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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The Walkyrs, or Walkyra, in Northern Mythology, were the maiden-messengers of Odin. They selected those warriors who were destined to fall in battle, and waited on them after their arrival in Walhalla, presenting them the drink of gods, mead, to quaff.
It portrays the existential struggles and downfall of an entire people, the Burgundians, in a military conflict with the Huns and their king."--Jacket.
A superb new translation of one of the greatest nineteenth century poems: the libretto to Wagner's Ring cycle The scale and grandeur of Wagner's The Ring of the Nibelung has no precedent and no successor. It preoccupied Wagner for much of his adult life and revolutionized the nature of opera, the orchestra, the demands on singers and on the audience itself. The four operas-The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods - are complete worlds, conjuring up extraordinary mythological landscapes through sound as much as staging. Wagner wrote the entire libretto before embarking on the music. Discarding the grand choruses and bravura duets central to most operas, he used the largest musical forces in the context often of only a handful of singers on stage. The words were essential: he was telling a story and making an argument in a way that required absolute attention to what was said. The libretto for The Ring lies at the heart of nineteenth century culture. It is in itself a work of power and grandeur and it had an incalculable effect on European and specifically German culture. John Deathridge's superb new translation, with notes and a fascinating introduction, is essential for anyone who wishes to get to grips with one of the great musical experiences.
Richard Wagner’s magnum opus meets the celebrated translator of Jules Verne novels in this colorful and original work. Frederick Paul Walter makes The Valkyrie accessible not only to scholars and opera buffs but also to fans of Tolkien, Star Wars, and Hogwarts through a dazzling new translation in lively modern English and annotations that spotlight the libretto, lyrics, and stage directions. The translation conveys Wagner’s humor, rhymes, alliterative effects, subliminal messages, and inventive tale spinning, plus it also gets the most basic ingredient right: the actual story! It highlights the motives, secrets, and plot twists—what’s really going on and what its narrative shows. The Annotated Ring Cycle includes newly created graphic-novel style illustrations that visually represent the storyline alongside full color photos of classic artwork by Arthur Rackham, Howard Pyle, Aubrey Beardsley, the 1876 costume and set designs, and much more.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Do you cringe when your opera-loving friends start raving about the latest production of Tristan? Do you feel faint just thinking about the six-hour performance of Parsifal you were given tickets to? Does your mate accuse you of having a Tannhäuser complex? If you're baffled by the behavior of Wagner worshipers, if you've longed to fathom the mysteries of Wagner's ever-increasing popularity, or if you just want to better understand and enjoy the performances you're attending, you'll find this delightful book indispensable. William Berger is the most helpful guide one could hope to find for navigating the strange and beautiful world of the most controversial artist who ever lived. He tells you all you need to know to become a true Wagnerite--from story lines to historical background; from when to visit the rest room to how to sound smart during intermission; from the Jewish legend that possibly inspired Lohengrin to the tragic death of the first Tristan. Funny, informative, and always a pleasure to read, Wagner Without Fear proves that the art of Wagner can be accessible to everyone. Includes: - The strange life of Richard Wagner--German patriot (and exile), friend (and enemy) of Liszt and Nietzsche - Essential opera lore and "lobby talk" - A scene-by-scene analysis of each opera - What to listen for to get the most from the music - Recommended recordings, films, and sound tracks
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.