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Book
xvii, 150 pages ; 22 cm
  • 1. Entrance: The Spies of Jericho 2. Discipline and Listen Before the Wiretap Overhearing and Diaphony, A Small History of Big Ears (Toward the Panacousticon) Mastery and Metrics in Figaro The Ages of Fear Telelistening and Telesurveillance A Secret Conversation 3. Underground Passage: The Mole in Its Burrow 4. In the Footsteps of Orpheus The Trackers, with Hidden Noise The Mortal Ear, or Orpheus Turns Around On the Phone: Papageno at Mabuse's The Phantom of the Opera Wozzeck at the Moment of His Death Adorno, the Informer 5. Exit: J.D.'s Dream Notes.
  • (source: Nielsen Book Data)9780823273966 20170213
The world of international politics has recently been rocked by a seemingly endless series of scandals involving auditory surveillance: the NSA's warrantless wiretapping is merely the most sensational example of what appears to be a universal practice today. What is the source of this generalized principle of eavesdropping? All Ears: The Aesthetics of Espionage traces the long history of moles from the Bible, through Jeremy Bentham's "panacoustic" project, all the way to the intelligence-gathering network called "Echelon." Together with this archeology of auditory surveillance, Szendy offers an engaging account of spycraft's representations in literature (Sophocles, Shakespeare, Joyce, Kafka, Borges), opera (Monteverdi, Mozart, Berg), and film (Lang, Hitchcock, Coppola, De Palma). Following in the footsteps of Orpheus, the book proposes a new concept of "overhearing" that connects the act of spying to an excessive intensification of listening. At the heart of listening Szendy locates the ear of the Other that manifests itself as the originary division of a "split-hearing" that turns the drive for mastery and surveillance into the death drive.
(source: Nielsen Book Data)9780823273966 20170213
Green Library
Book
xvi, 529 pages : illustrations ; 24 cm
  • Preface Prologue: Beyond Autonomy The Uncanny Grace: A Gloss on Kleist's Marionettes Reason Beyond Reason History Nation Will Religion, the Enlightenment, the Counter-Enlightenment: The New Configuration part one 1. The Secret of Music-Dramatic Form: Music Drama as Opera 2. Der Ring des Nibelungen: The Anarchist Utopia Das Rheingold: The Fall Die Walkure: How One Becomes Human Act 1: Becoming Wagner Act 2: Becoming Brunnhilde Act 3: Waiting for the Hero Siegfried: How One Becomes a Hero Act 1: Getting the Sword Act 2: Using It Act 3: The Awakening Gotterdammerung: The Apocalypse Prologue: The Past and the Future Act 1: The Entrapment 1 Act 2: The Entrapment 2 Act 3: Death and Transfiguration The Myth of Revolution part two 3. Tristan und Isolde: The Erotic Utopia The Lyrical Axis The Narrative Axis The Orchestral Strand The Music-Dramatic Form The Myth of Will Postscript 4. Die Meistersinger von Nurnberg: Politics after Tristan Act 1: The Knight's Failure Act 2: The Clerk's Failure Act 3, Part 1: A Lesson in Poetics Act 3, Part 2: The Shoemaker's Triumph The Myth of Nation 5. Parsifal: Ethics after Tristan The Communion Sequences of Acts 1 and 3 The Monologues of Acts 1 and 3 Act 2: The Kiss of Self-Knowledge The Music-Dramatic Form Eros and Agape The Myth of Redemption Epilogue: Wagner contra Nietzsche Wagner and Nietzsche: A History of the Relationship Becoming Nietzsche Nietzsche contra Wagner, Wagner contra Nietzsche Appendix 1. Das Rheingold: The Music-Dramatic Plan Appendix 2. Die Walkure: The Music-Dramatic Plan Appendix 3. Siegfried: The Music-Dramatic Plan Appendix 4. Gotterdammerung: The Music-Dramatic Plan Appendix 5. Tristan und Isolde: The Music-Dramatic Plan Appendix 6. Die Meistersinger: The Music-Dramatic Plan Appendix 7. Parsifal: The Music-Dramatic Plan Acknowledgments Abbreviations Used in Notes Notes Works Consulted Index.
