The history of opera is covered here as a written record of opera in theory, in practice, in review and in fiction - an anthology put together not with brief extracts but writing drawn from primary sources.
A wide-ranging anthology covering the written record of opera -- from Tchaikovsky on Wagner's Ring to Cecil Beaton on Turandot at the Met. Opera. Opera has always generated strong, uncompromising views and opinions. For example, what did Berlioz write about Weber's "Der Freischutz" in 1841? What was the idea behind Gluck's Reform operas? How did Mozart himself view his collaboration with the librettist Lorenzo da Ponte? What is the legacy of Maria Callas? These are among the myriad questions that are addressed in "The Faber Book of Opera," an exceptional collection of writings about opera--in theory, in practice, in review and in fiction--all drawn from prime sources by acclaimed music critic Tom Sutcliffe. From Gustave Flaubert's description of a performance of "Lucia di Lammermoor" in "Madame Bovary" to Voltaire's exploration of the difficulties of conveying true tragedy within the operatic form to Virginia Woolf's views on Wagner's "Parsifal," which seemed to her to have been "poured out in a smooth stream at white heat," this is a collection that covers, in over 75 short, carefully chosen excerpts, just what it is that makes opera so extraordinary. After all, the history of opera is not just the musical masterpieces that have been written during the last 400 years; it is also the record of what people--ranging from Goethe to Rousseau to Verdi and Stravinsky--thought about the process and about what composers through the centuries have tried to do through this unique form.
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Tom Sutcliffe's musical career started as a boy chorister at Chichester Cathedral. After studying at Oxford University, he was a professional countertenor for six years, making his opera debut in The Coronation of Poppea at Darmstadt in 1970, having worked as a soloist with Nikolaus Harnoncourt. He then edited the magazine Music and Musicians, and worked for the Guardian for 23 years - most notably as opera critic.$$$A regular broadcaster on radio and television, he has also written about opera in Vogue magazine and was British correspondent of Opera News, New York, as well as contributing to Opera Now and other specialist music journals. In 1998 he was dramaturg on a new production of The Turn of the Screw at the Monnaie in Brussels. He became opera critic of the Evening Standard in 1996.
Faber Book of Opera by Tom Sutcliffe
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Faber & Faber
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