A Guide To Modern Opera: Description And Interpretation Of The Words And Music (1909) - Tapa blanda

Singleton, Esther

9781436730198: A Guide To Modern Opera: Description And Interpretation Of The Words And Music (1909)

Tapa blanda

ISBN 10: 1436730198 ISBN 13: 9781436730198

Editorial: Kessinger Publishing, LLC, 2008

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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world’s literature in affordable, high quality, modern editions that are true to the original work.

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This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Rese�a del editor

Jtrtfar; I YG uide to theO pera was devoted I to the works of Wagner and his !predecessors. The welcome it received from opera-lovers encourages the hope that a second series dealing with the works of i the new school of composers may I also find favour. I have selected the most popular of the newest operas that are performed on the contemporary stage, at the same time including some older works of the new school that are not in my former book, such as Mefistofele, Parsifal, The Queen of Sheba, etc. The only opera which is distinctly of the old-fashioned type is Smetana sB artered Bride, which, represented in this country for the first time in 1909, achieved immediate popularity. I have followed the same plan of treatment as that ofT kj Guide to theO pera, describing the plot and music as the drama unfolds before the spectator, and calling attention to the most striking musical numbers and the orchestral annotations. In the analysis of Parsifal, I have followed M. Lavignac snomenclature of the leading-motives. E.S. New York, September,
(Typographical errors above are due to OCR software and don't occur in the book.)

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