The illustration of 4 volumes (independent paging) is not necessary: costumes, performances prints,
The plan scores ... some rooms opera is under "seating".
We find interpreters and Heads of historical orchestra, and some musicologues.Je didn 'notice if the sect devoted to the destruction of the opera, usually known as "directors" is mentioned.
The most important is the comprehensive dictionary of composers and librettists. The notes, musicologists from all countries testify
a constant affection for musicians, unlike the French egocentric habit.
The opera is included in the broadest sense. lists of composers and librettists are complete. Articles are more complete on the most famous operas. Here, summaries of acts double conveniently, CD boxes booklets.
For the CD, the comments of OPERA RARA are modest but sometimes too scholars. Here everything is simple without teaching heaviness. The most interesting is obviously the long list of operas we n 'never hear. The reader as saliva
the St. Bernard Beethoven, or drops his language on the text, as in Tex Avery. One can envy the musicians that decrypt a partition and are able to represent an opera, but it takes a huge job.
Often, opera shows the original types of interpreters. The number of performances and subsequent changes are the most valuable, but are not always known. The literary source is welcome. Read the complete list of booklets SCRIBE is very exciting. We may one day recognize the importance of this dramatic author, like Voltaire parts.
For the ALCESTE of Glück, a comparison of the French and Italian versions is established.
The 4th volume presents an index of roles, with the corresponding opera. The index of air ... sacrifices to extracts barbaric fashion
that ignores the dramatic musical construction operas (equivalent of "highlights from Shakespeare" Jack Benny).
The principal remains the discovery for the uninitiated like me, millers opera. For example DER TEMPLER AND DIE JUDEN
of MARSCHNER to IVANHOE after Walter Scott! (22/12/1829).
J 'had started watching GUILLAUME TELL Grétry, massacred by a staging Liégeoise parricide.
Article SEDAINE of Grove restored my courage and I took the end of the first act that justified the "drama set to music" transformed into scenic tomfoolery. Thanks to the talent of the singers and Scimone, everything fell in place, reinforced by the interpretation of Gessler.
I do not understand why it is announced to the audience that the groom's father suffered the tyranny of Gessler, like trying to dismantle a clumsy melodrama. The eyes burned included Schiller, not at Rossini.
In short, thank you Grove, musical antidepressant without side effects.