  • (source: Nielsen Book Data)9780520292758 20170123
Beyond Reason relates Wagner's works to the philosophical and cultural ideas of his time, centering on the four music dramas he created in the second half of his career: Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nurnberg, and Parsifal. Karol Berger seeks to penetrate the "secret" of large-scale form in Wagner's music dramas and to answer those critics, most prominently Nietzsche, who condemned Wagner for his putative inability to weld small expressive gestures into larger wholes. Organized by individual opera, this is essential reading for both musicologists and Wagner experts.
(source: Nielsen Book Data)9780520292758 20170123
Music Library
Book
xiv, 415 pages : illustrations ; 23 cm.
The Chinatown opera house provided Chinese immigrants with an essential source of entertainment during the pre "World War II era. But its stories of loyalty, obligation, passion, and duty also attracted diverse patrons into Chinese American communities Drawing on a wealth of new Chinese- and English-language research, Nancy Yunhwa Rao tells the story of iconic theater companies and the networks and migrations that made Chinese opera a part of North American cultures. Rao unmasks a backstage world of performers, performance, and repertoire and sets readers in the spellbound audiences beyond the footlights. But she also braids a captivating and complex history from elements outside the opera house walls: the impact of government immigration policy; how a theater influenced a Chinatown's sense of cultural self; the dissemination of Chinese opera music via recording and print materials; and the role of Chinese American business in sustaining theatrical institutions. The result is a work that strips the veneer of exoticism from Chinese opera, placing it firmly within the bounds of American music and a profoundly American experience.
(source: Nielsen Book Data)9780252082030 20170321
Music Library

4. Ernani, Verdi [2017]

Book
95 pages : illustrations, facsimiles, music ; 25 cm.
  • Hernani ou Le Cid des romantiques / Louis Bilodeau
  • La genèse d'Ernani et la censure vénitienne / Gabriele Moroni
  • Francesco Marie Piave, le scribe de Verdi / Emanuele d'Angelo
  • Charles Quint, de l'histoire à la scène / Jean-Pierre Jardin.
Music Library
Book
xiii, 279 pages, 10 unnumbered pages of plates : illustrations, map ; 24 cm.
  • Part One Opera Essentials 1 Jenufa: Words and Music 2 Czech Pronunciation and Inflection Part Two IPA and English Translations 3 Act I 4 Act II 5 Act III.
  • (source: Nielsen Book Data)9781442275188 20170327
Drawing on both scholarly studies and production experience, Timothy Cheek presents an original English-language translation of the original Czech libretto of Leos Janacek's, most famous opera, Jenufa.Cheek also provides background on the opera, a discussion about the various voice types and roles, Janacek's style and performance traditions, and a summary of Czech pronunciation and inflection.
(source: Nielsen Book Data)9781442275188 20170327
Music Library
Book
xxi, 353 pages : illustrations ; 24 cm.
  • List of Figures, Diagrams and Examples List of Tables Acknowledgements Notes to the Reader Introduction: Comparing Apples and Tomatoes: The Problematics of Restoration Masque and Opera 1 PART I: "Their greatest gallantry imaginable": Masques, Balls, and "Recreational" Acting at Court 1 Balls and the Growth of Shrovetide Entertainments 2 Youthful "Recreational" Theatrics, 1668-75 3 Masques and Plays at Court after 1675 PART II: "For such uses as the King shall direct": Through-Composed Opera, Foreign Musicians, and the Royall Academy of Musick 4 Operatic Experiments of the 1650s 5 Foreign Musicians at the Restoration Court, 1660-73 6 The Royall Academy of Musick, 1673-75 7 French Musicians at Court, 1675-89 8 Through-Composed Drama in the 1680s Appendix A: Transcription of National Archives, London, AO1/2053/28, ff. 4v-5r(Costumes for 1667 Court Ball) Appendix B: Letters Relating to Lord Sunderland's Court Ballet, 1686 Appendix C: Instrumental Music Associated with Early Operas and Masques Found in Contemporary Printed Collections, 1662-c.1725 Selected Bibliography Index.
