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Saturday, May 2, 2020 | History

4 edition of The Cambridge Companion to Grand Opera (Cambridge Companions to Music) found in the catalog.

The Cambridge Companion to Grand Opera (Cambridge Companions to Music)

  • 126 Want to read
  • 12 Currently reading

Published by Cambridge University Press .
Written in English

    Subjects:
  • Opera,
  • Music/Songbooks,
  • Music,
  • Genres & Styles - Opera,
  • Music / Opera

  • The Physical Object
    FormatHardcover
    Number of Pages518
    ID Numbers
    Open LibraryOL7749762M
    ISBN 100521641187
    ISBN 109780521641180

    David Charlton (ed.), The Cambridge Companion to Grand Opera (Cambridge: Cambridge University Press, ). pp. $ [Book Review]. Nineteenth-Century Music Review 3 (1), pp. /S of The Cambridge Companion to the Literature of World War II (). rod mengham is Reader in Modern English Literature at the University of Cambridge, where he is also Curator of Works of Art at Jesus College. His books include studies of Charles Dickens, Emily Bronte¨, and Henry Green, and The Descent of Language ().File Size: 1MB. The Cambridge Companion to the Arthurian Legend outlines the evolution of the legend from the earliest documentary sources to the musical Spamalot, and analyses how some of the major motifs of the legend have been passed down in both medieval and modern texts. With a map of Arthur’s Britain, a chronology of key texts and a guide to.


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The Cambridge Companion to Grand Opera (Cambridge Companions to Music) by David Charlton Download PDF EPUB FB2

This Companion is a fascinating and accessible exploration of the world of grand opera. Through this volume a team of scholars and writers on opera examine those important Romantic operas which embraced the Shakespearean sweep of tragedy, history, love in time of conflict, and the struggle for national self-determination.

Scribe and the term ‘grand opera’ As we saw on p. 3, ‘grand opera’ is not a generic term with secure historical credentials. Since William Crosten's book French Grand Opera: An Art and a Business () it has gained currency in musicology for a not very precisely definable subspecies of nineteenth-century opera that is French and influenced by France.

The Cambridge Companion to Grand Opera (Cambridge Companions to Music) by David Charlton (Editor) out of 5 stars 1 rating. ISBN ISBN Why is ISBN important. ISBN. This bar-code number lets you verify that you're getting exactly the right version or edition of a book.

5/5(1). Find helpful customer reviews and review ratings for The Cambridge Companion to Grand Opera (Cambridge Companions to Music) at Read 5/5(1). The Cambridge Companion to Grand Opera (Book): A team of scholars and writers examines important Romantic operas and traces the origins and development of a style created during an increasingly technical age.

The volume analyzes grand operas by Rossini, Auber, Meyerbeer and Halévy and discusses grand opera in Russia and Germany, and the Czechoslovakian territories, Italy, Britain and.

The Cambridge Companion to Opera Studies With its powerful combination of music and theatre, opera is one of The Cambridge Companion to Grand Opera Edited by David Charlton She is Book Review Editor for the Cambridge Opera Journal, and is Chair of the American Musicological Society Committee on the Status of Women.

The Cambridge companion to singing User Review - Not Available - Book Verdict. This excellent, single-volume resource aspires to be a comprehensive study of singing throughout history.

That it succeeds as well as it does is a remarkable accomplishment. Potter (music, Univ. /5(2). The Cambridge Companions to Music form a book series published by Cambridge University Press. Each book is a collection of essays on the topic commissioned by the publisher.

Each book is a collection of essays on the topic commissioned by the publisher. The Cambridge Companion to Opera Studies book. Read reviews from world’s largest community for readers.

With its powerful combination of music and theatr /5. The Cambridge Companion to Eighteenth-Century Opera Reflecting a wide variety of The Cambridge Companion to Grand Opera book to eighteenth-century opera, this Companion brings together leading international experts in the field to provide a valuable reference source.

Viewing opera as a complex and fascinating form of art and social ritual, rather than. The Cambridge Companion to Grand Opera Lesley A. Wright (bio) Skillfully edited by David Charlton, who is widely known for his expertise in eighteenth- and nineteenth-century French opera, this sixth volume in the Cambridge Companion series on specific musical topics features essays by an impressive group of European and The Cambridge Companion to Grand Opera book scholars, plus.

