"Die Zauberflote", with the famous aria of "Queen of the Night", is the last masterpiece of the genius composer Mozart with the fairytale-like plot and the beautiful music completing the enjoyable piece. As a piece composed for the German commoners who could not understand the Italian operas, it was extremely popular, always selling all the tickets every time it performed. '밤의 여왕'의 아리아로 유명한 [마술피리]는 천재 작곡가 모차르트의 마지막 오페라 작품으로, 동화 같은 내용과 아름다운 음악이 어우러져 즐겁게 감상할 수 있는 오페라입니다. 당시 이탈리아 오페라를 이해하지 못하는 독일 서민을 위해 만든 후, 오페라가 공연될 때마다 티켓이 매진될 만큼 인기를 누렸던 오페라 [마술피리]에 대해 알아보겠습니다.

From Glyndebourne to the King’s Head, in the flesh and streamed online: opera is reaching a broader audience than ever before. With over 400 years of history, and a beguiling mix of musical motifs, costumes, storytelling and song, opera has fascinated and enthralled audiences for centuries. However it can also cast the impression of an intimidating high-art form, inaccessible to the uninitiated. How to Enjoy Opera is an engaging, illuminating primer which will demystify the world of opera. John Snelson, who has worked at London’s world-famous Royal Opera House in Covent Garden for over 15 years, gives his expert insight into how to absorb an opera and understand its inner workings. Aimed at newcomers to the art form as well as long-time fans, this book will help the reader to absorb and understand any opera: with examples drawn from more than 45 composers and just over 100 operas included. There are references to some of the most famous of all opera moments, sometimes from less familiar perspectives, but also to lesser-known works. This book decodes many of the elements that opera composers and librettists put into their operas that give enjoyment to audiences, in the hope that readers can gain greater enjoyment from their future viewing and listening too.

A unique window on the world of nineteenth-century amateur music-making provided by the study of domestic musical arrangements of opera.

Curation as a concept and a catchword in modern parlance has, over recent decades, become deeply ingrained in modern culture. The purpose of this study is to explore the curatorial forces at work within the modern opera house and to examine the functionaries and processes that guide them. In turn, comparisons are made with the workings of the traditional art museum, where artworks are studied, preserved, restored, displayed and contextualised – processes which are also present in the opera house. Curatorial roles in each institution are identified and described, and the role of the celebrity art curator is compared with that of the modern stage director, who has acquired previously undreamt-of licence to interrogate operatic works, overlaying them with new concepts and levels of meaning in order to reinvent and redefine the operatic repertoire for contemporary needs. A point of coalescence between the opera house and the art museum is identified, with the transformation, towards the end of the nineteenth century, of the opera house into the operatic museum. Curatorial practices in the opera house are examined, and further communalities and synergies in the way that ‘works’ are defined in each institution are explored. This study also considers the so-called ‘birth’ of opera around the start of the seventeenth century, with reference to the near-contemporary rise of the modern art museum, outlining operatic practice and performance history over the last 400 years in order to identify the curatorial practices that have historically been employed in the maintenance and development of the repertoire. This examination of the forces of curation within the modern opera house will highlight aspects of authenticity, authorial intent, preservation, restoration and historically informed performance practice.

American baritone Lawrence Tibbett created an overnight sensation at the Metropolitan Opera in 1925 when the audience stopped the performance of Falstaff to honor their compatriot for his exceptional talent. Tibbett's now legendary curtain call foreshadowed a startling new era for classically trained native singers who rarely received the public recognition or respect given to their European colleagues. In this absorbing work, Victoria Etnier Villamil chronicles the extraordinary time from 1935 to 1950 when American artists, who felt intensely inferior to foreign performers, journeyed from being unappreciated in their own country to standing without apology on stages at home and abroad. Drawing on exhaustive primary research and extensive interviews, Villamil tells the remarkable story of a generation of American opera singers whose profession, image, and art were forever altered by the upheavals of World War II, as well as sweeping cultural and technological changes. The author's in-depth look at these breakthrough years explores such defining factors as Edward Johnson's drive to "Americanize the Met" in his first seasons as general manager, the impact of the microphone on singers and singing styles, and the importance of radio and motion pictures in introducing classical music voices to wider audiences. Villamil also considers how travel restrictions imposed on European artists during the war unlocked opportunities for American artists, and the role of political and Jewish refugees in enriching music education and training in this country. In addition, the author discusses thoroughly the founding of the New York City Opera, the rise of regional and smaller opera companies, including the enterprising and popular Lemonade Opera, and advancements for African American classical singers. Brimming with entertaining anecdotes and colorful figures, both famous and little remembered, the fascinating book concludes with an examination of this crucial period's legacy for the American classical music scene in the 1950s and beyond. From Johnson's Kids to Lemonade Opera contains an invaluable appendix that provides biographical sketches of the over 250 opera and radio singers, as well as art song specialists, featured in this illuminating study.

