A wide-ranging look at the interplay of opera and political ideas through the centuries The Politics of Opera takes readers on a fascinating journey into the entwined development of opera and politics, from the Renaissance through the turn of the nineteenth century. What political backdrops have shaped opera? How has opera conveyed the political ideas of its times? Delving into European history and thought and an array of music by such greats as Lully, Rameau, and Mozart, Mitchell Cohen reveals how politics—through story lines, symbols, harmonies, and musical motifs—has played an operatic role both robust and sotto voce. Cohen begins with opera's emergence under Medici absolutism in Florence during the late Renaissance—where debates by humanists, including Galileo's father, led to the first operas in the late sixteenth century. Taking readers to Mantua and Venice, where composer Claudio Monteverdi flourished, Cohen examines how early operatic works like Orfeo used mythology to reflect on governance and policy issues of the day, such as state jurisdictions and immigration. Cohen explores France in the ages of Louis XIV and the Enlightenment and Vienna before and during the French Revolution, where the deceptive lightness of Mozart's masterpieces touched on the havoc of misrule and hidden abuses of power. Cohen also looks at smaller works, including a one-act opera written and composed by philosopher Jean-Jacques Rousseau. Essential characters, ancient and modern, make appearances throughout: Nero, Seneca, Machiavelli, Mazarin, Fenelon, Metastasio, Beaumarchais, Da Ponte, and many more. An engrossing book that will interest all who love opera and are intrigued by politics, The Politics of Opera offers a compelling investigation into the intersections of music and the state.

In late imperial China, opera transmitted ideas across the social hierarchy about the self, family, society, and politics. Beijing attracted a diverse array of opera genres and audiences and, by extension, served as a hub for the diffusion of cultural values. It is in this context that historian Andrea S. Goldman harnesses opera as a lens through which to examine urban cultural history. Her meticulous yet playful account takes up the multiplicity of opera types that proliferated at the time, exploring them as contested sites through which the Qing court and commercial playhouses negotiated influence and control over the social and moral order. Opera performance blurred lines between public and private life, and offered a stage on which to act out gender and class transgressions. This work illuminates how the state and various urban constituencies manipulated opera to their own ends, and sheds light on empire-wide transformations underway at the time.

The texts examined in this study deal extensively with the doctrine of good works. In addition to several other writings examined they include the Apology, the Commentary on Romans of 1532, the Loci of 1533, the Loci of 1535, the Interims and the Loci of 1559. (Bibliotheca Humanistica & Reformatorica, Vol. XXXI).

Ed Golterman was a writer-producer of marketing and training programs, and book shows for business theater. Mr. Golterman spent ten years in radio and TV news and sports. He is a concert and show baritone and a life-long student of musical theater. His father, Edward N. Golterman, was an assistant to four St. Louis mayors (Darst, Tucker, Poelker, and Cervantes). His mother, Maria Marceno Golterman, was an operatic soprano. Eds grandfather, Guy Golterman, produced grand opera and classical performances at the Coliseum, The Muny, and Kiel Opera House and Convention Hall. Golterman also inaugurated Cleveland Stadium with a grand opera in 1931. July Fourth, 1998, Ed wrote an impassioned defense of Kiel Opera House and sent it to the Urban Land Institute in Washington D.C. A ULI panel would soon come to St. Louis to advise on what to do with the Opera House. (Apparently re-opening the great theater to help bring back a downtown seemed too simple). Kiel Opera House was going down to protect the Fox Theater on Grand Avenue and Kiel Center from what they feared as night time competition. Serving narrow self-interests hampers downtown revitalization. Citizens of the region, taxpayers and visitors deserve a better St. Louis, a better downtown. That means Kiel Opera House. A newspaper columnist wrote of Ed: He has been calling on the wrong people for two years. Yes, and they are all the wrong people. Ed Golterman believed nothing written, said, or promised about Kiel Opera House. That has given him an edge on the battlefield. As Ed learned about Kiel Opera House studies in the spring of 1998, it became clear her enemies were about to finish her off. He said: No, and went to battle. Ten years later he is still fighting

