"L'elisir D'amore" is a dynamic opera composed of rapid intersections between major and minor notes along with mixtures of lively music and lyrical melody, without any moment to get bored, entertaining the audience from beginning to end. Listen to the magical story made possible by the pure love between the naive country boy Nemorino, who always thinks about his loved one but pretends to laugh at love and Adina, who longs for true love. 장조와 단조가 빠르게 교차하며 활기찬 음악과 서정적인 멜로디가 번갈아 나타나는 오페라 [사랑의 묘약]은 처음부터 끝까지 지루한 부분이 한순간도 없을 정도로 관객을 즐겁게 만드는 오페라입니다. 머릿속에는 온통 사랑하는 여인으로 가득한 순진한 시골 총각 네모리노와 겉으로는 사랑을 비웃지만, 마음속으로는 네모리노 못지않게 진실한 사랑을 갈망하는 아디나의 순진한 사랑이 가져온 마법 같은 기적 이야기를 들어보세요.

"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.

Opera is a unique expression of the human mind and spirit--a play that communicates plot, characterization and story almost entirely through music. Unfortunately, because of restraints of time, location and income, few people have the opportunity to see operas performed on a regular basis. Public libraries are an easily accessible alternative for gaining operatic knowledge and exposure, offering the public a chance to hear, see, and develop an appreciation of opera. This work is a two-part guide for libraries that want to assemble a comprehensive collection of operatic materials. Part I is a list of recommended operas ranging over four hundred years of operatic history and including a variety of different styles and languages. The goal of Part I is to provide recommendations for a comprehensive library collection of video and sound operatic recordings. Part II suggest books, periodicals, and online resources that could be an integral and important part of a library's opera collection. This section also discusses the care and maintenance of sound and video recordings, offers suggestions for locating hard-to-find operatic material, and explores the library's role in sparking patron interest in opera.

The series will include both new and recent titles drawn from the whole range of the Press's very substantial publishing programs.

Tells the forgotten story of post-Rossinian opera buffa, with attention to masterpieces by Donizetti and fascinating comic works by Luigi Ricci, the young Verdi, and other composers. This study represents the first substantial assessment of Italian comic operas composed during the central years of the Risorgimento -- the period during which upheavals, revolutions, and wars ultimately led to the liberation andunification of Italy. Music historians often view the period as one during which serious Romantic opera flourished in Italy while opera buffa inexorably declined. Laughter between Two Revolutions revises this widespread notion by viewing well-known comic masterpieces -- such as Donizetti's L'elisir d'amore (1832) and Don Pasquale (1843) -- as part of a still-thriving tradition. Also examined are opere buffe by LuigiRicci, Lauro Rossi, Verdi (Un giorno di regno), and others, many of which circulated widely at the time. Francesco Izzo's pathbreaking study argues that in the "realm of seriousness" of mid-nineteenth-century Italy, comedywas not an anachronistic intruder, but a significant and vital cultural presence. This important volume offers new insights into opera history and theories of comedy in the arts. It will be of interest to opera lovers everywhere and to students in music, philosophy, comparative literature, and Italian cultural studies. Francesco Izzo is senior lecturer in music at the University of Southampton.

Enjoy the passion and power of 145 arias from 50 operas by Verdi, Puccini, Mozart, Donizetti, Bellini, 12 other composers. Selections from Rigoletto, The Marriage of Figaro, Il Trovatore, Madama Butterfly, Tosca, La Bohème, many more. Original Italian librettos with excellent line-for-line literal English translations in facing columns. Introduction.

The third book concerning the lives of Hartley brothers and their adopted sister, Natalie, now the Duchess of Lonsworth, takes place in 1864. Robin Hartley, the Earl of Manningley falls madly in love with a beautiful young widow, Jonquil Jamison, Duchess of Allerton. Unfortunately Jonquil's marriage, though of only six weeks duration, was so appalling she is terrified to remarry, so although she falls in love with Robin she rebuffs his advances. In the meantime Robin's younger brother, Brian, now a successful artist living in Paris, has fallen hopelessly in love with Miss Jenny Helliwell, and she with him. Jenny, a young lady rescued from dire circumstances by Robin, is secretary to the brothers' grandmother, Lady Pepper. Alas, due to a misunderstanding upon their first meeting, Brian believes Jenny to be Robin's intended so, to Jenny's utter dismay and his eternal regret, does not declare his love. The two men's predicament is not aided by each believing that the other has designs on the lady he loves. But after a spring and summer of torment at balls in London, the races and a church fte at Epsom they all return to their homes in Yorkshire where two startling incidents occur that change their lives forever.

The name of Pauline Viardot Garcia was well known during her lifetime, but after her death in 1910, she passed into obscurity. She was born in Paris in 1821, the youngest child of the Spanish tenor, Manuel Garcia; her sister was Maria Malibran, and her brother, Manuel Patrizio, was an eminent teacher of singing. The first volume of her biography ranges from 1836 until 1863 and covers the most important years of her operatic career. Several composers wrote for her, including Meyerbeer, for whom she created Fidès in â ~Le Prophèteâ (TM); Saint Saëns modelled the role of Delilah on her and Brahms composed the Alto Rhapsody, which she premiered in 1870. She encouraged Gounod to write his first opera, â ~Saphoâ (TM), and sang the title role in the premiere at the Paris OpÃ(c)ra and at Covent Garden. Schumann dedicated his Liederkreis Op.24 to Viardot, and FaurÃ(c) dedicated several of his songs to her. She launched the career of Jules Massenet, and gave valuable assistance to Sullivan, Bizet, Stanford, Arthur Goring Thomas and several other musicians at the beginning of their careers. Although she was not good looking, she had a fascinating personality and great charm and several men fell in love with her, including Alfred de Musset, Gounod, Maurice Sand, Ary Scheffer, Berlioz, and Ivan Turgenev, who loved her devotedly for forty years, although she was married to Louis Viardot for the whole of that time. She was a linguist, artist, composer and talented pianist who studied with Franz Liszt, as well as being a superb singer and actress. Liszt admired her songs and said that she was the first woman composer of genius. Her talent for friendship was great, and she counted Chopin and George Sand as two of her most intimate friends. From 1863 until 1870, she lived in Baden-Baden where she became a celebrated musical hostess, as well as a fine teacher and composer. This book traces the life and work of one of the most important sopranos of the nineteenth century, Pauline Viardot Garcia. Her influence on figures like Meyerbeer, Turgenev and Liszt alone makes this volume, the first comprehensive biography ever published in English, indispensable to the musicologist with an interest in the nineteenth century.

Written by a well-known authority, this book consists of 175 entries that set some of the most popular operas within the context of their composer's career, outline the plot, discuss the music, and more.