Cinq lettres de Camille Saint-Saens à Nadia Boulanger, 1908-1917
Author : Camille Saint-Saëns
Publisher :
Page : pages
File Size : 50,37 MB
Release : 1908
Category :
ISBN :
Author : Camille Saint-Saëns
Publisher :
Page : pages
File Size : 50,37 MB
Release : 1908
Category :
ISBN :
Author : Sarah-Bernhardt (Henriette Rosine Bernard, dite.)
Publisher :
Page : pages
File Size : 28,49 MB
Release :
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Author : Camille Saint-Saëns
Publisher : IndyPublish.com
Page : 324 pages
File Size : 32,10 MB
Release : 1919
Category : Biography & Autobiography
ISBN :
Author : Richard Langham Smith
Publisher : Cambridge University Press
Page : 387 pages
File Size : 40,99 MB
Release : 2020-07-30
Category : Art
ISBN : 1108481612
A transnational history of the performance, reception, translation, adaptation and appropriation of Bizet's Carmen from 1875 to 1945. This volume explores how Bizet's opera swiftly travelled the globe, and how the story, the music, the staging and the singers appealed to audiences in diverse contexts.
Author : Mina Kirstein Curtiss
Publisher :
Page : 8 pages
File Size : 21,89 MB
Release : 1958
Category : Music
ISBN :
Author :
Publisher :
Page : 856 pages
File Size : 46,74 MB
Release : 1963
Category : Music
ISBN :
Author :
Publisher :
Page : 858 pages
File Size : 28,40 MB
Release : 1963
Category : Union catalogs
ISBN :
Author :
Publisher :
Page : 390 pages
File Size : 12,22 MB
Release : 1876
Category :
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Author : Leonard Forrer
Publisher :
Page : 760 pages
File Size : 22,25 MB
Release : 1916
Category : Medalists
ISBN :
Author : Dan H. Marek
Publisher : Rowman & Littlefield
Page : 259 pages
File Size : 18,34 MB
Release : 2016-10-20
Category : Music
ISBN : 1442235896
Everyone is familiar with the words diva or prima donna, which have come to mean a (usually) outrageous operatic soprano, but there was a time when the star of the show was more often a contralto, or a soprano singing in today's mezzo-soprano range. This performer was referred to as an alto. In the 17th and 18th centuries, the male and female leading roles were likely to be sung by emasculated males, the alto castrati, although there were many great female altos during this period as well. The music for these fantastic artists, written by such composers as Porpora, Vinci, Hasse, and even Handel, has been largely forgotten. At the beginning of the 19th century, as the castrati died out, their roles were often assumed by female altos referred to as musici. New repertoire continued to be written for them by Rossini and others, but gradually, this musical tradition and technique was lost. Now, however, because of the talent and industry of such gifted artists as Marilyn Horne, Cecilia Bartoli, and Joyce DiDonato, and the sudden ease with which the performance of these forgotten works can be obtained, there is a resurgence of interest in the performance and preservation of this lost art. Alto: The Voice of Bel Canto examines the careers of nearly 320 great alto singers, including the great castrati, from the dawn of opera in 1597 to the present. The music of the composers who wrote for the alto voice is discussed along with musical examples and suggestions for listening. The exploration of the greatest altos’ careers and techniques offers inspiration for aspiring young singers as well as absorbing reading for the music lover who wants to know more about the fascinating world of opera.