Let the music take you into another dimension as Blue Opera Rock introduces Jarod, a sensitive man of the arts. As Jarod is flying home to Barcelona, he hears some music and reflects back on his life, including life in London in the raucous 1980s. Although Jarod loves music and literature, he is also sensitive to social problems. He opposes exploitation of any kind and dreams of a future free from all forms of tyranny. Jarod envisions a world united for all people, no matter where they come from, as long as they are willing to build a socially just society. Driven by musical magic and narrated with stunning rock lyrics, Blue Opera Rock sings the praises of living a joyous life, while enjoying the fruits of peace and freedom, all to the beat of a world existing in perfect harmony. Political intrigue, philosophy, economics, history and social issues are set to a beat where rock music is truly the central character. Author Bob J. Zehmer was motivated to write this novel about rock and roll and its implications in social issues because democracies are frail and always at risk. He based many of the characters on acquaintances. Zehmer lives in Spain and Italy and has started on his next book. Publisher's website: http: //www.eloquentbooks.com/BlueOperaRock.htm

Since the nineteenth century, some of the most influential historians have portrayed opera and tragedy as wholly distinct cultural phenomena. These historians have denied a meaningful connection between the tragedy of the ancients and the efforts of early modern composers to arrive at styles that were intensely dramatic. Drawing on a series of case studies, Opera, Tragedy, and Neighbouring Forms from Corneille to Calzabigi traces the productive, if at times rivalrous, relationship between opera and tragedy from the institution of French regular tragedy under Richelieu in the 1630s to the reform of opera championed by Calzabigi and Gluck in the late eighteenth century. Blair Hoxby and his fellow contributors shed light on “neighbouring forms” of theatre, including pastoral drama, tragédie en machines, tragédie en musique, and Goldoni’s dramma giocoso. Their analysis includes famous masterpieces by Corneille, Voltaire, Metastasio, Goldoni, Calzabigi, Handel, and Gluck, as well as lesser-known artists such as Luisa Bergalli, the first female librettist to write for the public theatre in Italy. Opera, Tragedy, and Neighbouring Forms from Corneille to Calzabigi delves into a series of quarrels and debates in order to illuminate the history of seventeenth- and eighteenth-century theatre.

Published in 1859, these works by medieval philosopher Roger Bacon (c.1214-92?) show the range of his intellectual interests.

The Space Opera Megapack collects 20 classic and modern stories, ranging from galaxy-spanning epics by E.E. "Doc" Smith and John W. Campbell, Jr. to modern interpretations by Jay Lake, Kristine Kathryn Rusch, Tim Sullivan, and more! Included are: BREATH'S DUTY, by Sharon Lee and Steve Miller SPAWN OF JUPITER, by E. C. Tubb KILLER ADVICE, by Kristine Kathryn Rusch THE WORLD WITH A THOUSAND MOONS by Edmond Hamilton THE SKYLARK OF SPACE, by E.E. “Doc” Smith DEADLINE IN SPACE, by John Russell Fearn PLANETESIMAL DAWN, by Tim Sullivan THE WEIGHT OF HISTORY, THE LIGHTNESS OF THE FUTURE, by Jay Lake BIG PILL, by Raymond Z. Gallun WHERE ARE YOU, MR. BIGGS?, by Nelson S. Bond THE SKY TRAP, by Frank Belknap Long CHANGE OF COMMAND, by Jean Lorrah TULAN, by C.C. MacApp THE BLACK STAR PASSES, by John W. Campbell, Jr. THE GALAXY PRIMES, by E.E. “Doc” Smith TARRANO THE CONQUEROR, by Ray Cummings THE SARGASSO OF SPACE, by Edmond Hamilton SALVAGE IN SPACE, by Jack Williamson THE ULTIMATE WEAPON, by John W. Campbell, Jr. INVADERS FROM THE OUTER SUNS, by Frank Belknap Long, Jr. And if you enjoy this volume, don't forget to search your favorite ebook store for "Wildside Press Megapack" to see all the other entries in this great series, covering science fiction, fantasy, horror, mysteries, westerns, classics -- and much, much more!