Search results for ""Author John Nicholas""

City of culture, 2600 BC presents the city which lies beneath the surface of the archaeological site of Abu Salabikh in south Iraq, first investigated in the 1960s and excavated in the 1970s and 1980s. It starts from the facts on the ground, and shows how the material remains can resurrect the city, illuminated by its library of literary and lexical texts, and documents from institutional administration. The archaeology and the textual data reinforce each other and together convey a picture of the city and its architecture, agricultural and industrial enterprises, and social structure. These are all integrated with our wider knowledge of south Mesopotamia at this time, and with the world view given us by the rich body of Sumerian literature myths, epics and religious texts, but also homespun secular philosophy to create a vivid image of city life in 2600 BC.This is an account of one city and what it tells us. Cities were the defining components of early Mesopotamia, acting as the bas

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These Opera Guides are ideal com-panions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. Italian opera expert William Ashbrook asks why this love story attracted new audiences to the opera house when it was first performed, and what gives this 'tragedy of fragile sentiment' such an enduring appeal. Neither subject nor score is conventional, yet the sound picture is bound together with a quickness and lightness of touch that the young composer learnt from the eighty-year-old Verdi, whose Falstaff was premiered while La boheme was being conceived. Joanna Richardson surveys the actual Bohemians who inspired, or at least unwittingly supplied the raw material for, Murger's book on which the story is based. Edward Greenfield and Nicholas John examine the subtleties of this best-loved of operas and the merits of a libretto which took Italy's best librettists over three years to finish.

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'See how the drama is turned into laughter,' comment the chorus, as they witness the destruction of a marriage and a friendship. Here Pierluigi Petrobelli shows how the irony woven into the tragedy (which strikes listeners today as so modern) results from the meeting of French and Italian operatic traditions. Is this really a ridiculous libretto irredeemably mangled by a censorship which demanded that Enlightenment Sweden had to become seventeenth-century Boston? Or is it Verdi's finest achievement, with its perfectly symmetrical drama and beautiful variety? Since it dates from a time when Verdi and his librettist were actively drafting an operatic treatment of King Lear, it is not surprising to find that Un ballo in maschera echoes some of the themes in Shakespeare's tragedy. Benedict Sarnaker analyses the extended love duet - the kernel of the score, and the pivot of the action. In a detailed study of the musical structure of the great Act Two finale, Harold Powers looks at the laughingA" chorus and at the quicksilver character of Oscar, unique in Verdi's work. Three detailed essays introduce one of the most debated classics in Italian opera.

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In this guide, Julian Budden reviews the difficulties that faced the management that had commissioned La Traviata and how, in some previously unpublished letters, Verdi fought their views on casting the leading lady. Denis Arnold contributes a musical commentary. April FitzLyon discusses the social background of the 'lady of the camellias' in fact, fiction and on the stage, and Nicholas John compares the libretto with the play to show how skilfully it was adapted for the operatic stage.

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This opera has been described as "the longest single smile in the German language". But Roland Matthews indicates that violence is not far beneath the surface of this portrait of medieval Nuremberg. Arnold Whittall's analysis gives a bird's-eye view of the complexity of the score. Timothy McFarland explores the significance of the choice of subject: that nostalgia for a pre-industrial community, which was a symptom of the German nationalist movement. The long text has many subtleties which opera audiences can hardly appreciate without reading it, and the musical themes are numbered to indicate where they occur. Contents: 'My most genial creation...', Roland Matthews; A Musical Commentary, Amold Whittall; Wagner's Nuremberg, Timothy McFarland; Die Meistersingers von Nurnberg: Poem by Richard Wagner; The Mastersingers of Nuremberg: English translation by Frederick Jameson, revised by Gordon Kember and Norman Feasey

