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Michael Burden
Papers of Michael Burden relating to his book 'Lost Adelaide' (published by O.U.P., 1983), comprising manuscript, research papers, correspondence and a file of accounts.
A Woman Scorn'd
Dido and Aeneas has been one of the most compelling and durable of the great classical myths. The material the story offers has led artists, authors and musicians throughout the centuries to appropriate - and misappropriate - the story for both artistic and political ends. Ten distinguished contributors from the fields of Fine Art, History, English Literature, Classics and Music examine the myth itself and the way in which it has been re-interpreted by later authors. The volume opens with a consideration of the theatrical aspects of Book IV of Virgil's Aeneid, the character of Dido and the appearances of Mercury, while later interpretations discussed include the way the image of the Queen has been used in art, a play by Marlowe, operas by Cavalli and Purcell, and seventeenth-century English satire. Michael Burden - the Editor of this stimulating volume - was Lecturer in Music at New College, Oxford, from 1989, and since1995 has been Fellow in Opera Studies at New College. His research interests are centred on seventeenth- and eighteenth-century music, particularly English opera.
Purcell Remembered
Purcell was the greatest ornament of English music in the seventeenth century, and has been a source of inspiration for British composers ever since. This book offers a portrait of the composer both in his time and since, using diaries, letters and official and published writings from the seventeenth to the twentieth centuries.
Burden
A harrowing true story of the modern Ku Klux Klan and an act of grace that shook a community in the Deep South. The true events that inspired the film, with a foreword by writer/director Andrew Heckler In 1996, the town of Laurens, South Carolina, was thrust into the international spotlight when a white supremacist named Michael Burden opened a museum celebrating the Ku Klux Klan on the community's main square. Journalists and protestors flooded the town and hate groups rallied to the establishment's defence, dredging up the long history of racial violence in this formerly prosperous mill town. Shortly after his museum opened, Michael Burden abruptly left the Klan at the urging of a woman he...
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...
London Opera Observed 1711-1844
The thrust of these five volumes is contained in their title, London Opera Observ’d. It takes its cue from the numerous texts and volumes which — during the seventeenth, eighteenth and nineteenth centuries — used the concept of ‘spying’ or ‘observing’ by a narrator, or rambler, as a means of establishing a discourse on aspects of London life. The material in this five-volume reset edition examines opera not simply as a genre of performance, but as a wider topic of comment and debate. The stories that surrounded the Italian opera singers illuminate contemporary British attitudes towards performance, sexuality and national identity. The collection includes only complete, publishe...
The Ashgate Research Companion to Henry Purcell
The Ashgate Research Companion to Henry Purcell provides a comprehensive and authoritative review of current research into Purcell and the environment of Restoration music, with contributions from leading experts in the field. Seen from the perspective of modern, interdisciplinary approaches to scholarship, the companion allows the reader to develop a rounded view of the environment in which Purcell lived, the people with whom he worked, the social conditions that influenced his activities, and the ways in which the modern perception of him has been affected by reception of his music after his death. In this sense the contributions do not privilege the individual over the environment: rather...
Burden
A harrowing true story of the modern Ku Klux Klan and an act of grace that shook a community in the Deep South.The true events that inspired the film, with a foreword by writer/director Andrew HecklerIn 1996, the town of Laurens, South Carolina, was thrust into the international spotlight when a white supremacist named Michael Burden opened a museum celebrating the Ku Klux Klan on the community's main square. Journalists and protestors flooded the town and hate groups rallied to the establishment's defence, dredging up the long history of racial violence in this formerly prosperous mill town. Shortly after his museum opened, Michael Burden abruptly left the Klan at the urging of a woman he f...
Henry Purcell's Operas
While understanding the concept of all-sung opera, seventeenth-century English impresarios and their audiences also understood opera to mean spoken plays with a large amount of added music. The works have been given a variety of descriptive titles including `semi-operas', `ambigues', `multi-media spectaculars', and, most appropriately, `dramatick operas'. As well as four big dramatick operas, Henry Purcell also wrote a small all-sung masque, Dido and Aeneas, which is one of the few works of the century which fulfils a modern ideal of `opera'. The music of Purcell's operas has long been studied in detail, but it is only in recent years--and not by all scholars--that the operas have been taken...
