Böcker i Cambridge Opera Handbooks-serien

This book is a detailed study of Mozart's last opera. The sources for the opera are discussed, and there are chapters devoted to the composition of the work, the authorship and qualities of the libretto, the music, early productions and performance history, and the practical problems of directing a production.

In this text John Tyrrell brings together letters, early reviews and other documents on the composition of "Kat'a Kabanova" and its early performances. Key interpretations of the opera range from one by the opera's German translator to Janacek's first biographer Max Brod.

This book is designed to introduce the non-specialist music lover to Britten's opera, The Turn of the Screw. The book is generously illustrated and there is also a bibliography and discography.

This handbook explores Bizet's famous opera in a number of contexts, from its origin in Merimee's short story to the film adaptations of the last thirty years.

Bruce Alan Brown offers several paths towards a closer understanding of Cosi fan tutte.

This handbook provides an in-depth account of the origins, style, and performance history of Richard Wagner's popular operatic masterpiece Der Fliegende Hollander (The Flying Dutchman). Designed for scholars, performers and the opera-going public alike, the book represents the most detailed discussion of the opera currently available in English.

This is a detailed study of the earliest opera to have gained a foothold in the modern repertoire. It includes historical sections on the creation and early performances of Orfeo and its rediscovery, and essays by a conductor and a producer who have staged notable performances of the opera in recent years.

Le Nozze di Figaro (1786) contains a remarkable mixture of all those elements that go to produce a good opera: a sound plot, a well-structured text and fine music. This opera handbook examines the work from historical and musical perspectives, to set it in the context of Mozart's age.

This is the first comprehensive guide to Pelleas et Melisande, Debussy's only completed opera, written by three of the leading authorities on French music of the period. Contains discussion of play's literacy roots, the genesis and composition of the opera, and Debussy's musical responses to the text.

This full-length study of Salome is the first in English since Lawrence Gilman's introductory guide of 1907. The handbook presents an informative collection of historical, critical and analytical studies of one of Strauss's most familiar operas.

This book explores the fascinating musical and dramatic elements within Fidelio, Beethoven's only complete opera - one of the most admired and problematic in the repertoire. The book contains a comparison of the opera's first and final version, a consideration of its musical idiom and its performance history. It includes a synopsis, blurb, bibliography and illustrations.

This book is exceptional amongst those that have appeared so far in this well-established series, in that it is largely written by those who worked with the composer and assisted him during the period in which the opera was composed and first put on the stage.

This is a book on the best known of the Weill-Brecht collaborations which explores the extent and significance of the composer's contribution.

The contributions to this handbook bring together a full-length study of Elektra in English. The volume examines the many facets of one of Richard Strauss's most complex operas.

This handbook provides an in-depth account of the origins, style, and performance history of Richard Wagner's popular operatic masterpiece Der Fliegende Hollander (The Flying Dutchman). Designed for scholars, performers and the opera-going public alike, the book represents the most detailed discussion of the opera currently available in English.

This book is intended primarily as a guide for the opera goer. It includes a synopsis of the plot, with indications of the themes and motifs used in it, and discusses the style of the opera, Tosca being a typical example of Italian naturalism in operas, verismo. It compares Puccini's libretto with Sardou's play La Tosca, analyses the close-knit structure of the work and examines salient points in the music. It also describes the genesis of the work (quoting wherever appropriate, Puccini's own remarks about it), its first production and early reception. A subsidiary aim of the book is to present the opinions, positive and negative, that have been expressed by various critics about the opera since its first production in 1900. There are contributions from the celebrated singer and producer of Tosca Tito Gobbi, and two other musicologists, Roger Parker and William Ashbrook. Malcolm Walker has provided a discography.

Idomeneo, by common consent Mozart's greatest opera seria, is a rich synthesis of the dramatic potentialities of Italian opera seria, French tragedie lyrique, and recent German opera. It was composed for the finest orchestra in Germany and some excellent singers. Mozart's relish of the challenge and his problems with some performers and the bureaucracy are uniquely documented in his letters home and these form the basis of a vivid account of the genesis of the opera. A detailed synopsis relates the musical and dramatic action of the opera. Further chapters trace the historical development of its subject matter 'from myth to libretto' and chart the opera's performance history, including a description of Richard Strauss's 1931 reworking. Later chapters consider the opera's general structure and the musical forms, and analyse passages of particular interest.

A full synopsis takes the reader through the musical and dramatic action of this, one of Britten's most challenging operas and further chapters discuss the literary background, the collaboration between librettists and composer, and the distinctive tonal symbolism of the music.

Benjamin Britten's Peter Grimes is one of the few operas of the last half-century to have gained a secure place in the repertory. Its appearance in 1945 shortly after the end of the war in Europe was a milestone in operatic history as well as in British music.

This book explains how and why Gluck's historically important and best-loved opera Orfeo came into existence, shows why it has retained its popularity, and describes how the opera has been reinterpreted throughout the past two hundred years from its first performance.

This book is a guide to Berg's second opera, Lulu, written in non-technical language.

Douglas Jarman's study provides a clear and accessible introduction to one of the most significant operas of the twentieth century. He places it in the context to the radical developments in musical language during the early decades of the century and of the development of Berg's own musical style.

This addition to the Cambridge Opera Handbooks series is also the first full-length study of Mozart's Die Entfuhrung aus dem Serail. It aims to familiarize the reader with all aspect of the work: Mozart's writing of the opera and its literary antecedents, its plot, its musical structure, its reception and performance history.

The first comprehensive guide to Richard Strauss's opera, Arabella.

This is a series of studies of individual operas written for the opera-goer or record-collector as well as the student or scholar.

This is the first book to be devoted to Mozart's opera, La clemenza di Tito. John Rice considers the opera from historical and critical viewpoints.

This guide presents a unique collection of critical, analytical and documentary essays on Puccini's most popular opera. It includes new studies on the background to Parisian bohemianism, Puccini's musical language, and the opera's stage history as well as the genesis of the opera, the structure of the libretto, and aspects of the work's reception.

Both a reliable summary of what is currently known about Otello and an interpretation of the significance of the work within Verdi's career. There is a detailed synopsis, an analysis of how the opera was actually written and the book concludes with a study of the opera as a work of Shakespearean adaptation.

This book is a study of Mozart's Don Giovanni, his second opera to a libretto by da Ponte. Although it is one of the handful of best-known and most often performed operas of the last two hundred years, Don Giovanni is seldom given in an authentic form and arguments persist as to its nature.