The Cambridge Companion to Mozart paints a rounded yet focussed picture of one of the most revered artists of all time. Bringing the most recent scholarship into the public arena, this volume bridges the gap between scholarly and popular images of the composer, enhancing the readers' appreciation of Mozart and his extraordinary output, regardless of their prior knowledge of the music.

Grand opera is a genre of 19th-century opera generally in four or five acts, characterized by large-scale casts and orchestras, and (in their original productions) lavish and spectacular design and stage effects, normally with plots based on or around dramatic historic events.

The term is particularly applied (sometimes specifically used in its French language equivalent grand opéra. The Cambridge Companion to Bartók, The Cambridge Companion to the Symphony (Cambridge Companions to Music), The Cambridge Companion to Grand Opera (Camb.

She is author of the book Opera, Liberalism, and Antisemitism in Nineteenth-Century France: The Politics of Halévy’s La Juive (Cambridge Studies in Opera, Cambridge University Press, ; ), as well as chapters and articles on the life and works of composer Fromental Halévy in The Cambridge Companion to Grand Opera (Cambridge.

Buy The Cambridge Companion to Opera Studies (Cambridge Companions to Music) by Till, Nicholas (ISBN: ) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.5/5(5). She has published the book Opera, Liberalism, and Antisemitism in Nineteenth-Century France: The Politics of La Juive (Cambridge University Press) and has contributed to such notable texts as The Cambridge Companion to Grand Opera (Cambridge University Press), Music, Theatre, and Cultural Transfer: Paris, (University of Chicago Press.

Rienzi, der letzte der Tribunen (Rienzi, the last of the tribunes; WWV 49) is an early opera by Richard Wagner in five acts, with the libretto written by the composer after Edward Bulwer-Lytton's novel of the same name (). The title is commonly shortened to n between July and Novemberit was first performed at the Königliches Hoftheater, Dresden, on 20 October Based on: Edward Bulwer-Lytton's novel.

The Cambridge Companion to Grand Opera by David Charlton, ed. Call Number: MLC16 The Cambridge Companion to Opera Studies by Nicholas Till, : Paula Hickner.

David Charlton (ed.), The Cambridge Companion to Grand Opera (Cambridge: Cambridge University Press, ). $ [Book Review]Author: Clair Sophie Rowden. The Paris Opera (French: Opéra de Paris, IPA: [opeʁa də paʁi] ()) is the primary opera and ballet company of France.

It was founded in by Louis XIV as the Académie d'Opéra, and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the Académie Royale de Musique, but continued to be known more simply as the on: Paris, France.

French Grand Opera and the Historical Imagination, Cambridge: Cambridge University Press. ISBN Smart, Mary Ann (). "Roles, reputations,shadows: singers at the Opéra, ", in The Cambridge Companion to Grand Opera, ed. David Charlton, Cambridge:Cambridge University Press ISBNpp. – By contrast, the longer Companion to Grand Opera (ed.

David Charlton, ) is firmly centred on a limited French repertory and its influence. If this Companion does not match up to the challenge it sets itself, it may be because it was insurmountable. The book falls into two parts: 'The making of opera' and 'National styles and genesis'.

The book is well organized into four main sections. The first, "Popular Traditions," investigates a range of vocal traditions in world music (from qawwali, "the devotional music of Pakistani Sufism" [p. 11] to Tuvan throat singers), rock singing, the evolving language of rap, and the first hundred years of jazz singing.

INTERNATIONALISM AND NATIONALISM IN SMETANA’S. BRANDENBURGERS AND LIBUŠE by KELLY ST. PIERRE. Renewed by Romance: Smetana's 'The Kiss' OPERA: U.S. PREMIERE OF SMETANA'S 'LIBUSE' = The Myth of the "National Composers» by Christopher P.

Storck [] The Cambridge Companion to Grand Opera Click ‘Front Cover” and page Czech. “Roles, Reputations, Shadows: Singers of grand opéra,” Cambridge Companion to Grand Opera, David Charlton, ed. (Cambridge University Press, ), “Gender and Music,” Harvard Dictionary of Music, rev.

edn. (Harvard University Press, ), “Defrosting Instructions: A Response,” Cambridge Opera Journal 16/3 (), Rosine Stoltz (born Victoire or Victorine Noël) (13 January – 30 July ) was a French mezzo-soprano.A prominent member of the Paris Opéra, she created many leading roles there including Ascanio in Berlioz's Benvenuto Cellini, Marguerite in Auber's Le lac des fées, the title role in Marie Stuart, and two Donizetti heroines, Léonor in La favorite and Zayda in Dom Sébastien.

