four last and greatest operas--Don Carlos, Aida, Otello, and Falstaff--in this period, which ended with the advent of 'verismo', in which a new, recognizably Italian idiom was inaugurated.