Treasure this beautiful collection packed with all the angst of romance founded upon practical arrangements. Four sisters travel in answer to an ad before even corresponding with potential husbands. Two women bend to the will of their parents in taking husbands. A widow commits to a stranger in name only. And two women on the Oregon Trail hitch their lives to men they’ve just met. Will love blossom for convenience sake?
"Do We Marry Or Not, Caroline Holt?" It occurred to Caroline that everyone in her small North Carolina community accepted the obvious reason for her agreeing to marry Frederich Graeber. She was pregnant, and the real father of her baby was unwilling. She was due in a few short months. Her unborn child would have everything to gain by Caroline making the strong, silent farmer her husband…. The Marriage Pledge "If you marry me, then the child will be mine…." With Frederich's words ringing in her ears, Caroline made her decision. She'd become his bartered bride…and risk giving this enigmatic stranger her heart free.
After building a fortune in the exotic East, American adventurer and merchant prince Gavin Elliott sets his sails for London to begin a new life. Then fate intervenes on an infamous island in the East Indies where a European woman faces degradation and peril. Though saving her may cost Gavin his life, he cannot refuse to help the fierce beauty who touches his heart and soul with her indomitable spirit. Alexandra Warren is returning home from Australia as a widow and mother when a pirate attack condemns her to a life of servitude. A miracle arrives in the form of a steely-eyed Yankee captain, whose reckless courage wins them freedom and a safe passage home to London. Intimate strangers joined by too many secrets, they slowly begin to heal the past with attraction and tenderness—until an old enemy reaches out to threaten the passionate love Gavin has found with his irresistible bartered bride. From the Paperback edition.
Contract—one wife! Reid Kennard is a ruthless financier used to buying and selling stocks, shares and priceless artifacts. But now Reid has his eye on a very different acquisition—Francesca Turner. Left destitute by her father's recent death, Francesca had walked into Reid's bank looking to extend her overdraft rather than for a marriage proposal! As Fran needs money and Reid needs a wife, he proposes the perfect barter: he'll rescue her and her family if she'll agree to marry him! But in this marriage of convenience can Fran ever be anything more than a bartered bride? Of A Marriage Has Been Arranged: "Talented writer Anne Weale's…masterful character development and charming scenes create a rich reading experience." —Romantic Times
COLORADO 1880 Jem Wheeler has always been a survivor. He just wants to make a fresh start in Colorado Springs after the loss of his wife. But then he happens upon a young mute woman being sold off to the highest bidder. He wasn't looking for a mail-order bride. He wasn't looking to rescue anyone either. But desperate circumstances can drive a good man to do things he hadn't planned on doing... When Jem steps into Annie's life, she's not expecting anyone to save her. Mute from birth, she's just using all her wits to survive. All she's ever really wanted is a family of her own. For someone to see her. To look at her long enough to hear the things she can't say. Can Annie finally break through the silence to win Jem's heart? Sweet Historical Western Romance A Mail-Order Bride Novel Each book in The Brides Series can be read as a stand-alone novel, but reading in order will provide a more complete reading experience. THE BRIDES SERIES The Unexpected Bride Sleigh Bells & Mistletoe The Bartered Bride Only the Heart Knows Excerpt Jem took the apple core from his daughter and passed her one of the remaining crackers with a piece of cheese on it. Mae munched that down and looked to him immediately for another, the last one. He gave it to her, then showed her his empty hands. She frowned. "More?" "No more," Jem said, and showed her his empty hands again, making a bigger gesture out of it, as if the little girl was accusing him of hiding some. If Annie weren't so intent on eating her share of cheese and crackers she might have smiled at the sight of them, one of the most dangerous men she'd ever seen sitting side by side with that tiny little girl. They made quite a mismatched pair. Mae looked over at Annie, at the last cracker in her hand and the last bit of cheese. Annie gulped down the mouthful she was chewing. She looked down at the last of her meal and back at the little girl. To her shame, she didn't want to give up her last cracker. She could barely remember the last meal she'd eaten. "That's Annie's food," Jem admonished the little girl. "You've had yours." Mae bit her lip. She glanced down at her lap, then back at Annie again. I can share, Annie