Gli Ugonotti ... A lyric tragedy in four acts ... The libretto, translated from the French of E. Scribe, by Manfredo Maggioni, as represented at the Royal Italian Opera, Covent Garden PDF Download
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Author: Augustin Eugène SCRIBE
Publisher:
ISBN:
Category :
Languages : en
Pages : 108
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Author: Augustin Eugène SCRIBE
Publisher:
ISBN:
Category :
Languages : en
Pages : 108
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Book Description
Author: Augustin Eugène Scribe
Publisher:
ISBN:
Category :
Languages : en
Pages : 128
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Book Description
Author: Paul Oskar Kristeller
Publisher: BRILL
ISBN: 9789004012547
Category : History
Languages : en
Pages : 572
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Book Description
Provides a list of Renaissance manuscripts (1350-1600), mostly in Latin or Italian, of philosophical, scientific, philological or literary content. The list is arranged by countries, cities, libraries, collections and shelf-marks, and is an indispensable work tool for Renaissance scholars.
Author: Giacomo Meyerbeer
Publisher: Alfred Music
ISBN: 9781457482892
Category : Music
Languages : en
Pages : 508
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Book Description
Expertly arranged Vocal Score by Giacomo Meyerbeer from the Kalmus Edition series. This is from the Romantic era.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443860840
Category : Music
Languages : en
Pages : 308
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On 29 February 1836, Les Huguenots, a grand opera by Giacomo Meyerbeer (1791–1864), with words by Eugène Scribe (1791–1861) and Émile Deschamps (1791–1871), was performed for the first time, at the Paris Opéra. It was to be one of the most successful productions ever staged at the Opéra, with 1,126 performances in Paris over the next hundred years, and, in the process, breaking all box office records. It became Meyerbeer’s most popular work, with thousands of stagings throughout the world. Les Huguenots is a huge exploration of faith, tolerance, hatred, extermination, love, loyalty, self-sacrifice and hope in despair. It is the first panel in a central diptych on the Reformation, at the heart of the wider tetralogy of Meyerbeer’s grand operas, where issues of power, religion and love are examined in a variety of modes. For five years after the sensational premiere of Robert le Diable, Meyerbeer worked on this gigantic drama, partly adapted by Scribe from Prosper Mérimée’s Chronique de Charles IX. Meyerbeer matches the text in drama, splendour and ceremony: it combines theatricalism with profound depths of feeling. Its gorgeous colouring, intense passion, consistency of dramatic treatment, and careful delineation of character secured for this work vast fame and influence. It was an epoch-making opera, an enduring monument to Meyerbeer’s fame. The music for this sombre tapestry of the Saint Bartholomew Massacre springs from the core of the vivid action, and creates a panoramic alternation of moods, that capture the tragedy of religious intolerance and personal anguish in one of the most fraught events in history, when some 30,000 French Protestants were murdered during 24 August 1574. Meyerbeer’s music rises to the occasion, and reaches sublime heights of music drama, especially in the fourth and fifth acts, with the Blessing of the Daggers (one of the most electric scenes in all opera), the more powerful Love Duet, and the Trio of Martyrdom in the last moments of the opera. Spectacle was incorporated in the plot, in Meyerbeer’s concern to conjure up the couleur locale of those heroic times. In spite of the overwhelming dramatic power and the instrumental riches of the score, the most significant aspect of the work came to be regarded as the supremacy of the seven principal vocal parts. Performances of Les Huguenots at the Metropolitan Opera in New York during the 1890s were among the most famous in operatic history.
Author: James Thompson
Publisher: BoD – Books on Demand
ISBN: 3732629775
Category : Fiction
Languages : en
Pages : 654
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Book Description
Reproduction of the original.
Author: Sydney Anglo
Publisher: OUP Oxford
ISBN: 9780191556234
Category : History
Languages : en
Pages : 786
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Book Description
Between 1513 and 1525 Niccolò Machiavelli wrote a series of works dealing with political, military, and historical matters. One of these (the 'Arte della guerra') was published in 1521, but the rest of his major writings were not published until 1531-2, nearly five years after his death. They continued to be reissued regularly, well into the early seventeenth century. The popularity of Machiavelli's books, the variety of his themes, the different contexts within which he was studied, the range of readers' interests, and the fact that his name entered the vocabulary of every European language - all make his early reception a fruitful field of enquiry. Historians of ideas have tended to tidy up the past in order to make it comprehensible but Sydney Anglo is concerned with heterogeneity, and with the often irrational and emotional aspects of sixteenth-century thought. Basing his research entirely upon primary sources he quotes extensively in the conviction that, in a battle of words, the words themselves and their tone convey more than summaries of intellectual abstractions. Authors - hostile, enthusiastic, and indifferent - are closely examined; and many different contexts, political and intellectual, are considered. Sometimes Machiavelli was influential, sometimes not, but in this history of his reception, silences often prove significant. Written in a lively and trenchant style, this new interpretation of the impact of Machievalli is an original contribution of high quality by a leading expert in the field of Renaissance studies.
