Don Carlos
Author | : Giuseppe Verdi |
Publisher | : |
Total Pages | : 64 |
Release | : 1920 |
Genre | : Operas |
ISBN | : |
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Author | : Giuseppe Verdi |
Publisher | : |
Total Pages | : 64 |
Release | : 1920 |
Genre | : Operas |
ISBN | : |
Author | : Burton D. Fisher |
Publisher | : Opera Journeys Publishing |
Total Pages | : 43 |
Release | : 2002-02 |
Genre | : Music |
ISBN | : 1930841523 |
A comprehensive guide to Verdi's DON CARLO, featuring Principal Characters in the opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis by Burton D. Fisher, noted opera author and lecturer.
Author | : Alex Ross |
Publisher | : Farrar, Straus and Giroux |
Total Pages | : 784 |
Release | : 2020-09-15 |
Genre | : Music |
ISBN | : 1429944544 |
Alex Ross, renowned New Yorker music critic and author of the international bestseller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics—an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence. For better or worse, Wagner is the most widely influential figure in the history of music. Around 1900, the phenomenon known as Wagnerism saturated European and American culture. Such colossal creations as The Ring of the Nibelung, Tristan und Isolde, and Parsifal were models of formal daring, mythmaking, erotic freedom, and mystical speculation. A mighty procession of artists, including Virginia Woolf, Thomas Mann, Paul Cézanne, Isadora Duncan, and Luis Buñuel, felt his impact. Anarchists, occultists, feminists, and gay-rights pioneers saw him as a kindred spirit. Then Adolf Hitler incorporated Wagner into the soundtrack of Nazi Germany, and the composer came to be defined by his ferocious antisemitism. For many, his name is now almost synonymous with artistic evil. In Wagnerism, Alex Ross restores the magnificent confusion of what it means to be a Wagnerian. A pandemonium of geniuses, madmen, charlatans, and prophets do battle over Wagner’s many-sided legacy. As readers of his brilliant articles for The New Yorker have come to expect, Ross ranges thrillingly across artistic disciplines, from the architecture of Louis Sullivan to the novels of Philip K. Dick, from the Zionist writings of Theodor Herzl to the civil-rights essays of W.E.B. Du Bois, from O Pioneers! to Apocalypse Now. In many ways, Wagnerism tells a tragic tale. An artist who might have rivaled Shakespeare in universal reach is undone by an ideology of hate. Still, his shadow lingers over twenty-first century culture, his mythic motifs coursing through superhero films and fantasy fiction. Neither apologia nor condemnation, Wagnerism is a work of passionate discovery, urging us toward a more honest idea of how art acts in the world.
Author | : Giuseppe Verdi |
Publisher | : |
Total Pages | : 66 |
Release | : 1958 |
Genre | : Operas |
ISBN | : |
Author | : Burton D. Fisher |
Publisher | : Opera Classics Library Series |
Total Pages | : 308 |
Release | : 2019-05 |
Genre | : |
ISBN | : 9780984559916 |
A comprehensive new Study Guide for Giuseppe Verdi's DON CARLOS, featuring Principal Characters in the Opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, a new Libretto translation with French to English in side-by-side format, and Burton D. Fisher's insightful and in depth Commentary and Analysis.
Author | : Giuseppe Verdi |
Publisher | : Alma Classics |
Total Pages | : 164 |
Release | : 1992 |
Genre | : Operas |
ISBN | : |
This guide contains the text of the opera, with English translations. It also presents the evidence that "Don Carlos" was an extraordinary achievement in melding two opposing visions of opera: the spectacular public aspect of the French tradition with the dramatic concision of the Italian. And because of the variety of versions which Verdi sanctioned, this debate is open-ended.
Author | : Massimo Zicari |
Publisher | : Open Book Publishers |
Total Pages | : 360 |
Release | : 2016-07-11 |
Genre | : Music |
ISBN | : 178374216X |
Now a byword for beauty, Verdi’s operas were far from universally acclaimed when they reached London in the second half of the nineteenth century. Why did some critics react so harshly? Who were they and what biases and prejudices animated them? When did their antagonistic attitude change? And why did opera managers continue to produce Verdi’s operas, in spite of their alleged worthlessness? Massimo Zicari’s Verdi in Victorian London reconstructs the reception of Verdi’s operas in London from 1844, when a first critical account was published in the pages of The Athenaeum, to 1901, when Verdi’s death received extensive tribute in The Musical Times. In the 1840s, certain London journalists were positively hostile towards the most talked-about representative of Italian opera, only to change their tune in the years to come. The supercilious critic of The Athenaeum, Henry Fothergill Chorley, declared that Verdi’s melodies were worn, hackneyed and meaningless, his harmonies and progressions crude, his orchestration noisy. The scribes of The Times, The Musical World, The Illustrated London News, and The Musical Times all contributed to the critical hubbub. Yet by the 1850s, Victorian critics, however grudging, could neither deny nor ignore the popularity of Verdi’s operas. Over the final three decades of the nineteenth century, moreover, London’s musical milieu underwent changes of great magnitude, shifting the manner in which Verdi was conceptualized and making room for the powerful influence of Wagner. Nostalgic commentators began to lament the sad state of the Land of Song, referring to the now departed "palmy days of Italian opera." Zicari charts this entire cultural constellation. Verdi in Victorian London is required reading for both academics and opera aficionados. Music specialists will value a historical reconstruction that stems from a large body of first-hand source material, while Verdi lovers and Italian opera addicts will enjoy vivid analysis free from technical jargon. For students, scholars and plain readers alike, this book is an illuminating addition to the study of music reception.
Author | : Burton D. Fisher |
Publisher | : |
Total Pages | : |
Release | : 2009 |
Genre | : Electronic books |
ISBN | : |
Author | : Mary Jane Phillips-Matz |
Publisher | : Oxford [England] ; Toronto : Oxford University Press |
Total Pages | : 1002 |
Release | : 1993 |
Genre | : Biography & Autobiography |
ISBN | : |
Based on more than 30-years of research and drawing on both public and private archives, this biography of the great Italian composer is unprecedented in its unraveling of the facts and legends of his life and in portraying the man and his times. Annotation copyright by Book News, Inc., Portland, OR
Author | : F. Noske |
Publisher | : Springer Science & Business Media |
Total Pages | : 428 |
Release | : 2012-12-06 |
Genre | : Music |
ISBN | : 9401010870 |
The studies collected in this volume deal with the interpretation of opera. In most cases the results are based on structural analysis, a concept which may require some clarification in this context. During the past de cade 'structure' and 'structural' have become particularly fashionable terms lacking exact denotation and used for the most divergent purposes. As employed here, structural analysis is concerned with such concepts as 'relationship', 'coherence' and 'continuity', more or less in contrast to formal analysis which deals with measurable material. In other words, I have analysed the structure of an opera by seeking and examining factors in the musico-dramatic process, whereas analysts of form are generally preoccupied with the study of elements contained in the musical object. Though admittedly artificial, the dichotomy of form and structure may elucidate the present situation with regard to the study of opera. Today, nearly one hundred years after the death of Wagner, the proclaimed anti thesis of Oper und Drama is generally taken for what it really was: a means to propagate the philosophy of its inventor. The conception of opera (whether 'continuous' or composed of 'numbers') as a special form of drama is no longer contested. Nevertheless musical scholarship has failed to draw the consequences from this view and few scholars realize the need to study general theory of drama and more specifically the dramatic experience.