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Epic Performances from the Middle Ages into the Twenty-First Century by Fiona Macintosh,Justine McConnell,Stephen Harrison,Claire Kenward Pdf
Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies. This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.
Everyone is familiar with the words diva or prima donna, which have come to mean a (usually) outrageous operatic soprano, but there was a time when the star of the show was more often a contralto, or a soprano singing in today's mezzo-soprano range. This performer was referred to as an alto. In the 17th and 18th centuries, the male and female leading roles were likely to be sung by emasculated males, the alto castrati, although there were many great female altos during this period as well. The music for these fantastic artists, written by such composers as Porpora, Vinci, Hasse, and even Handel, has been largely forgotten. At the beginning of the 19th century, as the castrati died out, their roles were often assumed by female altos referred to as musici. New repertoire continued to be written for them by Rossini and others, but gradually, this musical tradition and technique was lost. Now, however, because of the talent and industry of such gifted artists as Marilyn Horne, Cecilia Bartoli, and Joyce DiDonato, and the sudden ease with which the performance of these forgotten works can be obtained, there is a resurgence of interest in the performance and preservation of this lost art. Alto: The Voice of Bel Canto examines the careers of nearly 320 great alto singers, including the great castrati, from the dawn of opera in 1597 to the present. The music of the composers who wrote for the alto voice is discussed along with musical examples and suggestions for listening. The exploration of the greatest altos’ careers and techniques offers inspiration for aspiring young singers as well as absorbing reading for the music lover who wants to know more about the fascinating world of opera.
In terms of musical composition, all but the first five of his thirty-five years were astoundingly productive for Wolfgang Amadeus Mozart (1756-91). A stream of glorious symphonies, piano concertos, chamber music, operas and the sublime but unfinished Requiem poured from his pen. The author was inspired to write a scholarly biography of Mozart following a conversation at Mendelssohn's funeral in 1847. He immersed himself in intensive research on the composer and his music, publishing the first edition of this landmark work in four volumes between 1856 and 1859. A second edition followed in 1867, incorporating new material and making use of Köchel's 1862 catalogue of Mozart's works. It is from this edition that Pauline D. Townsend made her three-volume English translation, first published in 1882.
Urban Spectacle in Republican Milan by Alessandra Palidda Pdf
At the turn of the nineteenth century, Lombardy and its capital Milan lived through a season of intense social and political change, especially in the passage between Austrian Monarchy and Napoleonic republics (1796-1799, and 1800-1802). While affecting cultural production on all levels, this passage occasioned a significant change in terms of public celebration, with republican festivals and other celebratory occasions coming from revolutionary France being reframed amongst Milanese specificities. After establishing a solid historical and aesthetic background to Lombardy in this delicate period, to the revolutionary models and to the Milanese substrate, this Element aims at reconstructing and describing the main features of the French republican festivals in Milan, and their impact on the city's landscape, soundscape and self-representation. It will also conclude by offering some reflections on these events' consequences on the following century's patriotism/nationalism and cultural production, reinstating them as an interesting, albeit forgotten case study.
Life Of Mozart (Volume 1 of 3) The book which is the result of this combination of toil, intelligence, ability, knowledge, and affectionate devotion, could only have been successful by the addition to these qualities of a remarkable amount of literary tact and skill. The plan of the work is one which few English authors could by any possibility adopt. It is immense; at first sight its plan is bewildering. The book is not a Life of Mozart so much as an Encyclopaedia of musical art and biography. It opens with a minute account of Mozart's father, and of his method and his works, amounting to sixteen pages. Not only have we the narrative of the life of Mozart himself from his cradle to his grave in the smallest particulars, with a detailed examination of each work-in the case of the operas, both text and music, amounting in single operas to forty, fifty, and even ninety pages—but we have the history of the rise and progress of each branch of music that Mozart touched—and he touched them all—up to the date of his life. Witness the long notices of the Opera, the Oratorio, and Church music, and the chapter on Instrumental music in Vol. I.; the account of the French Opera, and of Lully, Rameau, Gluck, and Piccinni, in Vol. II. We have also full accounts of the social and musical condition of the various cities visited by Mozart, such as Paris, Mannheim, Salzburg, Munich, and Vienna; and biographical notices, longer or shorter, of every person with whom Mozart came into contact, or whom his biographer has occasion to mention.
This encyclopedia includes entries for 1,153 world premiere (and other significant) performances of operas in Europe, the United States, Latin America and Russia. Entries offer details about key persons, arias, interesting facts, and date and location of each premiere. There is a biographical dictionary with 1,288 entries on historical and modern operatic singers, composers, librettists, and conductors. Fully indexed and with a bibliography.
The La Scala Encyclopedia of the Opera by Giorgio Bagnoli Pdf
Covering a broad range of styles, this comprehensive volume includes entries for more than 450 operas that have been performed over the last four centuries. Organized from A to Z for easy reference, it's a complete guide that's certain to inform and entertain any opera buff. 500 photos.
Author : Donald J. Grout,Hermine Weigel Williams Publisher : Columbia University Press Page : 1047 pages File Size : 41,9 Mb Release : 2003-07-18 Category : Music ISBN : 9780231507721
A Short History of Opera by Donald J. Grout,Hermine Weigel Williams Pdf
When first published in 1947, A Short History of Opera immediately achieved international status as a classic in the field. Now, more than five decades later, this thoroughly revised and expanded fourth edition informs and entertains opera lovers just as its predecessors have. The fourth edition incorporates new scholarship that traces the most important developments in the evolution of musical drama. After surveying anticipations of the operatic form in the lyric theater of the Greeks, medieval dramatic music, and other forerunners, the book reveals the genre's beginnings in the seventeenth century and follows its progress to the present day. A Short History of Opera examines not only the standard performance repertoire, but also works considered important for the genre's development. Its expanded scope investigates opera from Eastern European countries and Finland. The section on twentieth-century opera has been reorganized around national operatic traditions including a chapter devoted solely to opera in the United States, which incorporates material on the American musical and ties between classical opera and popular musical theater. A separate section on Chinese opera is also included. With an extensive multilanguage bibliography, more than one hundred musical examples, and stage illustrations, this authoritative one-volume survey will be invaluable to students and serious opera buffs. New fans will also find it highly accessible and informative. Extremely thorough in its coverage, A Short History of Opera is now more than ever the book to turn to for anyone who wants to know about the history of this art form.
Mozart's Letters, Mozart's Life by Robert Spaethling Pdf
"A wonderful collection that gives Mozart a voice as a son, husband, brother and friend." —New York Times Book Review "Mozart's honesty, his awareness of his own genius and his contempt for authority all shine out from these letters."—Sunday Times (London). " In Mozart's Letters, Mozart's Life, Robert Spaethling presents "Mozart in all the rawness of his driving energies" (Spectator), preserved in the "zany, often angry effervescence" of his writing (Observer). Where other translators have ignored Mozart's atrocious spelling and tempered his foul language, "Robert Spaethling's new translations are lively and racy, and do justice to Mozart's restlessly inventive mind" (Daily Mail). Carefully selected and meticulously annotated, this collection of letters "should be on the shelves of every music lover" (BBC Music Magazine).