Author: Maria Cristina Cignatta
Publisher: Cambridge Scholars Publishing
ISBN: 1443859184
Category : Fiction
Languages : en
Pages : 220
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Book Description
The short story writers featured in this brief anthology – all established figures on the Italian literary scene – have been specifically chosen as being representative of the various geographical regions in the Italian peninsula, ranging from Ginzburg, Pavese and Soldati (Piedmont), Colombi Guidotti and Guareschi (Emilia Romagna region), Tozzi (Tuscany), D’Annunzio (Abruzzi region) and Moravia (Lazio region) to Pirandello and Verga (Sicily) and Deledda (Sardinia). Twelve of these literary masters’ very best novelle – richly diverse both thematically and stylistically – can be read in the original, unabridged Italian with parallel English translations, accompanied by a brief account of the life and literary achievements of each writer, as well as a few notes on the context in which the narrative was written and some relevant features of theme and content. The novelle themselves, originally published in Italy between 1880 (marking the publication of Verga’s La lupa) and 1971 (the year of the publication of Soldati’s Una donna comprensiva), span almost a whole century. Although presented in chronological order of publication – being self-contained racconti – they can be read in any order. All of them lend themselves to the leitmotif of the collection: that of a woman as the central character (D’Annunzio’s Candia, the Princess in Deledda’s fairy-tale, Pirandello’s Mommina, gnà Pina in Verga’s story, etc.). Two of the writers, Grazia Deledda and Natalia Ginzburg, are themselves women writing about women. The anthology, on the one hand, offers readers the opportunity to savour a few delights of Italian literature and culture, and, on the other, promotes effective language learning through a wide spectrum of language and styles. While remaining faithful to the originals, the translations lay emphasis on readability and fluency, thus making their perusal a pleasurable experience in itself. In addition, the stories in this collection will certainly stimulate further interest in Italian literature.
Author: Marco Clemente Pellegrini
Publisher: Cambridge Scholars Publishing
ISBN: 144380083X
Category : Music
Languages : en
Pages : 610
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Book Description
This Guide has resulted from years of research on the papers and music of Giacomo Meyerbeer, and aims to provide a bibliographical aid and point of reference for further research. The first part presents the private papers connected to the composer and his principal librettist, Eugène Scribe—both archival and printed, with working papers and correspondence, as found in Berlin, Paris and some of the famous libraries of the world. The body of Part 2 draws together all the known resources on Meyerbeer's life and historical reputation—from full scale biographies and entries in reference books, through critical discussions to website resources to records of symposia. The third part provides material about his background with its unique mixture of Jewish and Prussian elements, the powerful role of the city of Berlin in his life and work. The fourth part lists bibliographic material for Meyerbeer's music, looking at his operas, grouped as German, Italian and French, with each individual entry providing a record of the scores available, both modern and historical, the various arrangements made from the operas during the heyday of their popularity, reviews of modern performances, discography, and bibliography of studies and publications pertinent to the wider cultural and historical contexts of the works. The next two sections constitute an extended record of material pertinent to the contemporaries of Meyerbeer. In the fifth section are select bibliographies of composers, authors, artists, performers, politicians, those who played some part in the composer's life, or anyone of significance in his wider contemporary circumstances. This is continued in the sixth part where the cultural and aesthetic elements of the composer's milieu, or life in the theatre during seventy years of the nineteenth century, are listed. The seventh part adds a bibliography of social and historical background, where the incidental issues of Judaism in nineteenth-century Europe, and the wider political, historical and geographical circumstances of Meyerbeer's life, his relentless travelling, and closely recorded experiences in Germany, France, Italy, Belgium, England, and Austria. The eighth section provides a thematic key to this extensive material. Part 9 provides an extended tripartite series of lists of the published scores, arrangements and some special studies of Meyerbeer over the period 1820 to 2005—in alphabetical, chronological and thematic ordering. The last two sections furnish the modern equivalent of this record of Meyerbeer and his compositions, showing in Part 11 the list of performances of his operas since the Second World War, and in Part 12, listing the recordings of the operas, both commercial and private, for the same period. The thirteenth and last section is iconographical, pictures that represent an interesting survey of the popular response to Meyerbeer in the 19th century.
Author: Etienne Baluze
Publisher:
ISBN:
Category : Church history
Languages : en
Pages : 680
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