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"Bizet describes himself as 'pagan', and Carmen has a savage Mediterranean beauty quite unique in music. The essays included in this guide suggest some reasons for its legendary theatrical appeal. Martin Cooper describes the traditional mixture of spoken words and song that stimulated Bizet to exclaim, 'I want to revolutionize opera-comique!': the translators show the ingenious and inspired ways in which he set about it. Lesley Wright analyses the score and Michael Rabaud shows the uncanny appropriateness of Nietzche's support for Bizet in his famous attacks on the decadence of Wagner. This is the first time that the complete text of the verses that Bizet set to music and the full dialogue (much of it especially translated for this Opera Guide), have ever been published. Contents: Introduction, Nicholas John; Opera-Comique, Martin Cooper; A Musical Commentary, Lesley A. Wright; 'Carmen': A tragedy oflove, sun and death, Michel Rabaud; Carmen: French text by Henri Meilhac and Ludovic Halevy after the novel by Prosper Merimee; Carmen: English version by Nell and John Moody"

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Fidelio is Beethoven's only opera, and the composition he is said to have loved the most. Elizabeth Forbes introduces the background and composition of the opera, written and revised over the years when Europe was caught up in the Napoleonic campaigns. Basil Deane's musical commentary is the fruit of a life's study and devotion to the work. The last contribution is an extract from Ernest Newman's translation of Romain Rolland's classic study of Beethoven the Creator.

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With his last opera Mozart created a piece of theatre which defies categorization. In theory it is a Singspiel, a mixture of songs and dialogue, in which the spectacular effects and comedy fit naturally: they appeal today as much as they did when it first opened in popular Viennese theatre two hundred years ago. Rodney Milnes recalls some of the other pieces playing at the time, such as Kaspar the Bassonist, or The Magic Zither. On the other hand, it belongs to a tradition of Enlightenment texts in which a young Prince, destined to be a ruler, learns from his adventures how to behave wisely as a social being. This is a re-working of the Orpheus myth, in the context of the Age of Reason and Freemasonry. David Cairns describes the many beauties of the score in loving detail, taking the reader through the complex plot, to clarify and interpret it. Famous commentaries by Goethe, Berlioz, E.T.A. Hoffmann and G.B. Shaw reveal their enthusiasm for the opera. A useful and unusual feature of this guide is the complete dialogue, in German with an English translation, which is often badly cut in performance. Like so many fairy-tales, The Magic Flute repays careful attention: its music has a charm to inspire the child in every listener.

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'A Landmark in Musical History' is John Luke Rose's title for the introduction to this extraordinary piece of theatre. It belongs to the German tradition of mystical writing, and a short note on the poem itself by Martin Swales and Timothy McFarland elucidates some of Wagner's literary techniques. Anthony Negus, who assisted Reginald Goodall on the WNO production of Tristan and Isolde, has contributed a penetrating analysis of the musical structure of the opera, while Patrick Carnegy assesses the remarkable solutions to staging an opera which some argue is best experienced with your back to the performers.

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In this Guide to Pelleas and Melisande, Maeterlinck's original play is reprinted in full, so that the opera lover can read the scenes that Debussy did not set to music. Hugh Macdonald's much praised English translation is published here for the first time, with an essay uncovering the musical roots of Pelleas and Melisande and illustrating its importance to the music of the twentieth century. Alain Raitt, author of several studies of Symbolist writers, evaluates Maeterlinck's status as a dramatist, and Roger Nichols analyses the score. Proust's short pastiche of the opera and Arthur Symons's review of the first English performances challenge us to come to terms with this eternally intriguing masterpiece.

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John Wells introduces the opera with a high-spirited account of the action-packed career of the author, in many respects the prototype of Figaro himself. Basil Deane explores the score: he shows that Mozart's characters are illuminated here not so much in soliloquies but in their reactions to each other. Composer Stephen Oliver discusses how the comedy exists not just in the words but, essentially, in the music. The full Italian text is given, with a note on the order of scenes in Act Three and the alternative passages Mozart wrote for the 1789 revival. The classic translation of E.J. Dent is an excellent way to get to know the twists and turns of the plot and the stylish wit of da Ponte's innuendos. Contents: A Society Marriage, John Wells; A Musical Commentary, Basil Deane; Music and Comedy in 'The Marriage of Figaro, Stephen Oliver; Beaumarchais's Characters; Le nozze di Figaro: Libretto by Lorenzo da Ponte; The Marriage of Figaro: English version by Edward J. Dent

