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Giulio Caccini - Amarilli, mia bella, Madrigal, for Voice and Piano, Original key and transposed versions for medium high and low voices (G Minor - original key, Bb Minor, A Minor, G# Minor, F# Minor, F Minor, E Minor)
Moving and unsentimental story of inner reconstruction after a devastating lossShortlisted for the prestigious Premio Strega in Italy in 2014, this is the story of a broken family coming to terms, in the aftermath of the earthquake in L'Aquila in 2009, with the loss of one of them - a twin sister, a daughter, a mother - while living in temporary accommodation on the outskirts of the city. The terse and clean voice of the spiky, single, thirty-something female narrator wards off sentimentality while guiding us through the inner reconstruction undertaken by each character individually and by the family as a whole, letting us witness the extraordinary poetic power of love and the renewal of hope.
This authoritative, new edition of the world's most loved songs and arias draws on original manuscripts, historical first editions and recent research by prominent musicologists to meet a high standard of accuracy and authenticity. Includes fascinating background information about the arias and their composers as well as a singable rhymed translation, a readable prose translation and a literal translation of each single Italian word.
“Sometimes tough, sometimes tender, always heartfelt and honest, Bella Fortuna is a lively, finely-stitched tale of life and love, family and friendship, and a zest for cose Italiane!” —Peter Pezzelli, author of Home to Italy Valentina DeLuca has made hundreds of brides’ dreams come true. At Sposa Rosa, the Astoria, New York, boutique where she, her sisters, and their mother design and sew couture knock-off gowns, she can find the perfect style for even the most demanding customer. Now, it’s her turn. Valentina has loved Michael Carello ever since he rescued her from a cranky shopkeeper when she was ten years old. He’s handsome, chivalrous, and loyal. And in a few weeks, she’s going to marry him—in Venice. But just when she thinks everything is falling into place, Valentina is forced to re-examine her life to see what truly makes her happy. And as she soon learns, in a place as magical as Venice, what seems like misfortune can turn out to be anything but, although who knows what may be waiting around the next corner? The chance to enjoy a moonlit gondola ride, to sip Prosecco in St. Mark’s Square, to eat mouthwatering gelato, to put aside “sensible” for once and see where the warm Italian breezes guide her as she visits all the sights she’s dreamed of: The Doge’s Palace, Il Rialto, the little islands of Murano and Burano. And maybe, along the way, to discover that bella fortuna—good luck—isn’t what you’re given, but what you make. “Chiofalo brings the Italian immigrant community and neighborhoods richly to life.” —Publishers Weekly “Well-drawn characters . . . A charmer.” —BookPage
The mysterious arrival of Bella Blackwell, 'The Bird Woman', to the village of Ballyglen disturbs the peace and quiet of the Murphy household next door. Granny Rose is suspicious of Bella, and Rory doesn't trust her, but ten-year-old Mia falls under the old woman's spell. Bella tells Mia of a faraway place, a world where dragons and giants and ancient magic still exists, and asks Mia to become her apprentice and learn the old ways. One dark night Mia disappears and Rory, determined to find his sister, follows her to a world he does not believe in. Riding the 'Shadow Hound', he journeys to a strange land of legendary creatures and terrible dangers. Bella uses all her powers to prevent the brother and sister finding each other, but Rory begins a brave quest to rescue his sister, break the strange enchantment that Bella has over her and find a way home.
The History of Italian Opera marks the first time a team of scholars has worked together to investigate the entire Italian operatic tradition, rather than limiting its focus to major composers and their masterworks. Including both musicologists and historians of other arts, the contributors approach opera not only as a distinctive musical genre but also as a form of extravagant theater and a complex social phenomenon. This sixth volume in the series centers on the sociological and critical aspects of opera in Italy, considering the art in the context of an Italian literary and cultural canon rarely revealed in English and American studies. In its six chapters, contributors survey critics' changing attitudes toward opera over several centuries, trace the evolution of formal conventions among librettists, explore the historical relationships between opera and Italian literature, and examine opera's place in Italian popular and national culture. In perhaps the volume's most striking contribution, German scholar Carl Dahlouse offers his most important statement on the dramaturgy of opera.