Titres dans Opéra

Alex Ross, renowned New Yorker music critic and author of the international best seller and Pulitzer Prize finalist The Rest Is Noise, reveals how Richard Wagner became the proving ground for modern art and politics - an aesthetic war zone where the Western world wrestled with its capacity for beauty and violence.

Opera is the fastest growing of all the performing arts, attracting audiences of all ages who are enthralled by the gorgeous music, vivid drama, and magnificent production values. If you've decided that the time has finally come to learn about opera and discover for yourself what it is about opera that sends your normally reserved friends into states of ecstatic abandon, this is the book for you.

The attraction of opera is in its scale, in the fact that it is larger than real life in actions and emotions, more magnificent in sound and in sight. And in the world of opera, no figure in our time loomed larger than the late Luciano Pavarotti. Especially in his triumphant collaborations with Placido Domingo and Jose Carreras, he captured the imagination of an audience breadth and depth is remarkable even in the grand context of classical opera.

Here is the colorful story of sometimes temperamental composers and even more temperamental singers working in an art form which has produced some of man's noblest artistic creations. This absorbing history is illustrated by over 100 musical examples by Naxos artists as well as some of the greatest singers of the 20th century, including Enrico Caruso and Fyodor Chaliapin.

This is the story of the 36-year-old business relationship between Luciano Pavarotti and his manager, Herbert Breslin, during which Breslin guided what he calls, justifiably, “the greatest career in classical music”. During that career, Breslin moved Pavarotti out of the opera house and onto the concert (and the world) stage and into the arms of a huge mass public.

Immerse yourself in more than 400 years of the world's most celebrated operas and discover the fascinating stories behind them. Explore the lives of singers such as Maria Callas, Luciano Pavarotti, and Jonas Kaufmann. Meet composers like Mozart, Wagner, and Britten, and the librettists with whom they collaborated to create the magical blend of words and music that make up opera.

There are few art forms as visceral and emotional as opera - and few that are as daunting for newcomers. A Mad Love offers a spirited and indispensable tour of opera's eclectic past and present, beginning with Monteverdi's L'Orfeo in 1607, generally considered the first successful opera, through classics like Carmen and La Boheme, and spanning to Brokeback Mountain and The Death of Klinghoffer in recent years.

Ryan Speedo Green had a tough upbringing in Southeastern Virginia: His family lived in a trailer park and later a bullet-riddled house across the street from drug dealers. His father was absent; his mother was volatile and abusive. At the age of 12, Ryan was sent to Virginia's juvenile facility of last resort. He was placed in solitary confinement. He was uncontrollable, uncontainable, with little hope for the future. In 2011, at the age of 24, Ryan won a nationwide competition hosted by New York's Metropolitan Opera, beating out 1,200 other talented singers.

With war clouds gathering and harassment increasing, the stars of Continental opera, many of whom are Jewish, face dark futures under the boot heel of the Nazis. What can two middle-aged British spinsters do about such matters? They can form a secret cabal right under Hitler’s nose and get to work saving lives. The sisters conspire to bring together worldwide opera aficionados and insiders in an international operation to rescue Jews in the opera from the horrific fate that everyone intuits is coming.

Wahrscheinlich hat niemand über Richard Wagner schöner und grausamer geschrieben als Friedrich Nietzsche...

Known as opera’s “disrupter-in-residence,” director Yuval Sharon has never adhered to the art form’s conventions. In his many productions in both the United States and Europe, he constantly challenges the perception of opera as aloof by urging, among other things: performing operas in “non-places,” such as parking lots; encouraging the use of amplification; and shuffling the traditional structure of classic works, like performing Puccini’s La bohème in reverse order, ending not with the tubercular heroine Mimi’s death but with her first falling in love.

La Traviata owes its enduring popularity to a superb story of young love and fatal sacrifice, set to music by Italy’s master melodist at the peak of his powers. Interest and poignancy are added by the fact that this is a true story - the baritone ‘heavy’ is Alexander Dumas who wrote The Count of Monte Cristo. But it is the central figure, the heroine Violetta, the archetypal ‘whore with the heart of gold’ who dominates the piece. It is her opera and we love her for it.

At eight years old, Ricky Ian Gordon pulled The Victor Book of Opera off his piano teacher’s bookshelf, and his world shifted on its axis. Though scandal, sadness, and confusion would shake that world over the next few decades, its polestar remained constant. Music has been the guiding force of Gordon’s life; through it, he has been able not only to survive great sorrow but also to capture the depths of his emotion in song. It is this strength, this technical and visceral genius, that has made him one of our generation’s greatest composers.

Frederick is freed of his indentures to the ferociously temperate Pirates of Penzance. What will he do with his newfound freedom?

オペラ抜粋朗読劇　第５弾は「ウェーバー　魔弾の射手　より」第一幕　抜粋。こちらは、本作品のための書き下ろし台本。

朗読むすめの朗読Bookシリーズ創刊！第６弾は、オペラ抜粋朗読劇（４）「モーツアルト　ドン・ジョバンニ　より」第一幕「お手をどうぞ」んｐ場面 こちらは、2022年5月5日におこなわれた

朗読むすめの朗読Bookシリーズ創刊！第５弾は、オペラ抜粋朗読劇（３）「プッチーニ『トゥーランドット』より」トゥーランドットの謎解きと「誰も寝てはならぬ」の場面

朗読むすめの朗読Bookシリーズ創刊！第３弾は、オペラ抜粋朗読劇（２）「R･シュトラウス　ばらの騎士」こちらは、2022年5月5日におこなわれた「劇団朗読むすめ旗揚げ公演」での書き下ろし

朗読むすめの朗読Bookシリーズ創刊！第２弾は、オペラ抜粋朗読劇（１）「ヴェルディ　椿姫」こちらは、2022年5月5日におこなわれた「劇団朗読むすめ旗揚げ公演」での書き下ろし台本。

This thing caught us all unawares. Disney were preparing to launch their new subscription TV channel on March 24, in many European countries, including the UK, just as those countries headed into lockdown. Disney’s course of action was clear: they immediately stopped production on their new content, told the content creators they couldn’t afford to pay them and laid them off, put all their existing content online for free, and appealed to the public for donations to help them through the current crisis.