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Gluck
Hannah Gluckstein (who called herself Gluck; 1895–1976) was a distinctive, original voice in the early evolution of modern art in Britain. This handsome book presents a major reassessment of Gluck's life and work, examining, among other things, the artist's numerous personal relationships and contemporary notions of gender and social history. Gluck's paintings comprise a full range of artistic genres—still life, landscape, portraiture—as well as images of popular entertainers. Financially independent and somewhat freed from social convention, Gluck highlighted her sexual identity, cutting her hair short and dressing as a man, and the artist is known for a powerful series of self-portraits that played with conventions of masculinity and femininity. Richly illustrated, this volume is a timely and significant contribution to gender studies and to the understanding of a complex and important modern painter.
The Modern Castrato
The Modern Castrato: Gaetano Guadagni and the Coming of a New Operatic Age chronicles the career of the most significant castrato of the second half of the eighteenth-century. Guadagni may have been the only singer of the time fully able to understand the demands and opportunities of this reform, as well to possess the intelligence and self-knowledge to realize that it suited his skills, limitations and temperament perfectly--making him the first castrato to embrace the concepts of modern singing.
Zone 2
The year is 2059, and computer expert Brad Cole has no idea who he is. After being beaten and left for dead, Brad comes to with no memory of his past, his presentor his identity. As he struggles to rebuild his lost memories and life, he learns about the sinister secrets his company doesnt want him to understand. When he learns that his company has duped the staff into working on building pathways to a parallel world it has discovered, he is compelled to make a series of expeditions to this even more dangerous parallel worldknown only as Zone 2in which the Nazis emerged victorious at the end of World War II. There, he finds brutality, pain, and danger. There is little comfort for him in the seemingly familiar trappings of this puzzling world under Nazi control. It offers as many surprises as it does similarities to the life he struggles to remember. With the help of a beautiful and mysterious woman, Brad explores this strange new realm, desperately hoping to find the answers he needs.
Christoph Willibald Gluck
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.
The Record Collector
"A magazine for collectors of recorded vocal art" (varies).
Criticism of the Court and the Evil King in the Middle Ages
Examining literary narratives from the tenth through the fifteenth centuries, this book explores how writers used their craft to voice harsh criticism of the ruling class and unearths a deep distrust of kings and other authority figures during the Middle Ages.
Gluck
As stubborn as she was gifted, as fierce as she was tender, and notorious for her mannish dress that was provocative and chic in equal measure, Gluck was an artist and a rebel. Born Hannah Gluckstein in 1895 into the family that founded the J. Lyons & Co. catering company, she had passionate affairs with society women such as Constance Spry and exhibited her portraits, flower paintings and landscapes in 'one man' shows that captivated the beau monde of the 1920s and 30s. But Gluck's success was never unmixed with controversy: at the height of her fame she stopped working, caught in a bitter campaign over the quality of artists' materials, and her personal life was rarely less than torrid. In Gluck Diana Souhami captures this paradoxical, talented and unusual woman in all her complexity.
The Arts of the Prima Donna in the Long Nineteenth Century
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 Ninet...