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The legend of the Swan Knight who rescues a princess from the forces of pagan evil is one of the foundation myths of Christian Europe. Lohengrin's transformed Wagner into an international figure almost overnight, and it remained his most popular work throughout the nineteenth century. Thomas Grey proposes that this was because it offered a 'cautious taste' of his later works, while preserving some of the comfortably familiar traditions of French grand opera. John Deathridge asks why Wagner was so quick to deny its specifically Christian symbolism, and Janet Nelson argues that his vision of the Christian Middle Ages uncannily prefigured a modern historical approach. This new English translation is by Amanda Holden.

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In 1972 Elias Canetti said that 'with Wozzeck Buchner achieved the most complete revolution in the whole of literature'. The same can be said of Berg's opera, as revolutionary in the history of music - and opera in particular - in the twentieth century. Mark DeVoto and Theo Hirsrunner discuss why this complex score perfectly suits the chaotic nature of the play. In his famous essay about the opera (written in 1968, but given here for the first time in English) Theodor Adorno shows how what seems fragmentary in the text is actually complete, and how the music responds to the words; Kenneth Segar offers a new interpretation of the play in the light of the most recent Buchner research. Also for the first time, the complete edition of the play as Berg knew it is set out with a translation so that readers can see not only what he kept for his libretto, but also what he omitted. This unique source material is complemented by a series of critical reactions to the first London production in 1952 illustrating the controversy which has surrounded the opera since its 1925 Berlin premiere, and the extent to which our aesthetics have changed since then.

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Das Rheingold, the opening of Wagner's four-part Ring of Nibelung, stands out as more genteel and picturesque than the others. But it immediately establishes the huge scale of the overall work, and the extraordinary musical language that will be displayed throughout. It is a miracle of musical history that Wagner's 1850 conception could be brought to completion, in an organic whole, some twenty-five years later. Stewart Spencer discusses the way in which Wagner fuses genuine mythology with his own invention and John Deathridge places the opera in the context of The Ring and its century.

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Among the features of this guide to La Cenerentola, Philip Gossett throws new light on the remarkable story of the opera’s composition, while Colin Graham, ENO producer, argues that it is the most sympathetic of all Rossini’s comic masterpieces, and Mark Elder, ENO Music Director, shows how Rossini’s musical style is exceptionally well suited to this enchanting story. Contents: Fairy tale and opera buffa: the genre of Rossini’s ‘La Cenerentola’, Philip Gossett; ‘La Cenerentola’ – a musical commentary, Arthur Jacobs; ‘Cinderella’ in performance: I: A conversation with Mark Elder, II: A conversation with Colin Graham; La cenerentola: Libretto by Giacomo Ferretti; Ciderella: English translation by Arthur Jacobs

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Aida is, for most of us, the quintessence of Ancient Egypt but it is certainly not just for archaeologists. Michael Rose points out that it is really about patriotism - an issue of burning importance to Verdi and his contemporaries. Music critic William Mann reflects that even a short look at the score reveals subtleties that repay careful listening. And Verdi's own letters show the germs of the opera grow from suggestion to creation.

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Hungary's political and cultural ferment at the start of the twentieth century produced geniuses such as the literary critic Gyorgy Lukacs, the writer (and later film theorist) Bela Balazs and the composer Bela Bartok. Their determination to participate in contemporary Western art movements was coupled with an enthusiasm for the folk traditions of a disappearing world. This guide introduces Bartok's stage works, where these influences merge: the opera Duke Bluebeard's Castle, and the ballets The Wooden Prince and The Miraculous Mandarin. Composer Julian Grant describes the score for Duke Bluebeard's Castle, a symbolist version of the Bluebird myth. Included in this volume are also the ballet scenarios which originally caught his imagination, and discussions of the choreographic potential and musical qualities of the scores; Ferenc Bonis indicates the increasing appeal for Bartok of the natural world, against the cataclysm of the First World War. Just as they make a powerful triple bill in performance, a comparative study of these works gives an insight into the issues of sexuality, humanity and artistic creativity which they raise.