  • (source: Nielsen Book Data)9781472446534 20161128
Masque and Opera in England, 1656-1688 presents a comprehensive study of the development of court masque and through-composed opera in England from the mid-1650s to the Revolution of 1688-89. In seeking to address the problem of generic categorization within a highly fragmentary corpus for which a limited amount of documentation survives, Walkling argues that our understanding of the distinctions between masque and opera must be premised upon a thorough knowledge of theatrical context and performance circumstances. Using extensive archival and literary evidence, detailed textual readings, rigorous tabular analysis, and meticulous collation of bibliographical and musical sources, this interdisciplinary study offers a host of new insights into a body of work that has long been of interest to musicologists, theatre historians, literary scholars and historians of Restoration court and political culture, but which has hitherto been imperfectly understood. A companion volume will explore the phenomenon of "dramatick opera" and its precursors on London's public stages between the early 1660s and the first decade of the eighteenth century.
(source: Nielsen Book Data)9781472446534 20161128
Music Library
Book
254 pages ; 21 cm
Music Library
Book
xvi, 243 pages : music ; 24 cm.
  • List of Music Examples List of Tables Preface Introduction. Opera and Didacticism in Early-Modern German Culture Chapter 1. Cultivating the Court and the Nation in Gluck's La rencontre imprevue Chapter 2. Die Entfuhrung aus dem Serail and the Didactic Aesthetics of the National Singspiel Chapter 3. Morality and Germanness in Die Zauberflote Chapter 4. Die Zauberflote and Subversive Morality in Suburban Operas Chapter 5.The Politics of Morality at the Court Theater in the Late 1790s Chapter 6. How German is Fidelio? Didacticism in Beethovenian Operas Epilogue Bibliography.
  • (source: Nielsen Book Data)9781472476579 20161128
This book explores how the Enlightenment aesthetics of theater as a moral institution influenced cultural politics and operatic developments in Vienna between the mid-eighteenth and early nineteenth centuries. Moralistic viewpoints were particularly important in eighteenth-century debates about German national theater. In Vienna, the idea that vernacular theater should cultivate the moral sensibilities of its German-speaking audiences became prominent during the reign of Empress Maria Theresa, when advocates of German plays and operas attempted to deflect the imperial government from supporting exclusively French and Italian theatrical performances. Morality continued to be a dominant aspect of Viennese operatic culture in the following decades, as critics, state officials, librettists, and composers (including Gluck, Mozart, and Beethoven) attempted to establish and define German national opera. Viennese concepts of operatic didacticism and national identity in theater further transformed in response to the crisis of Emperor Joseph II's reform movement, the revolutionary ideas spreading from France, and the war efforts in facing Napoleonic aggression. The imperial government promoted good morals in theatrical performances through the institution of theater censorship, and German-opera authors cultivated intensely didactic works (such as Die Zauberflote and Fidelio) that eventually became the cornerstones for later developments of German culture.
(source: Nielsen Book Data)9781472476579 20161128
Music Library
Book
xvii, 266 pages : illustrations ; 26 cm
