Author: Rachel Cowgill
Publisher: Oxford University Press
ISBN: 019971083X
Category : Music
Languages : en
Pages : 368
Book Description
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience. Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself. The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.
The Arts of the Prima Donna in the Long Nineteenth Century
Author: Rachel Cowgill
Publisher: Oxford University Press
ISBN: 019971083X
Category : Music
Languages : en
Pages : 368
Book Description
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience. Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself. The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.
Publisher: Oxford University Press
ISBN: 019971083X
Category : Music
Languages : en
Pages : 368
Book Description
Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience. Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself. The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.
Everything Is Possible with God
Author: Donna Fargo
Publisher: Blue Mountain Arts
ISBN: 9781680883879
Category :
Languages : en
Pages : 44
Book Description
Drawing from her own personal experience and beliefs to write this inspirational book, beloved singer-songwriter Donna Fargo champions the importance of prayer in our daily lives. She writes of the direct connection with God that provides us with the strength we need to carry on in the face of difficult or trying times but also asserts that we must be our own advocate. We must choose our thoughts carefully and refuse to allow negativity or doubt to take away our hope. When you read Donna's thoughtful messages, you'll be reminded that there are no limitations with God, and even when the path ahead seems unclear, He is guiding your steps. With patience and perseverance, trust that your prayers will be answered and that the best is yet to come. This 7.3-x-5.2-inch, 44-page Heart-to-Heart hardcover gift book from Blue Mountain Arts is printed on high-quality textured paper, perfect bound, and fully illustrated. Perfect for a friend or loved one who believes in the power of believing--or if you need your own reminder of the good plans God has for your life--these writings will remind anyone who reads them that it is faith that opens the door to our dreams and makes everything possible.
Publisher: Blue Mountain Arts
ISBN: 9781680883879
Category :
Languages : en
Pages : 44
Book Description
Drawing from her own personal experience and beliefs to write this inspirational book, beloved singer-songwriter Donna Fargo champions the importance of prayer in our daily lives. She writes of the direct connection with God that provides us with the strength we need to carry on in the face of difficult or trying times but also asserts that we must be our own advocate. We must choose our thoughts carefully and refuse to allow negativity or doubt to take away our hope. When you read Donna's thoughtful messages, you'll be reminded that there are no limitations with God, and even when the path ahead seems unclear, He is guiding your steps. With patience and perseverance, trust that your prayers will be answered and that the best is yet to come. This 7.3-x-5.2-inch, 44-page Heart-to-Heart hardcover gift book from Blue Mountain Arts is printed on high-quality textured paper, perfect bound, and fully illustrated. Perfect for a friend or loved one who believes in the power of believing--or if you need your own reminder of the good plans God has for your life--these writings will remind anyone who reads them that it is faith that opens the door to our dreams and makes everything possible.
Singing and the Actor
Author: Gillyanne Kayes
Publisher: Routledge
ISBN: 1136759867
Category : Art
Languages : en
Pages : 213
Book Description
Singing and the Actor takes the reader step by step through a practical training programme relevant to the modern singing actor and dancer. A variety of contemporary voice qualities including Belting and Twang are explained, with excercises for each topic.
Publisher: Routledge
ISBN: 1136759867
Category : Art
Languages : en
Pages : 213
Book Description
Singing and the Actor takes the reader step by step through a practical training programme relevant to the modern singing actor and dancer. A variety of contemporary voice qualities including Belting and Twang are explained, with excercises for each topic.
Under My Thumb
Author: Rhian Jones
Publisher: Watkins Media Limited
ISBN: 1910924687
Category : Music
Languages : en
Pages : 303
Book Description
Women write about their experiences of loving music that doesn’t love them back – a feminist 'guilty pleasures'.e - a kind of feminist guilty pleasures. In the majority of mainstream writing and discussions on music, women appear purely in relation to men as muses, groupies or fangirls, with our own experiences, ideas and arguments dismissed or ignored. But this hasn’t stopped generations of women from loving, being moved by and critically appreciating music, even – and sometimes especially – when we feel we shouldn’t. Under My Thumb: Songs that Hate Women and the Women Who Love Them is a study of misogyny in music through the eyes of women. It brings together stories from journalists, critics, musicians and fans about artists or songs we love (or used to love) despite their questionable or troubling gender politics, and looks at how these issues interact with race, class and sexuality. As much celebration as critique, this collection explores the joys, tensions, contradictions and complexities of women loving music – however that music may feel about them. Featuring: murder ballads, country, metal, hip hop, emo, indie, Phil Spector, David Bowie, Guns N’ Roses, 2Pac, the Rolling Stones, Bob Dylan, AC/DC, Elvis Costello, Jarvis Cocker, Kanye West, Swans, Eminem, Jay-Z, Taylor Swift, Combichrist and many more.