Augustin Eugène Scribe (French: [oɡystɛ̃ øʒɛn skʁib]; 24 December – 20 February ) was a French dramatist and librettist. He is known for the perfection of the so-called " well-made play " (pièce bien faite), a mainstay of popular theatre for over years, and as the librettist of many of the most successful grand operas.

Siren Songs will be a valuable book."—Thomas S. Grey, Stanford University "Siren Songs is provocative and engaging. As a whole, the collection should become required reading among musicologists, and many of the individual contributions will interest scholars in other fields, as well as the opera-going public."—Ruth Solie, Smith College.

What IS opera. Contributors to The Oxford Handbook of Opera respond to this deceptively simple question with a rich and compelling exploration of opera's adaption to changing artistic and political currents. Fifty of the world's most respected scholars cast opera as a fluid entity that continuously reinvents itself in a reflection of its patrons, audience, and creators.

Les Huguenots was premiered by the Paris Opera at the Salle Le Peletier on 29 February (conductor: François Habeneck), and was an immediate Adolphe Nourrit and Cornélie Falcon were particularly praised by the critics for their singing and performances.

It was indeed Falcon's last important creation before her voice so tragically failed in April of the following year. The Cambridge Companion to Grand Opera Click ‘Front Cover” and page Google Translation Tool.

Buy The Cambridge Companion to Opera Studies (Cambridge Companions to Music) by Edited by Nicholas Till (ISBN: ) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.5/5(5).

Synonyms for grand operas in Free Thesaurus. Antonyms for grand operas. 1 word related to grand opera: opera.

What are synonyms for grand operas. The Cambridge Companion to Twentieth-Century Opera. Cambridge: Cambridge University Press. ISBN See also Google Books partial preview.

Accessed 3 October Silke Leopold, "The Idea of National Opera, c. ", United and Diversity in European Culture c.ed. Tim Blanning and Hagen Schulze (New York: Oxford University. The New Cambridge Companion to William Faulkner offers contemporary readers a sample of innovative approaches to interpreting and appreciating William Faulkner, who continues to inspire passionate readership worldwide.

The essays here address a variety of topics in Faulkner's fiction, such as its reflection of the concurrent emergence of cinema.

The Cambridge Companion to Modern Italian Culture This book provides a comprehensive account of the culture of modern Italy. Specially commissioned essays by leading specialists focus on a wide range of political, historical and cultural volume provides information and analysis on such topics as regionalism, the growth of a national.

Series was designed to cover groups of books generally understood as such (see Wikipedia: Book series). Like many concepts in the book world, "series" is a somewhat fluid and contested notion. A good rule of thumb is that series have a conventional name and are intentional creations, on the part of the author or publisher.

For now, avoid. The Cambridge Companion to Grand Opera: Robert Hugill: Cheer, Clarissa Lablache: The Great Lablache: Margarida Mota-Bull Robert Farr: Chilton, John: Roy Eldridge - Little Jazz Giant: Don Mather: Chlupaty, Richard: Antal Dorati and the joy of making music: Tony Flynn: Chlupaty, Richard.

The Cambridge Companion to Grand Opera, The Cambridge Companion to Ballet, Stage Music and Cultural Transfer: ParisReading Critics Reading, and Rethinking the Sylph. Her essays on opera and ballet appear in program books of the Royal Opera and Royal Ballet in London, the Paris Opéra, and the Teatro alla Scala.

The round table discussion "' Porgy and Bess' in Performance" will be led by symposium organizer and moderator Diana Hallman, an opera specialist and author of a book on the French grand opera "La Juive" (Cambridge University Press,), articles and chapter contributions to "Music, Theater, and Cultural Transfer: Paris,   The volume includes essays devoted to avant-garde music theatre, operettas and musicals, filmed opera, and ends with a discussion of the position of the genre in today's cultural marketplace.

Publisher: Cambridge University Press ISBN: Number of pages: Weight: g Dimensions: x x 25 mmPages:   The Cambridge Companion to Eighteenth-Century Opera by Anthony R.

DelDonna, Pierpaolo Polzonetti, eds. Call Number: MLC36 Dance and Drama in French Baroque Opera by Rebecca Harris-WarrickAuthor: Paula Hickner.