Burton D. Fisher's extremely popular Mini Guides feature Principal Characters in the Opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis of the opera.
Training Soprano Voices offers a complete system for training all types of soprano voice based on historic vocal pedagogy coupled with modern-day research on the singing voice. Designed as a practical program for singers, teachers, and voice professionals, the book places emphasis on the special nature of the soprano voice and the proper physiological functioning for the establishment of vocal proficiency.
Greek-American opera singer Adriana Grafanas is the most famous opera singer of her time and her scandals, temperament, and cancellations were the stuff of international headlines. Now, in her early 60s, her voice is in shreds and she is near retirement. Sent to Venice to "pull together" her autobiography, American Mark Trigger is drawn into the compelling world of Adriana and of Venice itself. Trying to uncover the truth about Adriana's life, Mark instead discovers his own passions--men and Adriana's music. Bold, sensual, and evocative of a forgotten time and place, The Venice Adriana is Ethan Mordden at his finest.
This book was produced for Placido Domingo's 60th birthday and the 40th anniversary of his debut in a major role (Alfredo in La Traviata in 1961). It is a portrait of the artist in his own words, through his own portrayals of the various operatic heroes he has so grippingly and hauntingly brought to life over the years. The series of interviews took place all over the world over several years, from Seville to New York to Vienna and home in Acapulco. They trace his journey into each of his 62 major roles for the benefit of present and future singers, to single out the specific vocal aspects in each role that he considers significant. - Author's note.
What's it like to grow up on a small farm in Illinois only to find yourself, some 20 years later, performing on the stage of the Metropolitan Opera House? And then to travel the world, singing in historic theaters from La Scala in Milan to Vienna, Paris, London, and beyond? Former Met star Sherrill Milnes tells all in this completely updated, first-time-in-paperback edition of his very successful biography.
Written by a well-known authority, this book consists of 175 entries that set some of the most popular operas within the context of their composer's career, outline the plot, discuss the music, and more.
This original study makes a valuable contribution to Italian feminist/women’s history, spectatorship studies, and cultural history by examining women as protagonists, producers and consumers of literature, theatre, opera and film. Drawing on archival material – female correspondence, life-writings and journalism – as well as an impressive range of canonical texts, it brings together detailed engagement with female performance and with female spectators’ material responses to "women’s opera, theatre and film," placing these in the context of melodrama from the 1880s to the 1920s in Italy, France, the US, and elsewhere. It is unique in its interdisciplinary approach and in its consideration of female relationships based on admiration among performers and writers – the embodiment of a vibrant, mobile and successful Italian female culture industry during the first wave of feminism.
Providing the most complete record possible of texts by Italian writers active after 1900, this annotated bibliography covers over 4,800 distinct editions of writings by some 1,700 Italian authors. Many entries are accompanied by useful notes that provide information on the authors, works, translators, and the reception of the translations. This book includes the works of Pirandello, Calvino, Eco, and more recently, Andrea Camilleri and Valerio Manfredi. Together with Robin Healey's Italian Literature before 1900 in English Translation, also published by University of Toronto Press in 2011, this volume makes comprehensive information on translations from Italian accessible for schools, libraries, and those interested in comparative literature.
Reviewing the first volume of Opera Scenes for Class and Stage, Walter Ducloux wrote in the Opera Journal: "If you can come up, within five seconds, with an operatic excerpt involving two sopranos, four mezzo-sopranos, two tenors, and a bass, you don't need this book. Otherwise hurry and buy it. I keep it on my night table." In More Opera Scenes, the Wallaces have reviewed 100 additional operas and have chosen over 700 scenes. The popular "Table of Voice Categories" providing more than 300 combinations is also featured in this volume.