New in paperback! This book comes at a time when opera-lovers, singers, directors, and critics alike are taking a new look at the dramatic soprano heroines created by Giuseppe Verdi and Giacomo Puccini, endeavoring to delve beyond inherited scholarly interpretation and gain a richer understanding of these compelling female characters. Artistically limited by the bel canto musical tradition popular at the time, Verdi launched a new style dramma per musica which also demanded a new soprano archetype. This book illustrates the musical evolution of the Verdi and Puccini soprano while illuminating the dramatic scope and power of these great heroines. Avoiding critical reductionism, Verdi and Puccini Heroines provides an unprecedented and probing discussion of how these great soprano roles were conceived and executed. Accordingly, the authors take a three-dimensional look at these heroines, examining seven operas: Il Trovatore, La Forza del Destino, Aida, La Bohème, Tosca, Madama Butterfly, and Turandot. The chapters, which are fully self-contained analyses, contain translations, illustrative musical examples, supplementary notes, and references to each opera's literary sources. The musical analysis, while thorough, is descriptive and accessible to all levels of readers.
La bottega della musica: Verdi e laFenice. Milan: Il Saggiatore, 1982. ———. ... In Verdi's “Macbeth”: A Sourcebook, edited by David Rosen with Andrew Porter, 156–71. New York: Norton, 1984. ... Verdi's and Puccini's Heroines.
Unlike Verdi's heroines, Puccini's female characters are only superficially moral, and their deaths usually do not redeem them. Edgar and Turandot each have double female protagonists, but only one member of each pair is typically ...
While there , she was singled out by composer - critic Virgil Thomson in a student performance of Verdi's ... While known especially for her memorable embodiments of the major Verdi and Puccini heroines , Price was also a superb ...
This was true of the heroines in two operas already mentioned, La Traviata and La Bohème. But other Verdi and Puccini heroines also made fatal dramatic exits. Two of the more spectacular are Gilda in Rigoletto (slung in a sack and slain ...
Debut in Brussels in 1887 as Gilda in Verdi's Rigoletto. Other special roles: Lucia ... Best—known roles included Violetta in La traviata, Desdemona in Otello, and all other leading Verdi and Puccini heroines. A big repertory included ...
This book is a vital reference tool for students, teachers, and to all opera lovers, performers, and composers who seek information about the development of the genre.
Spinto It is not only the heroines of Verdi and Puccini (and their nineteenth-century verismo contemporaries) who are called on to sing passionately and powerfully the literature that belongs to the spinto.
With key notes, discography and videography, this is the ideal book for students and interested listeners who want to learn more about this important musical genre.
[Puccini's] standard heroine is frail and dies for love, whether in crinoline or kimono....”—Stanley Jackson, Monsieur ... Even a Verdi love story, like La Traviata, seems somehow masculine in tone. But what do we mean 283 15.
Her major roles were the Verdi and Puccini heroines, but she excelled also in Gioconda and Norma. Retiring from the stage in 1938, she devoted herself to teaching, with posts. ARANGI LOMBARDI, GIANNINA (20 JUNE ...