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The Old Italian School of Singing
This work describes in accessible language the technical foundations of the Old Italian School of Singing. It enables the reader to grasp the teachings of the old masters theoretically and practically. The research for this book used not only the old treatises from the 1700's onwards but also firsthand testimonies, biographies and recordings from historical singers. The author systematically takes us through the basic elements of historical singing with practical hints and exercises tested by extensive teaching experience.
The Definitive Diva
Maria Callas was, perhaps, the greatest opera singer of the 20th century. Hers was a life lived on the world stage, and her fame extended to the public consciousness of many parts of the world. Even after her mysterious death in 1977, her singing and acting continue to thrill new generations of opera fans thanks to her many recordings and her fascinating life. This new biography of Callas tells her story from difficult beginnings as the daughter of Greek immigrants to New York City in 1923 to her wonderful performances at La Scala, Covent Garden, and the Metropolitan Opera. Callas was quite a diva and a master at creating a captivating public image. She also became notorious because of her very public affair with Aristotle Onassis, the wealthy ship-owner who left Callas to marry Jacqueline Kennedy.
The Callas Imprint: A Centennial Biography
Coating opera's roles in opulence, Maria Callas (1923-1977) is a lyrical enigma. Seductress, villainess, and victor, queen and crouching slave, she is a gallery of guises instrumentalists would kill to engineer… made by a single voice. But while her craftsmanship has stood the test of time, Callas’ image has contested defamation at the hands of saboteurs of beauty. Twelve years in the making, this voluminous labour of love explores the singer with the reverence she dealt her heroines. The Callas Imprint: A Centennial Biography reaps never-before-seen correspondence and archival documents worldwide to illustrate the complex of their multi-faceted creator - closing in on her self-contradictions, self-descriptions, attitudes and habits with empathic scrutiny. It swivels readers through the singer's on- and offstage scenes and flux of fears and dreams... the double life of all performers. In its unveiling of the everyday it rolls a vivid film reel starring friends and foes and nobodies: vignettes that make up life. It's verity. It's meritable storytelling. Not unlike the Callas art.
"O ma Carmen"
"Qu'est-ce que c'est?" (What is it?) mezzo-soprano Celestine Galli-Marie asked when offered the title role in the 1875 premier of Bizet's new opera, Carmen. She was only the first in a long line of performers to ask. In the 140+ years since, each singer has crafted her own portrayal of the inscrutable Gypsy. The famous soprano Geraldine Farrar wrote: "Each one of us probably sees something that the others have not seen--or thinks she does--and that 'something' is her individual Carmen." This book explores the history of operatic portrayals of Bizet's elusive enchantress, tracing the development of vocal and dramatic interpretations from generation to generation around the globe.
Library Journal
Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.
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Operatica
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