A premier singer and master teacher here tells other singers how to get the most from 151 famous arias selected for their popularity or their greatness from 66 operas, ranging in time and style from Christopher Gluck to Carlisle Floyd, from Mozart to Menotti. “The most memorable thrills in an opera singer's life,” according to the author's Introduction, “may easily derive from the great arias in his or her repertoire.” This book continues the work Martial Singher has done, in performances, in concerts, and in master classes and lessons, by drawing attention “not only to precise features of text, notes, and markings but also to psychological motivations and emotional impulses, to laughter and tears, to technical skills, to strokes of genius, and even here and there to variations from the original works that have proved to be fortunate.” For each aria, the author gives the dramatic and musical context, advice about interpretation, and the lyric—with the original language (if it is not English) and an idiomatic American English translation, in parallel columns. The major operatic traditions—French, German, Italian, Russian, and American—are represented, as are the major voice types—soprano, mezzo-soprano, tenor, baritone, bass-baritone, and bass. The dramatic context is not a mere summary of the plot but is a penetrating and often witty personality sketch of an operatic character in the midst of a situation. The musical context is presented with the dramatic situation in a cleverly integrated way. Suggestions about interpretation, often illustrated with musical notation and phonetic symbols, are interspersed among the author's explication of the music and the action. An overview of Martial Singher’s approach—based on fifty years of experience on stage in a hundred roles and in class at four leading conservatories—is presented in his Introduction. As the reader approaches each opera discussed in this book, he or she experiences the feeling of participation in a rehearsal on stage under an urbane though demanding coach and director. The Interpretive Guide will be of value to professional singers as a source of reference or renewed inspiration and a memory refresher, to coaches for checking and broadening personal impressions, to young singers and students for learning, to teachers who have enjoyed less than a half century of experience, and to opera broadcast listeners and telecast viewers who want to understand what goes into the sounds and sights that delight them.

(Vocal Collection). Contents: Handel: V'adoro pupille (Giulio Cesare) Mozart: Porgi, amor (Le Nozze di Figaro) * Dove sono (Le Nozze Figaro) * Deh vieni, non tardar (Le Nozze di Figaro) * Bester Jungling (Der Schauspieldirektor) * Batti, batti, bel Masetto (Don Giovanni) * Vedrai carino (Don Giovanni) * Ach, ich fuhl's (Die Zauberflote) Beethoven: O war' ich schon mit dir vereint (Fidelio) C.M. von Weber: Kommt ein schlanker Bursch gegangen (Der Freischutz) Verdi: Caro nome (Rigoletto) * Saper vorreste (Un Ballo in Maschera) * Sul fil d'un soffio etesio (Falstaff) Gounod: The Jewel Song (Faust) * Ah! Je veux vivre (Romeo et Juliette) Bizet: Je dis que rien ne m 'epouvante (Carmen) Offenbach: Elle a fui, la tourterelle! (Les Contes d'Hoffmann) Massenet: Adieu, notre petite table (Manon) Leoncavallo: Ballatella (I Pagliacci) Puccini: Mi chiamano Mimi (La Boheme) * Donde lieta (La Boheme) * Quando men vo (La Boheme) * Un bel di (Madama Butterfly) * O mio babbino caro (Gianni Schicchi) * Signore, ascolta (Turandot) * Tu che di gel sei cinta (Turandot) Menotti: The Black Swan (The Medium) * Monica's Waltz (The Medium) Moore: Willow Song (The Ballad of Baby Doe) * The Silver Aria (The Ballad of Baby Doe) Mechem: Fair Robin, I love (Tartuffe).

The bilingual series Flower World - Music Archaeology of the Americas raises the study of ancient music and music-related activities of the pre-Columbian Americas to the next level. For the first time in the history of science, a series offering anthologies featuring scientific investigations in this fascinating multidisciplinary field is available. The series encompasses peer-reviewed studies by renowned scholars on both past and living music traditions from South, Central and North America, and thus constitute a platform for the most up-to-date information on the music archaeology of the continent. It features case studies and the results of research projects in the field, in which a great variety of music-archaeological approaches, such as conventional archaeology - for the interpretation of the find contexts, experimental archaeology - for reconstructive instrument making and playing, ethnohistory and ethnolinguistics - for the interpretation of textual sources, music iconology - for the interpretation if visual sources, organology and acoustics, and ethnomusicology - for the research on contemporary legacies - for the study of the instrument finds, are commonly applied. The title of the series, Flower World, refers to a mythological, even sacred place filled with the sweet scent of flowers, bird calls, pleasant sounds, and dance. It is a place full of happiness and joy, even if it belongs to the realm of the Dead, which sustains the enduring renewal of life on earth.

(Vocal Collection). Contents: Mozart: O wie angstlich (Die Entfuhrung aus dem Serail) * Frisch zum Kampfe! (Die Entfuhrung aus dem Serail) * Dalla sua pace (Don Giovanni) * Il mio tesoro (Don Giovanni) * Un' aura amorosa (Cosi fan tutte) * Dies Bildnis ist bezaubernd schon (Die Zauberflote) Rossini: Ecco ridente in cielo (Il Barbiere di Siviglia) Donizetti: Quanto e bella (L'Elisir d'Amore) * Una furtiva lagrima (L'Elisir d'Amore) * Spirto gentil (La Favorita) * Com' e gentil (Don Pasquale) Flotow: Ach! so fromm (Martha) Nicolai: Horch, die Lerche (Die Lustigen Weiber von Windsor) Verdi: Questa o quella (Rigoletto) * La Donna e mobile (Rigoletto) * De' miei bollenti spiriti (La Traviata) * Dal labbro il canto estasiato vola (Falstaff) Gounod: Salut! demeure chaste et pure (Faust) Bizet: Je crois entendre encore (Les Pecheurs de Perles) * La fleur que tu m'avais jettee (Carmen) Tchaikovsky: Lenski's Aria (Eugen Onegin) Massenet: En fermant les yeus (Manon) * Pourquoi me reveiller (Werther) Lalo: Vainemant, ma bien-aimee (Le Roi d'Ys) Puccini: Che gelida manina (La Boheme) * Amore, grillo (Madama Butterfly) * Firenze e come un alberto fiorito (Gianni Schicchi) Cilea: E la solita storia del pastore (L'Arlesiana) Giordano: Amor ti vieta (Fedora) Britten: Inkslinger's Song (Paul Bunyan) Weill: Lonely House (Street Scene) Menotti: I know that you all hate me (The Saint of Bleecker Street) Barber: Outside this house (Vanessa) Hoiby: Caliban's Aria (The Tempest).

Cell Lineage and Fate Determination provides a comprehensive view of the mechanisms regulating cell lineage and fate determination in an effort to understand how the fertilized egg is transformed into a complex of specialized tissues. It presents basic information on eight different animal models and recent developmental biological research done in each model. The book provides a focused forum presenting key information for researchers studying various aspects of developmental and cellular biology. Extensive use of tables and black-and-white and color figures helps illustrate each model. The book concludes by discussing future goals for bringing cellular, molecular, and genetic research to clinical applications and tissue replacement therapies.Key Features* Presents eight different animal models* Provides a focused forum on cell fate determination that provides comprehensive and key information for researchers* Illustrates the transitional relationship between researchers and clinicians* Includes the extensive use of tables and color figures

A comprehensive guide to Handel's JULIUS CAESAR, featuring Principal Characters in the opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis by Burton D. Fisher, noted opera author and lecturer.