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South Side Impresarios
Between the world wars, Chicago Race women nurtured a local yet widely resonant Black classical music community entwined with Black civic life. Samantha Ege tells the stories of the Black women whose acumen and energy transformed Chicago’s South Side into a wellspring of music making. Ege focuses on composers like Florence Price, Nora Holt, and Margaret Bonds not as anomalies but as artists within an expansive cultural flowering. Overcoming racism and sexism, Black women practitioners instilled others with the skill and passion to make classical music while Race women like Maude Roberts George, Estella Bonds, Neota McCurdy Dyett, and Beulah Mitchell Hill built and fostered institutions central to the community. Ege takes readers inside the backgrounds, social lives, and female-led networks of the participants while shining a light on the scene’s audiences, supporters, and training grounds. What emerges is a history of Black women and classical music in Chicago and the still-vital influence of the world they created. A riveting counter to a history of silence, South Side Impresarios gives voice to an overlooked facet of the Black Chicago Renaissance.
Emperors of Song
In the age of Verdi and Puccini, Wagner and Richard Strauss, opera in Britain and the USA was almost exclusively the preserve of individual private businessmen - the impresarios - who made (and lost) fortunes by personally employing the great stars of the day. Concentrating on the period 1860-1939, this book looks at the successes and disasters of such impresarios as Colonel James Mapleson, grandest and then most unlucky of showmen; and John Christie, whose love for his wife led to his building the largest private opera house since Bayreuth. Patti and Melba, Caruso and Tetrazzini - the legendary super-egos with jewels, parrots, castles and private investment accounts at Rothschilds - were the raw material these enterprising men tried to turn to gold.
LIFE
LIFE Magazine is the treasured photographic magazine that chronicled the 20th Century. It now lives on at LIFE.com, the largest, most amazing collection of professional photography on the internet. Users can browse, search and view photos of today’s people and events. They have free access to share, print and post images for personal use.
Regina Mingotti: Diva and Impresario at the King's Theatre, London
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...
Inventing the Business of Opera
In mid seventeenth-century Venice, opera first emerged from courts and private drawing rooms to become a form of public entertainment. Early commercial operas were elaborate spectacles, featuring ornate costumes and set design along with dancing and music. As ambitious works of theater, these productions required not only significant financial backing, but also strong managers to oversee several months of rehearsals and performances. These impresarios were responsible for every facet of production from contracting the cast to balancing the books at season's end. The systems they created still survive, in part, today. Inventing the Business of Opera explores public opera in its infancy, from ...
Dancing Machines
The age of high tech is haunted by an image from the last century that developed in the three decades between the patenting of the cinematographe and its turn toward sound: the dancing machine, paradox of the ease of mechanization and its tortures, embodiment of the motor and the automaton, image of fusion and fragmentation. An excavation of this image, in the historical context of maximum productivity and mechanical reproducibility, reveals its development in European Modernism--Modernism drawn to dancers of American, African, and Asian origins, to Taylorism as well as to Primitivism, to cinema and to myth. This book traces the abstraction and anonymity of the bodies making machines dance, in the codes of modernisms graphic and choreographic, and in the streamlined gestures of industry, avant-garde art, and entertainment. What surfaces is dances centrality to machine aesthetics and to its alternatives, as well as to the early elaboration of the machine that would become the ultimate guarantor of modern dances de-mechanization, the motion picture camera.
Performing Operas for Mozart
A study of the Prague Italian opera company and its role in performing Mozart's works in the late eighteenth-century.
Localizing Global Production
Discusses various methods of generating know-how in one region and speedily deploying it elsewhere to meet market demands or exploit competitive manufacturing advantages. Three detailed cases studies cover the Philippines, India and Ghana.
Under My Wings
(Limelight). "This book offers terrific insights on countless personalities, including George Balanchine, Lincoln Kirstein, Jerome Robbins, Lucia Chase, Nora Kaye, Mikhail Baryshnikov, Rudolf Nureyev, Judith Jamison, and Patrick Dupond. As dancer, teacher, and impresario, Paul Szilard met many colorful as well as bitchy characters, all of whom he describes in humorous detail...The impresario reveals the numerous aspects of the immensely talented but troubled Alvin Ailey...Here is a book so full of blunt comments, vast humor, and pathos that it isn't just for the dance world alone. Even the layman will garner knowledge, drama, and entertainment from it." Jennie Schulman, Back Stage "...a must for balletomanes and dance historians." Publishers Weekly
