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Books on the topic 'Opera, English'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Gilbert, Susie. Opera for everybody: The story of English National Opera. London: Faber and Faber, 2009.

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Opera for everybody: The story of English National Opera. London: Faber and Faber, 2009.

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3

Horace. Opera. 4th ed. Monachii: K.G. Saur, 2001.

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4

Nantucket soap opera. New York: Atheneum, 1987.

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5

Shakespeare, William. L' opera poetica. Milano: Oscar Mondadori, 2000.

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6

Fried, Block Adrienne, ed. Operas in English: A dictionary. Westport, Conn: Greenwood Press, 1999.

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7

Danesi, Marcel. Opera Italian!: An introduction to Italian through opera. 2nd ed. Welland, Ont: Éditions Soleil Pub., 2004.

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8

Jonas, Peter. Power house: The English National Opera experience. London: Lime Tree, 1992.

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9

English opera in late eighteenth-century London: Stephen Storace at Drury Lane. Oxford: Clarendon Press, 1997.

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10

Bolcom, William. McTeague: An opera in two acts in English. [New York]: E.B. Marks Music Co., 1992.

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11

As I saw it: Basil Douglas, Benjamin Britten and The English Opera Group 1955-1957. London: St. George's Publications, 1998.

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12

Horace. Opera omnia. Frauenfeldae: In Aedibus Huber, 1999.

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13

Great Britain. Parliament. House of Commons. National Heritage Committee. Funding of the performing and visual arts: Minutes of evidence, Thursday 14 December 1995 : English National Opera Glyndebourne Festival Opera Opera North Royal Opera Scottish Opera Welsh National Opera Association of British Orchestras. London: HMSO, 1996.

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14

Danesi, Marcel. Opera Italian!: Learn Italian as you enjoy Italian opera! : a self study. Welland, ON: Éditions Soleil Publishing, 1998.

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15

George, Biddlecombe. English opera from 1834 to 1864 with particular reference to the works of Michael Balfe. New York: Garland Pub., 1994.

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16

Aldiss, Brian Wilson. The eighty-minute hour: A space opera. London: Triad/Panther, 1985.

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17

Brecht, Bertolt. Trekhgroshovai︠a︡ opera: Pʹesy. Moskva: "OLMA-PRESS", 2000.

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18

John, Gay. The beggar's opera and companion pieces. Arlington Heights, Ill: H. Davidson, 1985.

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19

M, MacMurray Jessica, ed. 101 opera librettos: Complete original language texts with English translations. New York: Black Dog & Leventhal, 2002.

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20

Leroux, Gaston. Phantom of the opera. New York: Dorset Press, 1985.

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21

Leroux, Gaston. The Phantom of the Opera. New York: New American Library, 2010.

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22

Covent Garden: The untold story ; dispatches from the English culture war, 1945-2000. London: Simon & Schuster, 2000.

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23

Naughtie, James. James Naughtie interviews Mark Elder and David Pountney about the 1990 ENO production of Verdi's 'Macbeth'. London: BBC, 1990.

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24

Theroux, Anne. [A new opera version of 'King Lear': Discussion of Reimann's 'Lear', performed by the English National Opera at the London Coliseum; with Dick Witts]. [London]: [BBC], 1989.

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25

Parrott, E. O. How to be tremendously tuned in to opera. London, England: Penguin Books, 1990.

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26

Hodgart, Matthew John Caldwell. Joyce's grand operoar: Opera in Finnegans wake. Urbana, USA: University of Illinois Press, 1997.

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27

Strauss, Johann. The Metropolitan Opera version of Fledermaus: A version in English : libretto. New York: Boosey & Hawkes, 1989.

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28

Horace. Opera: The works of Horace, with English notes original and selected... London: Griffin, 1991.

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29

Lahee, Henry C. Opera In English. Kessinger Publishing, LLC, 2005.

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30

Donald, Pippin, Mozart Wolfgang Amadeus 1756-1791, Mozart Wolfgang Amadeus 1756-1791, Mozart Wolfgang Amadeus 1756-1791, Mozart Wolfgang Amadeus 1756-1791, Mozart Wolfgang Amadeus 1756-1791, Puccini Giacomo 1858-1924, et al., eds. Opera in English. San Francisco: Pocket Opera Press, 2007.

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31

Lahee, Henry C. Ballad And English Opera. Kessinger Publishing, LLC, 2005.

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32

Graziano, John. Italian Opera in English. Routledge, 2014. http://dx.doi.org/10.4324/9781315048598.

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33

Pippin, Donald. French opera in English. 2017.

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34

Preston, Katherine K. The American Opera Company. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0007.