  • I. Staging Scenes from Donizetti's L'elisir d'amore (1832): Creating a Village Chapter 1. Chorus, Bel conforto al mietitore (Giannetta and Villagers) Chapter 2. Recitative and Duet, Chiedi all'aura lusinghiera (Adina and Nemorino) Chapter 3. Recitative and Duet, Voglio dire (Nemorino and Dulcamara) Chapter 4. Recitative, Caro elisir, sei mio! (Nemorino) and Scene and Duet, Esulti pur la barbara (Adina and Nemorino) Chapter 5. Chorus, Saria possibile? (Giannetta and Girls) and Quartet, Dell'elisir mirabile (Adina, Giannetta, Nemorino, Dulcamara, and Girls) Chapter 6. Recitative and Duet, Quanto amore (Adina and Dulcamara) Chapter 7. Romanza, Una furtiva lagrima (Nemorino) and Aria and Duettino, Prendi per me se libero (Adina and Nemorino) II. Staging Scenes from Donizetti's Lucia di Lammermoor (1835): Incorporating Ideas from the Novel Chapter 8. Recitative and Cavatina, Regnava nel silenzio (Lucia and Alisa) and Recitative and Duet, Sulla tomba che rinserra (Lucia and Edgardo) Chapter 9. Recitative and Duet, Il pallor funesto, orrendo (Normanno, Enrico, and Lucia) Chapter 10. Recitative and Sextet, Chi mi frena in tal momento (Lucia, Alisa, Edgardo, Arturo, Enrico, and Raimondo) III. Staging Scenes from Donizetti's Don Pasquale (1843): Experimenting with Three Different Settings Chapter 11. Arias, Bella siccome un angelo (Dr. Malatesta with Don Pasquale) and Un foco insolito (Don Pasquale) Chapter 12. Aria, So anch'io la virtu magica (Norina) and Duet, Pronta io son (Norina and Malatesta) Chapter 13. Trio, Via, da brava (Norina, Malatesta, and Don Pasquale) Chapter 14. Serenade and Nocturne, Com'e gentil (Ernesto and Chorus) and Duet, Tornami a dir che m'ami (Ernesto and Norina) Intermezzo: Improvisations and Exercises IV. Staging Scenes from Verdi's Rigoletto (1851): Exploring Theme and Imagery Chapter 15. Duet, Deh, non parlare al misero (Gilda, Rigoletto, and Giovanna) Chapter 16. Recitative and Duet, Signor ne principe io lo vorrei (Gilda, Duke, and Giovanna) and Recitative and Aria, Caro nome (Gilda) Chapter 17. Recitative and Duet, Tutte le feste al tempio (Gilda and Rigoletto) Chapter 18. Recitative and Canzone, E l'ami?... La donna e mobile (Gilda, Rigoletto, and Duke) and Quartet, Un di, se ben rammentomi (Duke, Maddalena, Rigoletto, and Gilda) V. Staging Scenes from Verdi's La traviata (1853): The Actor's Process Chapter 19. Duet, Un di felice, eterea (Violetta and Alfredo) and Recitative and Aria, Ah, fors'e lui che l'anima ... Sempre libera (Violetta) Chapter 20. Scene and Duet, Pure siccome un angelo ... Dite alla giovine ... Morro! la mia memoria (Violetta, Germont, Annina, and Giuseppe) Chapter 21. Scene, Dammi tu forza, o cielo! (Violetta and Alfredo) and Recitative and Aria, Di Provenza il mar, il suol (Germont and Alfredo).
  • (source: Nielsen Book Data)9781442257825 20170313
In Staging Scenes from the Operas of Donizetti and Verdi, veteran opera director William Ferrara presents a detailed, practical exploration of the staging of twenty-one scenes from two of opera's most beloved composers. He brings to life Donizetti's delightful comedies, L'Elisir d'amore and Don Pasquale, and guides us through the haunted world of Lucia di Lammmermoor. He explores Verdi's dark themes and imagery in scenes from Rigoletto, and the heartbreaking choices of the characters in La traviata. With signature comic touches, vivid characters, and dynamic stage action, Ferrara brings tried-and-true techniques as well as lively new ideas to these favorite scenes. Topics include study and research, rehearsal planning, blocking, characterization, ideas for simplified sets and props, and costume design. The introduction to each of the five operas includes a brief description of the story and characters, and suggestions for several different approaches to staging-both traditional and modern. The heart of each chapter is the text and translation of the scene, embedded with line-by-line notes on character, movement, emotion, and interaction. This fresh approach to staging an opera scene by applying insights and ideas directly to the text sparks the student's dramatic imagination and inspires a deeper understanding of the connection between words and music. In addition, by exploring creative improvisations, exercises and contemporary parallels, young performers are encouraged to build more authentic and dynamic performances. Intended for college and university voice teachers seeking guidance for developing a scenes program or opera workshop class, this is also the perfect workbook for students studying opera stage direction, as well as graduate and undergraduate students performing opera scenes by Donizetti and Verdi.
