| Philip Gossett, Friedrich Lippmann, Andrew Porter - Music - 1983 - 372 pages
These five biographies provide the first complete survey of Italian opera from the early buffo operas of Rossini to Verdi's great masterpieces, Otello and Falstaff, and the ... | |
| Abramo Basevi - Music - 2013 - 311 pages
Abramo Basevi published his study of Verdi’s operas in Florence in 1859, in the middle of the composer’s career. The first thorough, systematic examination of Verdi’s operas ... | |
| Roger Parker - Music - 2007 - 270 pages
Each entry in this New Grove series of composers and their operas is based on articles in The New Grove Dictionary of Opera, that feature information on the lives of individual ... | |
| Martin Chusid - Music - 1997 - 448 pages
During the middle phase of his career, 1849-1859, Verdi created some of his best-loved and most frequently performed operas, including Luisa Miller, Rigoletto, Il trovatore, La ... | |
| William Berger - Music - 2010 - 514 pages
Everything you could possibly know about Verdi and his operas, from the brilliant and humorous author of Wagner Without Fear. If you want to know why La traviata was actually a ... | |
| Gilles de Van - Biography & Autobiography - 1998 - 444 pages
But in the musical drama reality begins to blur, the musical forms lose their excessively neat patterns, and doubt and ambiguity undermine characters and situations, reflecting ... | |
| Julian Budden - Music - 1973 - 568 pages
Julian Budden's monumental three-volume survey of the operas of Verdi. Hailed on publication for its extraordinary comprehensibility, the set has become the classic reference ... | |
| Philip Gossett - Music - 2008 - 699 pages
Winner of the 2007 Otto Kinkeldey Award from the American Musicological Society and the 2007 Deems Taylor Award from the American Society of Composers, Authors, and Publishers ... | |
| Fabrizio Della Seta - Music - 2012 - 328 pages
Opera often seems to arouse either irrational enthusiasm or visceral dislike. Such madness, as Goethe wrote, is indispensable in all theater, and yet in practice, sentiment and ... | |
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