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Books on the topic 'Libretto opera series'

Author: Grafiati

Published: 5 June 2025

Last updated: 24 June 2025

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Consult the top 33 books for your research on the topic 'Libretto opera series.'

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1

1798-1870, Hertz Henrik, Pushkin Aleksandr Sergeevich 1799-1837, Tchaikovsky Peter Ilich 1840-1893, et al., eds. Iolanta: + ballet Casse-noisette. Les Éditions Premières Loges, 2016.

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2

La Traviata (Opera Journeys Libretto Series). Opera Journeys, 2001.

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3

Don Giovanni (Opera Journeys Libretto Series). Opera Journeys, 2002.

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4

Cavalleria Rusticana (Opera Journeys Libretto Series). Opera Journeys Libretto Series, 2014.

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5

Fisher, Burton D. Madama Butterfly (Opera Journeys Libretto Series). Opera Journeys, 2001.

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6

Fisher, Burton D. La Boheme (Opera Journeys Libretto Series). Opera Journeys, 2001.

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7

Fisher, Burton D. I Pagliacci (Opera Journeys Libretto Series). Opera Journeys, 2002.

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8

Fisher, Burton D. La Cenerentola (Opera Journeys Libretto Series). Opera Journeys Publishing, 2006.

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9

Fisher, Burton D. The Magic Flute (Opera Journeys Libretto Series). Opera Journeys, 2001.

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10

Fisher, Burton D. Samson and Delilah (Opera Journeys Libretto Series). Opera Journeys Publishing, 2005.

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11

The Marriage of Figaro (Opera Journeys Libretto Series). Opera Journeys, 2001.

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12

The Barber of Seville (Opera Journeys Libretto Series). Opera Journeys Libretto Series, 2013.

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13

Fisher, Burton D. Verdi's LUISA MILLER Opera Study Guide and Libretto: Opera Classis Library Series. Opera Classics Library Series, 2017.

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14

Hutcheon, Linda, and Michael Hutcheon. Adaptation and Opera. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.17.

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The tried and tested, not the new and original, became the norm early in the over-400-year history of opera, the Ur-adaptive art: because opera is a costly art form to produce, misjudging one’s audience can be disastrous. This may explain the persistence of a version of that familiar, limiting fidelity theory that has gone out of fashion in recent years in other areas. Since the Romantic period, opera’s tradition of Werktreue has demanded authenticity in realizing the operatic work authenticated by tradition. This has made the critical acceptance of adaptations of opera to film, for instance, a challenge. This essay theorizes not only adaptation into opera but also the adaptation of operas to both old and new media. The first, opera as adaptation, is especially complex, for it involves a series of stages: adapted text to libretto; libretto set to musical score; both libretto and score put on stage.

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15

Verdi, Giuseppe. Macbeth: Melodramma in Four Acts. Libretto by Francesco Maria Piave (The Works of Giuseppe Verdi, Series I: Operas). University Of Chicago Press, 2006.

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16

Williams, Gareth. Navigate the Blood. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450603.

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Navigate The Blood is an 80-minute opera conceived by Gareth Williams, co-composed by Williams and Admiral Fallow, with a libretto by Sian Evans. The work aims to find new partners, participants, collaborators and audiences for contemporary opera in Scotland, by developing a new methodology for creating work in this genre. The work was developed at NOISE Opera between 2015 and 2018, and produced in partnership with Glasgow Distillery, where the premiere took place on 2 November 2018. The work toured throughout November 2018 and 40% of the audience who attended performances were new to opera. Williams, opera composer and musical director of NOISE Opera, invited the indie folk band Admiral Fallow to collaborate on a concept opera that explored the industry and community of distilling in Scotland. After a series of research trips, interviews with distillers across Scotland, musical workshops, and readings of the libretto, a process was devised to mentor the new operamakers (Admiral Fallow) through the process of co-creating opera, creating a common language across the genres of indie folk/pop and opera, during the writing of this music theatre work. Through a new partnership with Glasgow Distilleries, seven distilleries across Scotland were secured as performance venues, and the whisky/gin making communities of Scotland were consulted and involved in the process of creating the libretto for the work. The work was performed in distilleries across Scotland: Glasgow Distillery, Oban Distillery, Glen Scotia Distillery, Campeltown, Ardnahoe Distillery, Islay, Blair Atholl Distillery, Pitlochry, Lost Loch Distillery, Aboyne, Summerhall Edinburgh and La Taverna Aviemore. The completed score is a collaborative document, where Williams placed the work of Admiral Fallow songwriters, Louis Abbot and Sarah Hayes, into the framework of the opera, alongside his own music, blending the different voices, gestures, genres and timbres into a cohesive, singular, dramatic piece.