(source: Nielsen Book Data)9781442257825 20170313
Music Library
Book
481 pages : illustrations (partly color), music ; 24 cm
  • Vorwort
  • Grundsätzliches zum licht-Zyklus
  • Die Entwicklung von Stockhausens Schäften hin zum licht-Zyklus
  • Das Thema : Zeit
  • Licht als Komposition der Woche
  • Die Tage der Woche
  • Die Protagonisten von licht
  • Der licht-Zyklus als Formel-Musik
  • Die Bedeutung der Musik
  • Formel-Komposition
  • Das Urantia-Buch
  • Die Reihenfolge der Tage
  • Ein Hinweis zur Interpretation
  • Anspruch und Widerstand
  • Donnerstag aus licht
  • Die Gliederung des Operntages
  • Zum Donnerstag im Ganzen
  • Der Donnerstag als Michael-Tag
  • Die Michael-Formel
  • Farbe, Zeichen, Element
  • Das Thema des Tages : Lernen
  • Das Sinnesorgan des Tages : Hören
  • Das donnerstag-Glied der Superformel
  • Die Abfolge der Szenen
  • donnerstags-gruss
  • Erster Akt : michaels jugend
  • Kindheit
  • Mondeva
  • Examen
  • Rückblick
  • ZweiterAkt : michaels reise um die erde
  • Dritter Akt : michaels heimkehr
  • Erste Szene : festival
  • Zweite Szene : vision
  • Donnerstags-abschied
  • Samstag aus licht
  • Die Gliederung des Operntages
  • Zum samstag im Ganzen
  • Saturn
  • Tod
  • Das samstag-Zeichen
  • Luzifer
  • Die Luzifer-Formel
  • Die Luzifer-Tradition
  • Die Szenenfolge
  • Samstags-gruss (luzifer-gruss)
  • Erste Szene : luzifers traum
  • Zweite Szene : kathinkas gesang als luzifers requiem
  • Dritte Szene : luzifers tanz
  • Vierte Szene : luzifers abschied
  • Montag aus licht
  • Die Gliederung des Operntages
  • Zum montag im Ganzen
  • Montags-gruss (eva-gruss)
  • Erster Akt : evas erstgeburt
  • Erste Szene : in hoffnung
  • Zweite Szene : heinzelmännchen
  • Dritte Szene : geburts-arien
  • Vierte Szene : knaben-geschrei
  • Fünfte Szene : luzifers zorn
  • Sechste Szene : das grosse geweine
  • Zweiter Akt : evas zweitgeburt
  • Erste Szene : mädchenprozession
  • Zweite Szene : befruchtung mit klavierstück
  • Dritte Szene : wiedergeburt
  • Vierte Szene : evas lied
  • Dritter Akt : evas zauber
  • Erste Szene : botschaft
  • Zweite Szene : der kinderfänger
  • Dritte Szene : entführung
  • Montags-abschied (eva-abschied)
  • Dienstag aus licht
  • Die Gliederung des Operntages
  • Zum dienstag im Ganzen
  • Dienstags-gruss (willkommen mit friedens-gruss)
  • Erster Akt : jahreslauf
  • Zweiter Akt : invasion : explosion mit abschied
  • Invasion
  • Invasion
  • Invasion
  • Jenseits
  • Synthi-fou
  • Freitag aus licht
  • Die Gliederung des Operntages
  • Zum freitag im Ganzen
  • Die Konstellation der Personen
  • Freitag aus licht und das Urantia-Buch
  • Das Thema der Oper : Versuchung
  • Das Freitag-Zeichen
  • Musikalisches und textliches Material der Oper
  • Farbe und weitere Elemente der Oper
  • Freitags-gruss
  • Freitag-versuchung
  • Erster Akt
  • Zweiter Akt
  • Freitags-abschied
  • Mittwoch aus licht
  • Die Gliederung des Operntages
  • Zum mittwoch im Ganzen
  • Der mittwoch-Abschnitt der Superformel
  • Der Gehalt des mittwoch im licht-Zyklus
  • Der Herr des mittwoch : Merkur, Hermes
  • Mittwochs-gruss
  • Erste Szene : welt-parlament
  • Zweite Szene : orchester-finalisten
  • Dritte Szene : helikopter-streichquartett
  • Vierte Szene : michaelion
  • Präsidium
  • Luzikamel
  • Operator
  • Mittwochs-abschied
  • Sonntag aus licht
  • Die Gliederung des Operntages
  • Zum sonntag im Ganzen
  • Sonntag als Klimax des Zyklus
  • Die musikalische Basis in der Superformel
  • Sonntag und der Tag der Sonne
  • Die mystische Vereinigung von Michael und Eva
  • Vorbemerkung zum Charakter des Werkes
  • Erste Szene : lichter : wasser (sonntags-gruss)
  • Zweite Szene : engel-prozessionen
  • Dritte Szene : licht-bilder
  • Vierte Szene : dufte : zeichen
  • Fünfte Szene : hoch-zeiten
  • Gemeinsame Grundlage
  • Hoch-zeiten für Chor
  • Hoch-zeiten für Orchester
  • Sonntags-abschied
  • Schluß
  • Die Zeichen der Tage
  • Literaturverzeichnis
  • Texte von K. Stockhausen
  • Sonstige Literatur.