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Musorgsky's last opera is set at the end of the seventeenth century, a turbulent period of Russian history. The title refers to the conspiracy of Prince Khovansky against the young Tsar Peter the Great, and the epic drama ends with the exile, murder and suicide of all the power groups of old Russia. When Musorgsky died in 1881, it was unfinished, and Rimsky-Korsakov completed it; Ravel and Stravinsky made another version for Diaghilev in 1911; in 1959 Shostakovich went back to the original and, in the process of reorchestrating it, he rediscovered a masterpiece. Caryl Emerson surveys the compositional and historical background and offers a provocative reading of Musorgsky's achievement. Gerard McBurney relates the non-European inspiration in the score to Musorgsky's conception of history, while Rosamund Bartlett describes the cultural impetus for his historical vision. A new translation enables us to appreciate the subtleties of this absorbing drama, which gives an apocalyptic vision of Russia.

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What can explain Wagner's obsession with Tannhauser, an opera which he first conceived in 1845 and still considered unfinished at his death in 1883? The subject is the struggle of a man torn between erotic love and spiritual fulfilment, between worlds of liberation and of sterile order. It contains the kernels of all his later works: man's need for love and artistic satisfaction, his desire for an existence beyond death, the operation of memory and the nature of madness. The essays in this volume examine the medieval legends which Wagner chose to weave into his text, and their significance for him. Carolyn Abbate also considers the effect of his many revisions upon the score, pointing out that the initial idea already involved a contrast of musical language to focus the conflict. As Wagner remained unsatisfied with the work, it provokes constant reassessment.

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'A Landmark in Musical History' is John Luke Rose's title for the introduction to this extraordinary piece of theatre. It belongs to the German tradition of mystical writing, and a short note on the poem itself by Martin Swales and Timothy McFarland elucidates some of Wagner's literary techniques. Anthony Negus, who assisted Reginald Goodall on the WNO production of Tristan und Isolde, has contributed a penetrating analysis of the musical structure of the opera, while Patrick Carnegy assesses the remarkable solutions to staging an opera which some argue is best experienced with your back to the performers. Contents: Behind 'The Flying Dutchman', John Warrack; An introduction to 'The Flying Dutchman', John Deathridge; Loneliness, Love and Death, William Vaughan; The Overture to 'The Flying Dutchman', Richard Wagner; Remarks on Performing 'The Flying Dutchman', Richard Wagner; Der fliegende Hollander: Poem by Richard Wagner; The Flying Dutchman: English translation by David Pountney

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Rossini is one of the great operatic composers and a major innovator in the field of serious and comic operas. Moise et Pharaon is a score which he revised for Paris ten years after it had been composed for Naples; the result shows the evolution of his dramatic taste over a crucial decade - from the neo-classical sublime to spectacular Romantic grand opera. Il barbiere di Siviglia has been a consistent favourite with the public and performers since it opened, and Marco Spada analyses how its stylish comedy has been misunderstood. Other essays throw light on the working conditions of the 'opera industry' in Rossini's Italy, on Balzac's delightful novel concerning Moise and on the exceptional challenge of performing this type of music to a high standard.

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This famous opera has had a chequered performance history, and Professor Laurel E. Fay, in an illuminating musical analysis, points out that the interpretation of the opera depends very much on which edition is used. Robert Oldani introduces the 'Boris problem': Pushkin's play was not an obvious choice for a young composer, since it had been banned from performance for forty years, and it is the Russian people, rather than any single character, who is the protagonist. Mussorgsky forged his own text and created a legendary masterwork; Alex de Jonge examines its uniquely Russian character and notes the unsettling parallels of the history of old Russia with today. Nigel Osborne's comparison of the Rimsky-Korsakov and Mussorgsky versions highlights their individual qualities.

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