Your Search Results

      • Theatre studies

        Ballad of Baby Doe

        "i Shall Walk Beside My Love"

        by Duane A Smith , John Moriarty

        First produced at the Central City Opera House in 1956, 'The Ballad of Baby Doe' is now widely considered a classic and is the second most produced American opera. In THE BALLAD OF BABY DOE, Smith tells the tale of the complicated birth of this most American of operas. Inspired in 1953 by composer Douglas Moore's interest in Horace Tabor's story and funded by the Central City Opera House Association, the opera came together through a unique combination of hard work and serendipity. Smith relates how key people -- including investors and historians in addition to creative talent -- turned Moore's idea into a reality and brought the story of the Tabors to millions of opera fans worldwide. In addition, Smith compares the opera's libretto with historical reality, and the book even includes a chapter on the production written by John Moriarty, who conducted the opera in 1981, 1988, and 1996.

      • Biography: general

        Simply Wagner

        by Thomas S. Grey

        More than 130 years after his death, the operas and philosophy of Richard Wagner (1813–1883) continue to provoke controversy. A man of unquestioned artistic brilliance, he was also a fierce nationalist and outspoken anti-Semite, who was posthumously embraced by the Nazis and became a cultural hero of the Third Reich. Though he changed the course of classical music, in his personal life Wagner was an overbearing and ruthless megalomaniac, who stopped at nothing to achieve his ambitions.   In Simply Wagner, musicologist and author Thomas Grey navigates the turbulent course of Wagner’s life, as he sought to create a total “musical-dramatic art work of the future.” From his early “romantic operas” through the harmonic cataclysm of Tristan und Isolde, to the epic 16-hour cycle The Ring of the Nibelung, Grey traces Wagner’s musical development, clearly explaining the nature of his achievement. Grey also shares key events in Wagner’s personal life, including the composer’s relationship with his patron, “mad” King Ludwig of Bavaria, and his extended affair with Cosima von Bülow—eventually his second wife—who bore him three children while still married to someone else.   Written for a general readership, Simply Wagner offers a complete portrait of Wagner the man, the thinker, and the artist, and explores the circumstances that made him the most discussed artistic figure of his time, and one of the most controversial ever since.

      • Musical scores, lyrics & libretti
        November 2003

        Complete Libretti of Giacomo Meyerbeer, in the Original and in Translation, in Five Volumes, The

        by Author(s): Giacomo Meyerbeer Editor(s): Richard Arsenty

        Giacomo Meyerbeer, one of the most important and influential opera composers of the nineteenth century, enjoyed a fame during his lifetime hardly rivalled by any of his contemporaries. This ten volume set provides in one collection all the operatic texts set by Meyerbeer in his career. The texts offer the most complete versions available. Each libretto is translated into modern English by Richard Arsenty; and each work is introduced by Robert Letellier. In this comprehensive edition of Meyerbeer's libretti, the original text and its translation are placed on facing pages for ease of use. The eleventh volume presents the fourth of Meyerbeer’s grands opéras, and his final work. By 1860 long-imposed labor had started to tell upon the composer’s health: he knew that he must concentrate on the “navigator project” which he had started twenty years earlier if he intended to finish it. Meyerbeer died on 2 May 1864, the day after the completion of the copying of the full score of this his last opera, Vasco da Gama. Minna Meyerbeer and César-Victor Perrin, the director of the Opéra, entrusted the editing of a performing edition to the famous Belgian musicologist François-Joseph Fétis, while the libretto was revised by Mélesville. The original title of L’Africaine was restored out of deference to public expectation. Much of the music and action was suppressed, in spite of the strain this inflicted on the internal logic of the story.While L'Africaine is not lacking in the grandeur of statement and stirring climaxes for which the composer was so famous, there is a new intimacy, a new intensity of melancholic lyricism. Like its famous predecessors, it is basically an historical work, derived from the period of sixteenth-century Renaissance. The account of Vasco da Gama's voyage of discovery around the Cape of Good Hope and conquest of Calicut (1497-98) is subjected to a fictional treatment that raises many interesting issues. The framework is historical, but most of the characters and course of action are not; in fact the end of the opera, in the suicide of the heroine, suddenly leaves the terra firma of reality, and transports us into the mystical realms of the spirit. It is this mixture of modes that is central to the dramaturgy of L'Africaine, a confusion of history and fairytale, ancient certainties and challenging discoveries, in the creation of a new mythology. There is also originality in formal developments, with the great tenor scene in act 4 providing a new malleability in handling the constraints of shape and genre: recitative, arioso and cabaletta have a fluent integration in trying to explore the text more pointedly. L’Africaine was produced on 28 April 1865, a great posthumous tribute to its famous creators. The Ship Scene, the exotic Indian act, and the Scene of the Manchineel Tree exerted a fascination on audiences, and elicited new praise. The work full of melodic beauty and rapturous lyricism, began a triumphal progress through the world, beginning with the big stages of London and Berlin.

      • Individual composers & musicians, specific bands & groups

        PAVAROTTI DVD/BOOK OF

        75th Anniversary Edition

        by Guy Cavill

      Subscribe to our

      newsletter