Publisher: Watkins Media Limited
ISBN: 1910924687
Category : Music
Languages : en
Pages : 303
Book Description
Women write about their experiences of loving music that doesn’t love them back – a feminist 'guilty pleasures'.e - a kind of feminist guilty pleasures. In the majority of mainstream writing and discussions on music, women appear purely in relation to men as muses, groupies or fangirls, with our own experiences, ideas and arguments dismissed or ignored. But this hasn’t stopped generations of women from loving, being moved by and critically appreciating music, even – and sometimes especially – when we feel we shouldn’t. Under My Thumb: Songs that Hate Women and the Women Who Love Them is a study of misogyny in music through the eyes of women. It brings together stories from journalists, critics, musicians and fans about artists or songs we love (or used to love) despite their questionable or troubling gender politics, and looks at how these issues interact with race, class and sexuality. As much celebration as critique, this collection explores the joys, tensions, contradictions and complexities of women loving music – however that music may feel about them. Featuring: murder ballads, country, metal, hip hop, emo, indie, Phil Spector, David Bowie, Guns N’ Roses, 2Pac, the Rolling Stones, Bob Dylan, AC/DC, Elvis Costello, Jarvis Cocker, Kanye West, Swans, Eminem, Jay-Z, Taylor Swift, Combichrist and many more.
Songs for the People, etc
Author: Albert G. Emerick
Publisher:
ISBN:
Category :
Languages : en
Pages : 308
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 308
Book Description
Journal of the Fine Arts and Musical World
Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 302
Book Description
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 302
Book Description
Musical Digest
Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 512
Book Description
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 512
Book Description
Braille Scores Catalog
Author:
Publisher:
ISBN:
Category : Music for the blind
Languages : en
Pages : 376
Book Description
Publisher:
ISBN:
Category : Music for the blind
Languages : en
Pages : 376
Book Description
Catalog of Copyright Entries
Author: Library of Congress. Copyright Office
Publisher:
ISBN:
Category : Copyright
Languages : en
Pages : 1156
Book Description
Publisher:
ISBN:
Category : Copyright
Languages : en
Pages : 1156
Book Description
Regina Mingotti: Diva and Impresario at the King's Theatre, London
Author: Michael Burden
Publisher: Routledge
ISBN: 1351551701
Category : Music
Languages : en
Pages : 167
Book Description
Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti?s London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti?s years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.
Publisher: Routledge
ISBN: 1351551701
Category : Music
Languages : en
Pages : 167
Book Description
Regina Mingotti was the first female impresario to run London's opera house. Born in Naples in 1722, she was the daughter of an Austrian diplomat, and had worked at Dresden under Hasse from 1747. Mingotti left Germany in 1752, and travelled to Madrid to sing at the Spanish court, where the opera was directed by the great castrato, Farinelli. It is not known quite how Francesco Vanneschi, the opera promoter, came to hire Mingotti, but in 1754 (travelling to England via Paris), she was announced as being engaged for the opera in London 'having been admired at Naples and other parts of Italy, by all the Connoisseurs, as much for the elegance of her voice as that of her features'. Michael Burden offers the first considered survey of Mingotti?s London years, including material on Mingotti's publication activities, and the identification of the characters in the key satirical print 'The Idol'. Burden makes a significant contribution to the knowledge and understanding of eighteenth-century singers' careers and status, and discusses the management, the finance, the choice of repertory, and the pasticcio practice at The King's Theatre, Haymarket during the middle of the eighteenth century. Burden also argues that Mingotti?s years with Farinelli influenced her understanding of drama, fed her appreciation of Metastasio, and were partly responsible for London labelling her a 'female Garrick'. The book includes the important publication of the complete texts of both of Mingotti's Appeals to the Publick, accounts of the squabble between Mingotti and Vanneschi, which shed light on the role a singer could play in the replacement of arias.