Description

Book Synopsis
Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic.

Trade Review
One of Choice's Outstanding Academic Titles for 2005

Table of Contents
*Frontmatter, pg. i*Contents, pg. vii*List of Illustrations, pg. ix*Acknowledgments, pg. xi*Introduction, pg. 1*CHAPTER 1. The Phantom of the Opera: The Lost Voice of Opera in Silent Film, pg. 19*CHAPTER 2. Brothers at the Opera, pg. 33*CHAPTER 3. Otello's One Voice, pg. 53*CHAPTER 4. Falstaff 's Free Voice, pg. 81*CHAPTER 5. Opera on the Phone: The Call of the Human Voice, pg. 113*CHAPTER 6. Fellini's Ashes, pg. 131*NOTES, pg. 153*INDEX, pg. 183

Vocal Apparitions The Attraction of Cinema to Opera

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    A Hardback by Michael Grover–friedlan

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      Publisher: Princeton University Press
      Publication Date: 2/27/2005 12:00:00 AM
      ISBN13: 9780691120089, 978-0691120089
      ISBN10: 0691120080

      Description

      Book Synopsis
      Grover-Friedlander argues that filmed operas such as Zeffirelli's Otello and Friedrich's Falstaff show the impossibility of a direct transformation of the operatic into the cinematic.

      Trade Review
      One of Choice's Outstanding Academic Titles for 2005

      Table of Contents
      *Frontmatter, pg. i*Contents, pg. vii*List of Illustrations, pg. ix*Acknowledgments, pg. xi*Introduction, pg. 1*CHAPTER 1. The Phantom of the Opera: The Lost Voice of Opera in Silent Film, pg. 19*CHAPTER 2. Brothers at the Opera, pg. 33*CHAPTER 3. Otello's One Voice, pg. 53*CHAPTER 4. Falstaff 's Free Voice, pg. 81*CHAPTER 5. Opera on the Phone: The Call of the Human Voice, pg. 113*CHAPTER 6. Fellini's Ashes, pg. 131*NOTES, pg. 153*INDEX, pg. 183

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