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Opera A to Z: A Beginner's Guide to Opera is an overview of the most famous operas and opera characters of all time; one for each letter of the alphabet. The book was written with children ages eight to twelve in mind, but it is sure to delight young and old alike with its engaging summaries of twenty-six renowned operas. The book is based on a 27 x 40 watercolor that took author and illustrator Liddy Lindsay two years to complete and has become a bestseller as notecards and Gicle prints at The Met Opera Shop in New York.
A unique reference work containing over 2,500 A-Z entries on operatic characters. Includes synopses for over 200 operas and operettas, as well as feature articles written by well-known personalities from the world of opera, including Plácido Domingo and Dame Janet Baker. It is an essential book for anyone with an interest in opera.
Written by an opera insider and featuring an introduction by Placido Domingo, here is a thorough, friendly, and truly complete guide to learning how to love and appreciate the opera. After a brief history of opera, the book includes a guide to operatic terms, a minute-by-minute listener's guide to 11 central works, a list of recommended books and recordings and much more.
Covering over 1500 singers from the birth of opera to the present day, this marvelous volume will be an essential resource for all serious opera lovers and an indispensable companion to the enormously successful Grove Book of Operas. The most comprehensive guide to opera singers ever produced, this volume offers an alphabetically arranged collection of authoritative biographies that range from Marion Anderson (the first African American to perform at the Met) to Benedict Zak (the classical tenor and close friend and colleague of Mozart). Readers will find fascinating articles on such opera stars as Maria Callas and Enrico Caruso, Ezio Pinza and Fyodor Chaliapin, Lotte Lehmann and Jenny Lind, Lily Pons and Luciano Pavarotti. The profiles offer basic information such as birth date, vocal style, first debut, most memorable roles, and much more. But these articles often go well beyond basic biographical information to offer colorful portraits of the singer's personality and vocal style, plus astute evaluations of their place in operatic history and many other intriguing observations. Many entries also include suggestions for further reading, so that anyone interested in a particular performer can explore their life and career in more depth. In addition, there are indexes of singers by voice type and by opera role premiers. The articles are mostly drawn from the acclaimed Grove Music Online and have been fully revised, and the book is further supplemented by more than 40 specially commissioned articles on contemporary singers. A superb new guide from the first name in opera reference, The Grove Book of Opera Singers is a lively and authoritative work, beautifully illustrated with color and black-and-white pictures. It is an essential volume--and the perfect gift--for opera lovers everywhere.
"The Grove Book of Operas is the ideal difference for the opera lover. First published in 1996 to great critical and popular success, it provides succinct yet insightful synopses of more than 250 operas. This second edition brings the book up to date with several recently composed operas, including John Adams's The Death of Klinghoffer, Poul Ruders's A Handmaid's Tale, and Mark Adamo's Little Women." "The second edition features a new, more readable design, and is illustrated in both colour and black and white. New images cover the history of opera from reproductions of the earliest libretti, to portraits of singers from the earliest days of photography, to productions staged in 2005. And in a new introductory essay, scholar and dramaturg David Levin surveys contemporary trends in opera performance, identifying their ancestors in early and mid-20th century performance and examining the current intellectual and cultural context in which they flourish." "In addition to a full synopsis of every plot, there is a cast list and information about the first production, as well as a discussion of the opera's history and its literary and social background. The index of first lines of arias will help you find your favourite, and the index of role names will come to your rescue when programme notes or reviews tell you that 'he sang Colline at the Met in 1992'."--BOOK JACKET.
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"From Aeneas to Zaida, Who Married Figaro? contains more than 2,500 entries on operatic characters from around the world. Giving details of the composer of each role as well as notable performances, this unique reference book also provides comprehensive synopses for over 200 operas and operettas. It features articles by well-known personalities from the world of opera, including Placido Domingo, Dame Janet Baker, and, new to this edition, Christine Brewer, Susan Bullock, Simon Keenlyside, and Joyce DiDonato. This fully revised edition now contains an appendix of contemporary opera of the last ten years, offering detailed synopses and world premiere cast lists. Up to date, authoritative, and packed with valuable information, this A-Z is an essential book for opera lovers."--BOOK JACKET.
This 2003 Companion is a fascinating and accessible exploration of the world of grand opera. Through this volume a team of scholars and writers on opera examine those important Romantic operas which embraced the Shakespearean sweep of tragedy, history, love in time of conflict, and the struggle for national self-determination. Rival nations, rival religions and violent resolutions are common elements, with various social or political groups represented in the form of operatic choruses. The book traces the origins and development of a style created during an increasingly technical age, which exploited the world-renowned skills of Parisian stage-designers, artists, and dancers as well as singers. It analyses in detail the grand operas by Rossini, Auber, Meyerbeer and Halévy, discusses grand opera in Russia and Germany, and also in the Czech lands, Italy, Britain and the Americas. The volume also includes an essay by the renowned opera director David Pountney.
Disclaimer: Well, here's my book! I like to think it's equal parts auto-bio, inspiration, and unrepentant potty humor. WARNING, if you're sensitive and precious, you probably won't be amused. Turn back. But if on some rainy afternoon you find yourself in need of a few giggles, I hope you'll find some here. (Jay Hunter Morris) Meet our opera "zinger" (yes, with a "z" - read the book to find out why) - Grammy-winning tenor Jay Hunter Morris, Metropolitan Opera's Siegfried in Wagner's Ring. Born in Paris, Texas, Jay was propelled to international fame after his big break in October 2011, when Met director Peter Gelb brought him in at short notice to substitute for a sick colleague, and he sang superbly this difficult role in front of a Met Live in HD worldwide audience. These are his incredibly funny memoirs. The gifted singer has a phenomenal talent for self-deprecating black humor (and linguist acrobatics - all spelling and grammar idiosyncrasies are done in purpose for a true Texan feel), but is also touching and admirable in his love for the art form, his family, and his values. This very entertaining book will not only make you laugh (hard!) but will also inform you about the joys and hardships of the operatic singing profession. (Luiz Gazzola, Senior Editor, Opera Lively Press)
This volume covers aspects of opera translation within the Western world and in Asia, as well as some of opera’s many travels between continents, countries, languages and cultures—and also between genres and media. The concept of ‘adaptation’ is a thread running through the sixteen contributions, which encompass a variety of composers, operas, periods and national traditions. Sung translation, libretto translation, surtitling, subtitling are discussed from a range of theoretical and methodological perspectives. Exploration of aspects such as the relationship between language and music, multimodality, intertextuality, cultural and linguistic transfer, multilingualism, humour, identity and stereotype, political ideology, the translator’s voice and the role of the audience is driven by a shared motivation: a love of opera and of the beauty it has never ceased to provide through the centuries, and admiration for the people who write, compose, perform, direct, translate, or otherwise contribute to making the joy of opera a part of our lives.