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The operatic life of the librettist for Don Giovanni and The Marriage of Figaro.In 1805, Lorenzo Da Ponte was the proprietor of a small grocery store in New York. But since his birth into an Italian Jewish family in 1749, he had already been a priest, a poet, the lover of many women, a scandalous Enlightenment thinker banned from teaching in Venice, the librettist for three of Mozart's most sublime operas, a collaborator with Salieri, a friend of Casanova, and a favorite of Emperor Joseph II. He would go on to establish New York City's first opera house and be the first professor of Italian at Columbia University. An inspired innovator but a hopeless businessman, who loved with wholehearted loyalty and recklessness, Da Ponte was one of the early immigrants to live out the American dream.In Rodney Bolt's rollicking and extensively researched biography, Da Ponte's picaresque life takes readers from Old World courts and the back streets of Venice, Vienna, and London to the New World promise of New York City. Two hundred and fifty years after Mozart's birth, the life and legacy of his librettist Da Ponte are as astonishing as ever.

Following on the success of their recording of Lully's Bellerophon, Christophe Rousset and Les Talens Lyriques present Phaeton, the eighth tragedie lyrique by Jean-Baptiste Lully and his faithful librettist, Philippe Quinault. It is truly one of their most remarkable creations. First performed in 1683, it proved so popular that it was referred to as the "opera of the people." It portrays the story of a young man's temerity in wishing to drive the chariot of his father, the sun god, and the son's

Sir Arthur Sullivan wrote fourteen comic operas with librettist W. S. Gilbert, plus overtures, oratorios, cantatas, operettas and other incidental ...

Composer-lyricist Stephen Sondheim and librettist James Goldmans landmark 1971 musical returns to Broadway in FOLLIES. Now, PS Classics and producer Tommy Krasker - who has helmed over a dozen Sondheim cast recordings - preserve this unparalleled work of genius in an expansive two-disc set, complete with 52-page full-color booklet with essay, synopsis, lyrics, production photos and a brief note (below) from the album producer.

Wolfgang Amadeus Mozart (1756-1791) wrote the music to COSI FAN TUTTE (So do they all), his third collaboration with librettist Lorenzo da Ponte, o...

Wolfgang Amadeus Mozart (1756-1791) wrote the music to COS? FAN TUTTE (So do they all), his third collaboration with librettist Lorenzo da Ponte, o...

This is a series of studies of individual operas written for the opera-goer or record-collector as well as the student or scholar. Each volume has three main concerns: historical, analytical and interpretative. There is a detailed description of the genesis of each work, the collaboration between librettist and composer, and the first performance and subsequent stage history. A full synopsis considers the opera as a structure of musical and dramatic effects, and there is also a musical analysis of a section of the score. The analysis, like the history, shades naturally into interpretation: by a careful combination of new essays and excerpts from classic statements the editors of the handbooks show how critical writing about the opera, like the production and performance, can direct or distort appreciation of its structural elements. A final section of documents gives a select bibliography, a discography, and guides to other sources. Each book is published in both hard covers and as a paperback.

Playwright, librettist, Tony nominee, and two-time Emmy Award-winning writer Sherman Yellen lovingly recreates the world of his impoverished forebears before World War I; his troubled, prosperous, mendacious father; his beautiful, willful fashion-model mother, and especially his own New York childhood in the 1930s and 40s in this remarkable family saga. Yellen's childhood witnessed both great events and the everyday life of a city boy in an embattled family, all viewed through the eyes of an observant little boy waiting impatiently for his body to catch up to his all-seeing consciousness. Yellen summons up this lost world of a New York Jewish-American family during the Great Depression and World War II with candor and love and brings it back to vivid new life.

In this wide-ranging and challenging book, Ruth Smith shows that the words of Handel's oratorios reflect the events and ideas of their time and have far greater meaning than has hitherto been realized. She sheds new light on the oratorio librettists and explores literature, music, aesthetics, politics and religion to reveal Handel's texts as conduits for eighteenth-century thought and sensibility. This book enriches our understanding of Handel, his times, and the relationships between music and its intellectual contexts.