Music Library
Book
212 pages : illustrations (some color) ; 24 cm.
Music Library

12. Turandot [2017]

Video
1 DVD-video (136 minutes) : sound, colour ; 4 3/4 in. Sound: digital; optical; surround; Dolby. Video: DVD; NTSC. Digital: video file; DVD video; region 0.
After almost 40 years on Decca and over 3 million album sales Riccardo Chailly starts a new chapter in January 2017 as Music Director of Teatro alla Scala, Milan, the world's most iconic opera house. Decca presents 'Turandot, ' the first DVD of a cycle of the complete Puccini operas in partnership with La Scala and conducted by Chailly. Quality casts and sumptuous productions guarantee a new benchmark for these classic operas. This Turandot is unique in presenting for the first time on film the Luciano Berio completion of the opera - premiered by Chailly in 2001. Nina Stemme assumes the title role with Maria Agresta as Liu with Aleksandrs Antonenko as the heroic Calaf.
Music Library

13. 38 songs & arias [2016]

Music score
1 score (233 pages) ; 30 cm
  • Uncollected songs. Musik : Atem der Statuen : (2013) / Rainer Maria Rilke ; La flor de la canela : (2014) / Chabuca Granda ; The Bixby letter : (2015) / Abraham Lincoln ; The nightingale ; (2014) / Paul Verlaine ; translated by Daron Hagen ; Rain in spring : (1983) / Paul Goodman ; The green for Pamela : (1985) / Roland Flint ; 25 : (1984) / Lawrence Ferlinghetti ; Elements of poetry : (1996) / Robert Kelly ; Tomorrow : (1986) / Dag Hammarskjöld
  • Three Sea Chanties. Bantry Bay : (1983) / James Lyman Molloy ; The sea ritual : (1983) / George Darley ; In love with the sea : (1980/2002) / Daron Hagen
  • Blake songs. Infant sorrow : (1989) ; A cradle song : (2016) ; The sick rose : (2014) ; The little boy lost : (2016) ; Infant sorrow, again : (1986) ; Love and harmony : (2001) ; The lilly : (2016)
  • Theatre songs. House to half : (1981) / Ed Flesch
  • I've never wanted anyone before : (1976) / Daron Hagen ; (And then) I let him go : (2014) / Daron Hagen ; I believe in song : (2014) / Daron Hagen ; Remember how it was? : (2014) / Daron Hagen
  • A woman in Morocco. Love comes with a knife ; This lovely scarf ; And you ran toward it. Why? ; There was a woman ; Permission ; Oh, to hell with you, Ahmed! ; The best that I can do
  • Two spirituals. Wayfaring stranger / Bever's Christian Songster ; Angel band / Jefferson Haskell
  • Little Nemo in Slumberland. Flip's tango ; Dr. Pill's gavotte ; Morpheus' lament ; We need a world of dream / J.D. McClatchy
  • We few / William Shakespeare.
Music Library
Book
83 pages : 1 illustration ; 24 cm
Music Library

15. After life [2014]

Music recording
1 online resource (1 sound file). Sound: digital. Digital: audio file.
