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(Amadeus). Frieda Hempel (1885--1955) was among the greatest sopranos of opera's Golden Age. She created the Marschallin in Der Rosenkavalier in both Berlin and at the Metropolitan Opera, where she debuted with Caruso in 1912.
Opera in the Jazz Age: Cultural Politics in 1920s Britain explores the interaction between opera and popular culture at a moment when there was a growing imperative to categorize art forms as "highbrow," "middlebrow," or "lowbrow." In this provocative and timely study, Alexandra Wilson considers how the opera debate of the 1920s continues to shape the ways in which we discuss the art form, and draws connections between the battle of the brows and present-day discussions about elitism.
Hamilton dissects the oft invoked myth of a 'Great Tradition', or Golden Age of pianism. He then goes on to discuss the performance style great pianists, from Liszt to Paderewski, and delves into the far from inevitable development of the piano recital.
This work describes in accessible language the technical foundations of the Old Italian School of Singing. It enables the reader to grasp the teachings of the old masters theoretically and practically. The research for this book used not only the old treatises from the 1700's onwards but also firsthand testimonies, biographies and recordings from historical singers. The author systematically takes us through the basic elements of historical singing with practical hints and exercises tested by extensive teaching experience.
Oscar Hammerstein I came to New York in the 1860s, a Prussian runaway with $1.50 in his pocket, and found work at a cigar factory. A decade later he was publishing the nation's leading tobacco trade journal and held dozens of patents for cigar-rolling machinery. He made a fortune and turned his efforts to theater. He built eight of them, including four around Longacre Square--later Times Square--which became a thriving theater district. A daring impresario, he was involved at all levels, from booking to composition to stagecraft. Throughout the Gay Nineties and early 20th century, he billed the world's top actors, prima donnas and vaudeville acts. Then, as now, show business was speculation and high adventure, with rivalries fought in the headlines. Always a storm center, Hammerstein played a skillful chess game with both partners and performers while staging first-class shows for capacity crowds. This biography--from an unfinished manuscript by the son of one of his stage managers--recounts the heyday of his bold productions, his often turbulent relationships with associates, and the birth of Broadway.
In his previous books about singers, John Steane has taken for his subject the art of singing as heard on records (The Grand Tradition) and 'in the flesh' in opera houses and concert halls (Voices, Singers and Critics). Here, in Singers of the Century, he turns to the singers themselves, seeing how their art develops with the opportunities of their professional lives, with chance and design playing their part and all likely to be at the mercy of some quirk of taste or character. Each study is a carefully worked vignette, and the book is illustrated throughout with photographs and memorabilia, many never before published. Singers of the Century will appeal to all those with a love of singing and of music writing at its best.
Presents the history of gospel music in the United States. This book traces the development of gospel from its earliest beginnings through the Golden Age (1945-55) and into the 1960s when gospel entered the concert hall. It introduces dozens of the genre's gifted contributors, from Thomas A Dorsey and Mahalia Jackson to the Soul Stirrers.