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17

Sartorio, Antonio. Giulio Cesare in Egitto. Edited by Craig Monson. A-R Editions, 1991. http://dx.doi.org/10.31022/y2-012.

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Scarcely any operas from the period between Cavalli and Alessandro Scarlatti have been published in modern editions. Antonio Sartorio's Giulio Cesare in Egitto, first performed in Venice in 1676, reduces this gap. The present edition reconstructs the versions from both the Venetian premiere and the Naples revival of 1680. The opera illustrates the flexible intermingling, characteristic of this period, of dramatic recitative and the incipient da capo aria, and also serves as an interesting foil for Handel's popular Giulio Cesare, which was based on the same libretto and, possibly, even some of Sartorio's music.

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18

Bauman. GER OPERA LIBRETTOS II (German Opera Series Vol 19). Music-Garland, 1985.

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19

Sutherland, Andrew. Queer Opera. The Rowman & Littlefield Publishing Group, 2023. https://doi.org/10.5040/9781978723825.

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In Queer Opera, Andrew Sutherland argues that operas often reflect characteristics of the society and epistime in which they are written but that they also do much more than that; operas have agency. LGBTQ+ social, cultural, and political issues have become an increasingly defining feature of twenty-first century life, and as agency for change, composers have turned to opera to underscore the lived queer experience. Sutherland posits that operas written before the sexual revolution of the mid-twentieth century utilized a codified language both in the libretto and score, communicating with those observers open to a queer reading. He explores the growing trend of local, small-scale, independent opera companies seen around the world towards the end of the first decade of the twenty-first century and argues that this has emboldened queer artists to reclaim opera as a queer space. He further argues that for several centuries, opera houses have been safe havens for queer composers, librettists, performers, and designers, and yet it is only relatively recently that any serious attempt at queer representation in operatic works has begun to be realized. In this book, he examines narratives and music of selected operas to walk through queer history in Western societies and shines a light on how many of opera’s well-known characters, based on historical figures who represent pivotal moments in the queer story, are responsible in a variety of ways for the continued struggle for queer acceptance.

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20

Giuseppe, Verdi. Rigoletto : Melodramma in tre atti (Ricordi Opera Vocal Score Series). Casa Ricordi-Bmg Ricordi S.P.A., 2000.

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21

Fisher, Burton D. Puccini's MANON LESCAUT: Opera Classics Library Series. Opera Journeys Publishing, 2005.

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22

Verdi's Rigoletto: Opera Classics Library Series. Opera Journeys Publishing, 2005.

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23

Wolf. DIE DORFDEPUTIERTEN (German Opera 1770-1800 Series Vol 2). Music-Garland, 1985.

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24

undifferentiated, Richard Wagner. Die Walkure (The Walkyr) (Fred Rullman Series of Grand Opera Libretti). Franco Colombo, 1985.

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25

Mascagni, Pietro, and Burton D. Fisher. Cavalleria Rusticana (Opera Journeys Mini Guide Series). Opera Journeys, 2000.

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26

Mozart's Don Giovanni: Opera Classics Library Series. Opera Journeys Publishing, 2005.

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27

The Tales of Hoffmann: A Performance Guide (Vox Music Ae Series, 5). Pendragon Press, 2001.

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28

Giuseppe, Verdi. Giovanna d'Arco: Dramma lirico in Four Acts by Temistocle Solera (The Works of Giuseppe Verdi, Series I: Operas). University Of Chicago Press, 2008.

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29

Giuseppe, Verdi. La traviata: Melodramma in Three Acts, Libretto by Francesco Maria Piave (The Works of Giuseppe Verdi, Series I: Operas). University Of Chicago Press, 1997.

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30

Giuseppe, Verdi. Stiffelio: Libretto (in three acts) by Francesco Maria Piave (The Works of Giuseppe Verdi, Series I: Operas). University Of Chicago Press, 2003.

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31

Mozart's The Marriage of Figaro: Opera Classics Library Series (Opera Classics Library). Opera Journeys Publishing, 2001.

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32

Dibbern, Mary, and Georges Bizet. Carmen: A Performance Guide (Vox Music Ae Series, 4). Pendragon Pr, 2001.

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33

Giuseppe, Verdi. Il corsaro: Melodramma tragico in Three Acts, Libretto by Francesco Maria Piave (The Works of Giuseppe Verdi, Series I: Operas). University Of Chicago Press, 1999.

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