  • After life (2015) / Tom Cipullo, composer ; David Mason, librettist (49:40)
  • In sleep the world is yours (2013) / Lori Laitman ; poems by Selma Meerbaum-Eisinger (17:15).

16. L'aiglon [2015]

Music recording
2 sound discs (1:32:29) : digital ; 4 3/4 in. Sound: digital; optical. Digital: audio file; CD audio.
Music Library
Music score
1 vocal score (145 pages) ; 30 cm.
  • Acante et Céphise: Lance tes feux, naissante Aurore
  • Anacréon: Tendre Amour! voie à mon secours ; L'Amour, riant et sans bandeau
  • Castor et Pollux: Tristes apprêts, pâles flambeaux ; Éclatez, mes justes regrets
  • Dardanus: Cesse, cruel Amour, de régner sur mon âme : (version de 1739) ; Ô jour affreux! le ciel met le comble à mes maux ; Cesse, cruel Amour, de régner sur mon âme : (version de 1744) ; Dieux, que por Dardanus imploraient mes alarmes ; Peuples, chantez les traits charmants ; Non, ce n'est qu'aux amants heureux
  • Les Fêtes de l'Hymen et de l'Amour: Veille, Amour, sur les jours ; Sons brillants, hâtez-vous d'éclore
  • Les Fêtes de Polymnie: Les jours pour nous son sans nuages ; Que ses regrets m'ont attendrie! ; Quand l'amour enflamme nos cœurs
  • Les Fêtes d'Hébé: Tu chantais, et ta lyre ; Ô mort, n'exerce pas ta rigueur inhumaine ; Dieux! qui me condamnez aux plus vives alarmes ; Veillez sur ces Guerriers, justes dieux que j'implore
  • La Guirlande: Tout languit dans nos bois, quand l'hiver les ravage
  • Hippolyte et Aricie: Temple sacré, séjour tranquille ; Mes yeux, vous n'êtes plujs ouverts.
Music Library

18. Alcina [2015]

Video
2 videodiscs (187 min.) : sound, color ; 4 3/4 in. Sound: digital; optical; stereo PCM 2.0; Dolby Digital 5.1. Digital: video file; DVD video; region 0.
  • DVD1: acts 1 & 2 (first part)
  • DVD2: acts 2 (second part) & 3.
The sorceress Alcina's love for Ruggiero results in spells, disguises, vengeance, and the triumph of love and truth.
Music Library
Book
xv, 241 pages : illustrations, music ; 29 cm
  • Part I: The Alto Voice in the Baroque Era Chapter 1. Mezzos and Contraltos Chapter 2. Why Castrati? Chapter 3. Altos in the Dawn of Opera Chapter 4. Altos, Neapolitan Style Chapter 5. Mr. "Hendel's" Altos Chapter 6. Faustina Bordoni and "Il Caro Sassone" Chapter 7. Gluck's Basses-Dessus and Mozart's Altos Chapter 8. Intermezzo Part II Altos in the Romantic Revolution Chapter 9. Cambio di Voce Chapter 10. The Swan of Pesaro and I Musici Chapter 11. The Maestro and the Prima Donna Assoluta Chapter 12. Giuditta Pasta Chapter 13. Caroline Unger (Ungher), The Forgotten Prima Donna Chapter 14. Maria Malibran Chapter 15. Pauline Viardot Chapter 16. The Altos of Grand Opera Chapter 17, "La Favorite, " Rosine Stoltz Chapter 18. Altos in Opera Lyrique and Opera Comique Chapter 19. The Bel Canto Altos of Bellini and Donizetti Chapter 20. Verdi and Verismo Altos Chapter 21. German Romanticism, Wagner, Strauss, and the Alto Voice Chapter 22. The Russian Altos Chapter 23. Altos in the English Speaking World Part III Altos After 1900 Chapter 24. Twentieth Century Altos Chapter 25. Contemporary Alto Singers.
  • (source: Nielsen Book Data)9781442265059 20170306
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.
(source: Nielsen Book Data)9781442265059 20170306
Music Library
Music score
1 study score (2 volumes) : color illustration ; 36 cm
  • Act 1
  • Act 2.
Music Library