attempted to tell Mae with her eyes alone. She snapped her cracker in half--simply unable to bear parting with the whole thing--and passed it across to the little girl. Mae took it and popped the whole thing in her mouth, making Annie smile. "Mae!" her father said. She looked at him wide-eyed, her mouth full of cracker. "Whaf dafdda?" she said, muffled, spraying a few cracker crumbs onto his trousers. He closed his eyes briefly and brushed them off. "You didn't have to give her any," he said to Annie, "but thanks." Annie grunted, her way of saying she didn't mind that much. She looked down quickly and finished her last bit of food. The crackers had been crispy and the cheese silky and smooth. They'd tasted like heaven. "You must be thirsty," he said. "Do you mind sharing?" She shook her head and automatically lifted two fingers. "Two's no?" he asked. She nodded, pleased, and lifted one finger. She'd grown up sending signals through the floor of the Ruskins' house, one stomp for yes, two for no. It came natural as rain now. "And one's yes," he said, catching on quick. Annie drank deep when he passed her the flask of water, amazed he'd let her drink from it. She tried her best to pour it down her throat without touching her lips to the flask, so he wouldn't regret giving it to someone so dirty. She wished she could tell him thanks, but after Mae had her fill and he took his own swallow, he was back under his hat, likely going over the events of the day. How he'd stuck himself with her. How he probably regretted even stepping off the train at the last stop. She couldn't say she blamed him. She hadn't much wanted to marry a stranger herself. ***
Grand Opera, Constitution Hall, Washington, D.C., season 1938-1939, A. Conti Berenguer, general manager, Amelia Conti, artistic director, Cornilia M. Bowie, treasurer, "The Bartered Bride," comic opera in three acts by Frederic Smetana, English translation and adaptation by Josepha Chekova, conductor: Angelo Canarutto, dances by Vecheslav Swoboda's Ballet.
"The Bartered Bride" by Karel Sabina (translated by Max Kalbeck, Helen J. Harvitt). Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
Features nine stories about arranged marriages on the American frontier, including "The Wedding Wagon," "From Halter to Altar," and "From Carriage to Marriage."
Opera Production was first published in 1961. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Designed particularly as a reference work for opera producers, students, performers, and writers, this book provides basic production information about more than 500 operas. Anyone planning to produce an opera will find here the essential information he needs in order to judge whether a given opera is appropriate to his resources for production. Information for individual operas is given concerning the number and importance of settings; size of orchestra, chorus, and ballet; number of singers, their relative importance and individual requirements; sources for obtaining musical materials' previous performances in America; and the opera story, its period, and composer. Extensive information about 150 full-length operas and 109 short operas is provided, with supplementary information about more than 260 other operas. The operas are alphabetized by title for easy reference. In order to condense the information as much as possible, codes and abbreviations are used, with keys and indexes at the back of the book. This book will be invaluable to those working in either amateur or professional companies, in opera workshops, in school, college, or civic opera groups. Those whose interest in opera is confined to the other side of the footlights will find the book absorbing, too, just as a glimpse backstage would be.
Sarah Caldwell, the leader of the Opera Company of Boston from 1958-1990, was a groundbreaking and idiosyncratic woman who established her own career as a conductor and stage director in an environment resistant to change. This book investigates her choices as an opera director, her influences, her philosophies, and her methods, and situates her work within the history of opera in America. Though she is remembered primarily as a conductor, her passion, and her greater influence on American opera, was through stage directing. With a repertoire that included ground-breaking interpretations of works such as Nono's Intolleranza 1960, Prokofiev's War and Peace, and Bernstein's Mass, Caldwell continually pushed her own artistic limits, provoked critics, intrigued audiences, and challenged the status quo of opera production. Her passion for opera, her creative use of new technology and her influence in bringing opera to all sectors of American society, culminated in 1997 when she was awarded the National Medal of Arts for her work as a pioneering woman in the American musical landscape, and a tireless and innovative arts entrepreneur.
