The Figaro Plays


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Originally published: London: J.M. Dent, 1997.







The Figaro Trilogy


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The Barber of Seville * The Marriage of Figaro * The Guilty Mother Eighteenth-century France produced only one truly international theatre star, Beaumarchais, and only one name, Figaro, to put with Don Quixote or D'Artagnan in the ranks of popular myth. But who was Figaro? Not the impertinent valet of the operas of Mozart or Rossini, but both the spirit of resistance to oppression and a bourgeois individualist like his creator. The three plays in which he plots and schemes chronicle the slide of the ancien régime into revolution but also chart the growth of Beaumarchais' humanitarianism. They are also exuberant theatrical entertainments, masterpieces of skill, invention, and social satire which helped shape the direction of French theatre for a hundred years. This lively new translation catches all the zest and energy of the most famous valet in French literature. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.




Le nozze di Figaro


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John Wells introduces the opera with a high-spirited account of the action-packed career of the author, in many respects the prototype of Figaro himself. Basil Deane explores the score: he shows that Mozart's characters are illuminated here not so much in soliloquies but in their reactions to each other. Composer Stephen Oliver discusses how the comedy exists not just in the words but, essentially, in the music. The full Italian text is given, with a note on the order of scenes in Act Three and the alternative passages Mozart wrote for the 1789 revival. The classic translation of E.J. Dent is an excellent way to get to know the twists and turns of the plot and the stylish wit of da Ponte's innuendos.Contents: A Society Marriage, John Wells; A Musical Commentary, Basil Deane; Music and Comedy in 'The Marriage of Figaro, Stephen Oliver; Beaumarchais's Characters; Le nozze di Figaro: Libretto by Lorenzo da Ponte; The Marriage of Figaro: English version by Edward J. Dent




Figaro


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He's getting married in the morning, and the enterprising Figaro (servant, barber, professional troublemaker) couldn't be happier. But with everybody scheming to come between him and his bride, Figaro will need all his cunning to make it down the aisle. This new adaptation of Beaumarchais' comic masterpiece is not only hilariously funny, but has a razor sharp political edge.




The Figaro Plays


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Beaumarchais in Seville


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Despite the differences of their subject matter, science and theology have a cousinly relationship, John Polkinghorne contends in his latest thought-provoking book. From his unique perspective as both theoretical physicist and Anglican priest, Polkinghorne considers aspects of quantum physics and theology and demonstrates that the two truth-seeking enterprises are engaged in analogous rational techniques of inquiry. His exploration of the deep connections between science and theology shows with new clarity a common kinship in the search for truth. The author identifies and explores key similarities in quantum physics and Christology. Among the many parallels he identifies are patterns of historical development in quantum physics and in Christology; wrestling with perplexities such as quantum interpretation and the problem of evil; and the drive for an overarching view in the Grand Unified Theories of physics and in Trinitarian theology. Both theology and science are propelled by a desire to understand the world through experienced reality, and Polkinghorne explains that their viewpoints are by no means mutually exclusive.




Rhythmic Gesture in Mozart


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Wye Jamison Allanbrook’s widely influential Rhythmic Gesture in Mozart challenges the view that Wolfgang Amadeus Mozart’s music was a “pure play” of key and theme, more abstract than that of his predecessors. Allanbrook’s innovative work shows that Mozart used a vocabulary of symbolic gestures and musical rhythms to reveal the nature of his characters and their interrelations. The dance rhythms and meters that pervade his operas conveyed very specific meanings to the audiences of the day.




The Marriage of Figaro


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Pierre-Augustin Caron de Beaumarchais (1732-1799) was an exceptional French writer of prose comedy during the eighteenth century. He is best known for his theatrical works of the three Figaro plays. Beaumarchais had an action-filled career as a watchmaker, musician, secret agent, businessman, diplomat and a financer of revolutions. His literary career was as turbulent as his personal life. After a series of lawsuits in Paris, the accounts of his trials made his reputation as a sarcastic, effective, and recognized writer. -The Marriage of Figaro- is the second in the Figaro Trilogy, preceded by -The Barber of Seville- and followed by -The Guilty Mother-. It was originally a comic opera, or a mixture of spoken play with music. This play was considered a foreshadowing of the French Revolution in its offense of the rights of the aristocracy. It was first banned in Vienna due to its satire of the nobility, considered dangerous in the decade before the revolution. Thanks to the great success of its predecessor, it opened with enormous success, eventually becoming one of Mozart's most successful operatic works.




The Three Figaro Plays


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