Recorded during the 2018 Donizetti Festival, Il Castello di Kenilworth was first staged at Naples San Carlo in 1829. Drawn from a novel by Sir Walter Scott and adapted by librettist Leone Tottola, this rare opera was unjustly long neglected. This recording features the original version, with the role of Warney entrusted to a tenor (which the composer changed into a baritone in the 1836 revision of the score).Il Castello di Kenilworth is the first of the several successful works to follow that D

The conductor and composer Bo Holten has long been fascinated by Carlo Gesualdo - an Italian prince and one of the most extreme composers of the Late Renaissance, whose dramatic life and bitter fate make up the plot in Holten's and librettist Eva Sommestad Holten's 'modern baroque opera' Gesualdo - Shadows. Reflecting our own time, this is a drama of a great artist lost between outward duties and inner fragility: from a passionate youth to an old age of mysticism, violence and melancholy. Gesual

No Handel opera is as enigmatic as Silla. His fourth London opera, it was composed in 1713 to a libretto by Giacomo Rossi, also the librettist of the composers first great London triumph Rinaldo (1711). And that is just about the extent of any certainty on the subject. It might have been premiered in 1713 in London in a private concert at the Queens Theatre, but even this remains unconfirmed. This is one of Handels few historical operas, being concerned with Plutarchs account of the latter p

Over four decades the American composer Louis Karchin has produced a much-admired portfolio of compositions. His one-act opera Romulus won numerous accolades. Jane Eyre is his largest project to date, in which he and librettist Diane Osen fashion Charlotte Bronte's beloved novel into a vivid and moving opera cast as a fluid and continuous entity. Karchin's wide-ranging harmonic language and his flair for contrast ensure that the novel's drama, it's pastoral elements, and most importantly it's ch

First performed in 1865, Amleto ('Hamlet') represented a radical new development in Italian opera, the nuovo melodrama. Composer Franco Faccio and his librettist Arrigo Boito sought a greater degree of musical unity in staged productions and a more equal relationship between text and music. In Hamlet, a play that many then considered un-operatic, they found the perfect medium through which to explore the work's philosophical and dramatic power- not least the great set-piece scenes: Amleto's soli

Recorded during the 2018 Donizetti Festival, Il Castello di Kenilworth was first staged at Naples San Carlo in 1829. Drawn from a novel by Sir Walter Scott and adapted by librettist Leone Tottola, this rare opera was unjustly long neglected. This recording features the original version, with the role of Warney entrusted to a tenor (which the composer changed into a baritone in the 1836 revision of the score).Il Castello di Kenilworth is the first of the several successful works to follow that D

As if in slow motion, librettist Thornton Wilder summarizes a series of Christmas dinners celebrated by the Bayard family over a period of ninety years and fuses them into a single long meal. The concentration of the characters and their standardization are all things that Hindemith's setting picks up on: he counterbalanced them musically by means of development, individualization, and variation - thus designing a kind of music that expresses contingency - significant coincidence - as an attitud

Oscar Hammerstein II (1895-1960) forged a remarkable, multifaceted career as a librettist, lyricist, playwright, director, and producer. He wrote Carmen Jones, Carousel, Show Boat, and, with longtime collaborator Richard Rodgers, Oklahoma!, South Pacific, The King and I, and The Sound of Music. Hugh Fordin enjoyed complete access to the Hammerstein archives and conducted numerous interviews with family and colleagues like Rodgers, Berlin, Robbins, and Sondheim. The result is the definitive biography of a creative giant, who changed forever the texture of American theater.

Already brimming with symbols and transformations, the epic fairytale recounted by Strauss and his librettist Hofmannsthal in Die Frau ohne Schatten acquires a further allegorical dimension in Christoph Loy's inventive production for the Salzburg Festival. The central character, the Empress - half-spirit, half-human, and unable to bear children until she finds a shadow - here becomes a young soprano who makes a voyage of personal and professional discovery as she records the opera. A superb cast

Le Villi is an opera-ballet in two acts that marked Giacomo Puccini's debut in the world of opera. It was first staged at Teatro dal Verme in Milan in 1884. Librettist Ferdinando Fontana based the story on the ancient legend of the Willis, fantastic creatures representing the souls of young women who were the victims of love. Anna and Roberto are engaged, but during a trip the man is seduced by a woman and his fiance dies of heartbreak. Roberto, who is by then abandoned and left penniless, is h

Les Troyens is a tour de force that ranges from fiery military marches to intense choruses, passionate soliloquies and the lyrical love duets of Dido and Aeneas. For Hector Berlioz, librettist and composer, the opera became the work of decades and the passion of a lifetime, the culmination of his literary love affair with Virgil's Aeneid and with two tragic heroines, Cassandra and Dido. David McVicar's staging is on an enormous scale, assembling one of the largest casts ever seen at Covent Garde