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This chapter focuses on the philanthropist Jeannette Thurber, who founded the American (National) Opera Company (1885) to encourage high-caliber performances of continental operas translated into English. Her company was heavily subsidized by New York society and supported by establishment music critics. But both Thurber and her musical director Theodore Thomas misunderstood the American opera audience, and mounted serious works designed for cultural uplift, to the neglect of Italian and French operas that were popular among the general public. Society members were not interested in English-language opera because it was not sufficiently exclusive; middle-class operagoers were repelled both by the trappings of elitism and the expensive tickets. A close reinterpretation of the company’s failure reveals much about American operatic taste; it is also important in the context of this book because scholars have blamed the company’s spectacular demise on a general lack of support for English-language opera.

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35

Forsyth, Cecil. Music and Nationalism: A Study of English Opera. Library Reprints, 2001.

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36

Joncus, Berta. Ballad Opera. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.1.

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Between 1728 and 1760 ballad opera transformed London’s theatre by making English song the key to commercial success for stage works. By generating the first modern popular singers, it became a prototype for present-day British and American musical theatre. The jaw-dropping success of John Gay’s Beggar’s Opera established a new genre, of which three types developed, according to venue. Licensed theatres staged sentimental, putatively native ‘operas’ tailored around star sopranos such as Kitty Clive. Non-licensed theatres accommodated ballad operas with political intent, or those of particular local interest. Finally, ballad operas written for publication, not staging, deployed song to expose court scandal or protest against the government. The appeal of ballad opera depended on its songs, which pretended to instruct by appealing to popular prejudice, particularly against women. Although the Licensing Act of 1737 discouraged new works, staples of ballad opera still flourished on the London stage throughout the century.

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37

English Dramatick Opera, 1661-1706. Routledge, 2019.

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38

Stanshall, Vivian. Stinkfoot: An English Comic Opera. Sea Urchin Editions, 2003.

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39

Williams, Carolyn. Comic Opera. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.3.

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W. S. Gilbert (librettist) and Arthur Sullivan (composer) wrote fourteen works of musical theatre from 1871 to 1896, often called the ‘Savoy operas’ after 1881, when producer Richard D’Oyly Carte built the Savoy Theatre to house them. They crafted a distinctive genre of English comic opera through parodies of previous genres both high and low, both English and Continental. The operas are absurdist, parodic, and satirical, but are played in a deadpan style and are punctuated with resonantly affecting numbers. The comic operas by Gilbert and Sullivan are an essential precursor of the modern musical, and their depiction of English society is humorous yet critical, replete with satire of English institutions, the law, the professions, gender relations, and empire. They examine the theatricality of everyday life, the dynamics of socialization, accidents of birth and circumstance, the effects of tutelage and authority, Victorian exhibition culture, social class, gender, and nationalism.

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40

Preston, Katherine K. English-Language Opera in Postwar America. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0002.

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This chapter is a summary of opera production in America from the end of the 1850s, through the Civil War, and into the halcyon postwar period. The beginning of the opera bouffe craze and the activities of light and grand opera companies are examined within the context of the successful foreign-language troupes during and after the war. American soprano Clara Louise Kellogg exemplifies a successful American prima donna who later became the manager of her own English-language company; during these years, however, she sang in Max Maretzek’s Italian-language ensemble. The operatic activity of this chapter is set against the background of a turbulent period of American social and cultural history; the narrative ends just prior to the Panic of 1873.

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41

Walter, Crane. Baby's Opera. Random House UK Distribution, 1995.

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42

Baby's Opera. Random House UK Distribution, 1995.

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43

Bizet, Georges. Carmen: English National Opera Guide 13. Overture Publishing, 2016.

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44

Verdi, Giuseppe. Macbeth: English National Opera Guide 41. Oneworld Classics, 2011.

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45

Otello: English National Opera Guide 7. Oneworld Classics, 2011.

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46

Preston, Katherine K. The Renaissance of English-Language Opera in America. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0003.

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This chapter examines the two most important English-language troupes active during the late 1860s and early 1870s. Caroline Richings, known as a “manageress” or “directress,” performed before, during, and after the Civil War. Her success shows conclusively that Americans of the immediate postwar period were still interested in English-language opera, even though most music critics believed that this style of performance was old-fashioned and passé. Many believed that Richings created the English-language-opera renaissance in America. The Scottish soprano Euphrosyne Parepa arrived in America in 1865 as part of an itinerant concert troupe and subsequently sang in Italian-language opera companies. Richings’s success and popularity inspired her, and she organized her own English-language troupe, which quickly eclipsed that of her competitor. The success of these two prime donne—especially in the face of skepticism about Americans’ interest in vernacular opera—illuminates the operatic tastes of American audiences in the immediate postwar period.

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47

Operas in English: A Dictionary. Scarecrow Press, 2012.

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48

Operas in English: A Dictionary. Scarecrow Press, 2012.

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49

Stephenson, B. C. d. 1906., ed. The lyrics of Dorothy: A comedy opera in three acts. Toronto: Anglo-Canadian Music Publishers' Association, 1993.

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50

Verdi, Giuseppe. Don Carlos: English National Opera Guide 46. Oneworld Classics, 2011.

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