The Story of OperaW. Scott Publishing Company, 1909 - 270 páginas |
Outras edições - Ver tudo
Palavras e frases frequentes
Ambroise Thomas Appendix Aria artistic Ballad Opera ballet Bass Bayreuth beautiful Beethoven Bellini Berlin best known Bohemian Buononcini charm Cherubini chief composer of opera composition concert conductor Covent Garden Der Freischütz dialogue Donizetti dramatic Dresden early England English composer English opera Euridice fame famous Faust Fidelio followed form of opera France Freischütz French opera German opera Gluck Grand Opera Handel heard hearing history of opera idea influence instruments interest Italian opera La Scala large number leit-motif libretto Lohengrin London Lully Madame masques Mefistofele melody methods Meyerbeer Monteverde Mozart musician Naples number of operas Opera Buffa Opera Comique opera composers Opera House operetta oratorio orchestra overture Paris Parsifal performances Piccini popular poser produced recitative Reforms Rossini Russian Scarlatti singers singing Singspiel songs soprano Spontini stage story style success Tannhäuser tenor theatre themes to-day tuneful Verdi Vienna vocal Wagner Weber writing written wrote operas
Passagens conhecidas
Página 23 - I endeavored to reduce music to its proper func-tion, that of seconding poetry by enforcing the expression of the sentiment, and the interest of the situations, without interrupting the action, or weakening it by superfluous ornament.
Página 46 - Some say, compar'd to Bononcini, That Mynheer Handel's but a ninny ; Others aver that he to Handel Is scarcely fit to hold a candle.' Strange all this difference should be Twixt Tweedledum and Tweedledee.
Página 23 - I have not thought it right to hurry through the second part of a song if the words happened to be the most important of the whole, in order to repeat the first...
Página 187 - Soldiers, and 100 Horsemen in iron armour ; besides 40 Cornets, on horseback ; 6 mounted Trumpeters ; 6 Drummers ; 6 Ensigns; 6 Sackbuts; 6 Flutes; 12 Minstrels, playing on Turkish and other Instruments ; 6 Pages ; 3 Sergeants ; 6 Cymbaleers ; 12 Huntsmen ; 12 Grooms ; 12 Charioteers ; 2 Lions, led by 2 Turks ; 2 led Elephants ; Berenice's Triumphal Car, drawn by 4 Horses ; six other Cars, drawn by...
Página 23 - When I undertook to set the opera of 'Alceste' to music, I resolved to avoid all those abuses which had crept into Italian opera through the mistaken vanity of singers and the unwise compliance of composers...
Página 187 - Soldiers. 100 Horsemen in Iron Armour. 40 Cornets on Horseback. 6 Mounted Trumpeters. 6 Drummers. 6 Ensigns. 6 Sackbuts. 6 Flutes. 12 Minstrels playing on Turkish instruments, etc. 6 Pages. 3 Sergeants. 6 Cymbaleers. 12 Huntsmen. 12 Grooms. 12 Charioteers. 2 Lions led by 2 Turks. 2 Elephants. 4 Horses with Berenice's Triumphal Car.
Página 23 - ... in order to allow the singer to exhibit his power of varying the passage at pleasure. In fact, my object was to put an end to abuses against which good taste and good sense have long protested in vain.
Página 23 - I have avoided making a parade of difficulties at the expense of clearness; I have set no value on novelty as such, unless it was naturally suggested by the situation and suited to the expression; in short there was no rule which I did not consider myself bound to sacrifice for the sake of effect.
Página 219 - Entfuhrung aus dem Serail (1782), Le Nozze di Figaro (1786), Don Giovanni (1787), Cost fan tutte (1790), La Clemenza di Tito (1791), Die Zauberflote (1791).
Página 158 - But this is exceptional rather than the rule, and it is to be feared that the neophyte, visiting the opera in a state of glorious ignorance, generally comes away with an inglorious feeling of unrealized ideals and unattained expectations.