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Seventy Years of Issues
Short-listed for the 2002 Award for Excellence in Historical Recorded Sound Research In the seventy years since 1931, various organizations large and small, including several semi-private ones, have issued or re-issued various original 78 rpm recordings from original metal plates. No comprehensive listing of these has ever before appeared; this is the first, and gathers together all the various information of ongoing interest. This is a most important addition to the record-collecting bibliography.
The Teatro Solís
The first comprehensive history of the oldest major opera house in the Americas.
The Cambridge Companion to Verdi
This Companion provides a biographical, theatrical, and social-cultural background for Verdi's operas, examines in detail important general aspects of its style and method of composing, and synthesizes stylistic themes in discussions of representative works. Aspects of Verdi's milieu, style, creative process, and critical reception are explored in essays by highly reputed specialists. Like others in the series this Companion is aimed primarily at students and opera lovers.
Notable American Women, 1607-1950
Vol. 1. A-F, Vol. 2. G-O, Vol. 3. P-Z modern period.
Opera News
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Hobbies
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Geraldine Farrar
From 1906 until 1922, Geraldine Farrar was the Metropolitan Opera's most popular and glamorous prima donna. Convinced that music must always serve the drama, she often sacrificed tonal beauty to dramatic effect, and her acting was noted for its intensity and realism. Nevertheless, Farrar was a superb singer, possessing a beautiful lyric soprano voice. Farrar was also a star of the silent screen, appearing in 14 films from 1915 to 1920. In retirement, she was mentor and friend to the African American soprano Camilla Williams, enabling Williams to become the first African American to have a regular contract with a major American opera company. This biography and critical analysis of Farrar's career provides a detailed account of her major contributions to the history of opera.
Wagner Nights
As never before or since, Richard Wagner's name dominated American music-making at the close of the nineteenth century. Europe, too, was obsessed with Wagner, but—as Joseph Horowitz shows in this first history of Wagnerism in the United States—the American obsession was unique. The central figure in Wagner Nights is conductor Anton Seidl (1850-1898), a priestly and enigmatic personage in New York musical life. Seidl's own admirers included the women of the Brooklyn-based Seidl Society, who wore the letter "S" on their dresses. In the summers, Seidl conducted fourteen times a week at Brighton Beach, filling the three-thousand-seat music pavilion to capacity. The fact that most Wagnerites ...
Recorded Sound
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