This is the first book by an experienced conductor to explore the orchestras contribution to Mozarts greatest operatic works: Idomeneo, Die Entfuhrung aus dem Serail, Die Schauspieldirektor, Le nozze di Figaro, Don Giovanni, Cosi fan tutte, La clemenza di Tito, and Die Zauberflote. It is written for the concert and opera going public who are interested in enlarging their knowledge and appreciation of these masterpieces, but also contains many practical suggestions for aspiring conductors.

The Singer’s Audition & Career Handbook is a comprehensive guide to the training, audition technique, and professional development essential for launching and sustaining a rewarding career in classical singing. Expanding on author Claudia Friedlander’s online collaboration with mezzo-soprano Joyce DiDonato and the Weill Music Institute at Carnegie Hall, the book brings together insights from nearly seventy prominent performers, educators, and opera industry professionals. Whether you are a young singer preparing for conservatory auditions, a professional opera singer, or an avocational singer seeking to improve your technique and pursue local performance opportunities, this book will help you take inventory of your skills and achieve the next stages of your musical journey.

Opera's Second Death is a passionate exploration of opera - the genre, its masterpieces, and the nature of death. Using a dazzling array of tools, Slavoj Zizek and coauthor Mladen Dolar explore the strange compulsions that overpower characters in Mozart and Wagner, as well as our own desires to die and to go to the opera.

Any singer longing to have a career in opera, particularly in Europe, should be familiar with the European system of classifying voices know as Fach. The Opera Singer's Career Guide: Understanding the European Fach System presents valuable information to help readers learn, understand, and use the Fach system to their professional advantage. More than just soprano, alto, tenor, or bass, students and professionals alike should know the 25 different Fach categories fully defined here, along with the examples of roles, audition arias, and European opera houses and agents provided. Based on careful research and personal experience, singer and teacher Pearl Yeadon McGinnis describes the features, characteristics, and benefits of the Fach system, including voice categorization and classification and using Fach to train the young voice. She provides practical information on maintaining a career in opera, such as the different types, procedures, and pitfalls of opera auditions; types of opera contracts and contract negotiations; and the value of networking. She explains the different styles of European opera houses and gives an example of life in a state level German opera house, including the various performance spaces, the makeup and responsibilities of an ensemble, and the jobs and functions of opera house personnel. A glossary and several appendixes supply tools for auditioning, such as newly classified roles for Children, Lyric, and Beginner singers; roles for the established Fach categories; lists of opera agents and houses in the German speaking countries; and suggested audition arias by Fach. In addition, practical details are offered about establishing and maintaining residency in Europe, obtaining permission to live and work in Europe, and helpful hints about customs and travel.

While Kierkegaard is perhaps known best as a religious thinker and philosopher, there is an unmistakable literary element in his writings. He often explains complex concepts and ideas by using literary figures and motifs that he could assume his readers would have some familiarity with. This dimension of his thought has served to make his writings far more popular than those of other philosophers and theologians, but at the same time it has made their interpretation more complex. Kierkegaard readers are generally aware of his interest in figures such as Faust or the Wandering Jew, but they rarely have a full appreciation of the vast extent of his use of characters from different literary periods and traditions. The present volume is dedicated to the treatment of the variety of literary figures and motifs used by Kierkegaard. The volume is arranged alphabetically by name, with Tome I covering figures and motifs from Agamemnon to Guadalquivir.