Who's Afraid of Opera?: A Highly Opinionated, Informative, by Michael Walsh

By Michael Walsh

For a person who has been intimidated, crushed, or simply undeniable burdened by means of what they believe opera is, WHO'S terrified of OPERA? bargains a full of life, readable consultant to what writer Michael Walsh describes as "the maximum artwork shape but invented through humankind."

From opera's origins in Renaissance Italy to The Who's rock odyssey "Tommy" and Stephen Sondheim's "Into the Woods," Walsh explores what opera is and what it's no longer, what makes a very good singer, and why it takes Tristan goodbye to die.

So curtain up! It's time to settle into your seat, pack up your application, and watch the home lighting fixtures pass down. and prepare for the musical journey of your lives.

Show description

By Michael Walsh

For a person who has been intimidated, crushed, or simply undeniable burdened by means of what they believe opera is, WHO'S terrified of OPERA? bargains a full of life, readable consultant to what writer Michael Walsh describes as "the maximum artwork shape but invented through humankind."

From opera's origins in Renaissance Italy to The Who's rock odyssey "Tommy" and Stephen Sondheim's "Into the Woods," Walsh explores what opera is and what it's no longer, what makes a very good singer, and why it takes Tristan goodbye to die.

So curtain up! It's time to settle into your seat, pack up your application, and watch the home lighting fixtures pass down. and prepare for the musical journey of your lives.

Show description

Read Online or Download Who's Afraid of Opera?: A Highly Opinionated, Informative, and Entertaining Guide to Appreciating Opera PDF

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Extra resources for Who's Afraid of Opera?: A Highly Opinionated, Informative, and Entertaining Guide to Appreciating Opera

Sample text

G. ZK,2002, 109–12; ZK, 2006, 124, 228–32. g. , 285f. 291–3; ZK 2006, 85, 119, 334–6; and passim in all. g. , 292f f. and passim; ZK, 2006, 167–78.

Goethe’s metaphorical references to music, in whatever form, do not have to correspond to contemporary musicological ‘truths’, or even to contemporary metaphor. But we do need an idea of where he diverged from ‘normal’ perspectives and traditions of the time, and especially where he is expanding or restricting our view of music in relation to the ‘norms’ of his time, or we shall not be able to form an accurate idea of how his musical references are meant to function in their context. cit. 43. 95 See esp.

Moreover, for this procedure to work it will be necessary to look first-hand not only at isolated phrases, but at sections of text long enough to show what the context was. This is tiresome insofar as it makes for multiple and full examples, and restricts the use of space-saving paraphrase. But only by this means are we able to see what conceptual metaphor is at work, what entailments it carries, and how such an instance compares with others. And after all it means that we are hearing the ‘jokes’, complete with punch-line, from the horse’s mouth.

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