IRDA EDIZIONI L'opera di Giuseppe Boccanfuso è di indiscutibile valore, per vari motivi: perché l'autore si mette a nudo mostrando tutta la sua sensibilità, mischiandola alla forza e alla fragilità. Perché non è un libro statico, annichilente ma è godibile per la semplicità raffinata che ha Giuseppe nel parlare di varie tematiche, tutte, comunque, supportate dalle "fondamenta" dell'amore.
Enjoy the passion and power of 145 arias from 50 operas by Verdi, Puccini, Mozart, Donizetti, Bellini, 12 other composers. Selections from Rigoletto, The Marriage of Figaro, Il Trovatore, Madama Butterfly, Tosca, La Bohème, many more. Original Italian librettos with excellent line-for-line literal English translations in facing columns. Introduction.
Written In the language of Love, and in English, SOL AMORE means ONLY LOVE. If you love someone, give them love during the coming holidays. Karl has written these poems with emotion, and passion, which stems from a long stay in the void of torture and suffering. Without suffering there would be no joy; thus the greater the suffering, the greater the passion for joy and love. Give his gifts to those you would love. 'Sol'Amore' e pubblicato in inglese e in italiano, dopo molta fatica per tradurre questo libro per l'amore e per la pace. Tutte le vendite serviranno ad aiutare l'autore nella sua lotta per i diritti umani e civili. "Chi riesce ad ascoltare, toccare, sentire, odorare e vedere; riesce anche ad amare... e ad essere amato" Non e questo il dono piu grande che un essere umano possa ottenere? Amare ed essere amato.
A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. “The most memorable thrills in an opera singer's life,” according to the author's Introduction, “may easily derive from the great arias in his or her repertoire.” This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and lessons, by drawing attention “not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate.” For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric—with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions—French, German, Italian, Russian, and American—are represented, as are the major voice types—soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass. The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher’s approach—based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories—is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director. The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed less than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them.
The epigram is certainly one of the most intriguing, while at the same time most elusive, genres of Neo-Latin literature. From the end of the fifteenth century, almost every humanist writer who regarded himself a true "poeta" had composed a respectable number of epigrams. Given our sense of poetical aesthetics, be it idealistic, postidealistic, modern, or postmodern, the epigrammatic genre is difficult to understand. Because of its close ties with the historical and social context, it does not fit any of these aesthetic approaches. By presenting various epigram writers, collections, and subgenres from the fifteenth to the seventeenth century, this volume offers a first step toward a better understanding of some of the features of humanist epigram literature.
A companion to Forest History: International Studies on Socioeconomic and Forest Ecosystem Change which includes over 20 papers from the same conference held in Florence in 1998. This volume focuses on the different approaches and methods adopted in the study of forest history. The interdisciplinary nature of these studies is emphasized, bringing in the different perspectives of anthropologists, botanists, ecologists, foresters, historians, geneticists and geographers. This volume demonstrates the rich diversity of approaches and methods to forest history.
