A renowned music scholar narrates the social history of European opera during its golden age in the 18th and 19th centuries by taking readers behind the scenes at the premiere performances of five extraordinary and influential operas. 88 illustrations.

This lively book takes us back to the first performances of five famous musical compositions: Monteverdi's Orfeo in 1607, Handel's Messiah in 1742, Beethoven's Ninth Symphony in 1824, Berlioz's Symphonie fantastique in 1830, and Stravinsky's Sacre du printemps in 1913. Thomas Forrest Kelly sets the scene for each of these premieres, describing the cities in which they took place, the concert halls, audiences, conductors, and musicians, the sound of the music when it was first performed (often with instruments now extinct), and the popular and critical responses. He explores how performance styles and conditions have changed over the centuries and what music can reveal about the societies that produce it. Kelly tells us, for example, that Handel recruited musicians he didn't know to perform Messiah in a newly built hall in Dublin; that Beethoven's Ninth Symphony was performed with a mixture of professional and amateur musicians after only three rehearsals; and that Berlioz was still buying strings for the violas and mutes for the violins on the day his symphony was first played. Kelly's narrative, which is enhanced by extracts from contemporary letters, press reports, account books, and other sources, as well as by a rich selection of illustrations, gives us a fresh appreciation of these five masterworks, encouraging us to sort out our own late twentieth-century expectations from what is inherent in the music.

“Delightful and anti-reverential”—Sunday Times (London) With an encyclopedic knowledge of opera and a delightful dash of irreverence, Sir Denis Forman throws open the world of opera—its structure, composers, conductors, and artists—in this hugely informative guide. A Night at the Opera dissects the eighty-three most popular operas recorded on compact disc, from Cilea's Adriana Lecouvreur to Mozart's Die Zauberflöte. For each opera, Sir Denis details the plot and cast of characters, awarding stars to parts that are “worth looking out for,” “really good,” or, occasionally, “stunning.” He goes on to tell the history of each opera and its early reception. Finally, each work is graded from alpha to gamma (although the Ring cycle gets an “X”), and Sir Denis has no qualms about voicing his opinion: the first act of Fidelio is “a bit of a mess,” while the last scene of Don Giovanni “towers above the comic finales of Figaro and Così and whether or not [it] is Mozart's greatest opera, it is certainly his most powerful finale.” The guide also presents brief biographies of the great composers, conductors, and singers. A glossary of musical terms is included, as well as Operatica, or the essential elements of opera, from the proper place and style of the audience's applause (and boos) to the use of subtitles. A Night at the Opera is for connoisseurs and neophytes alike. It will entertain and inform, delight and (perhaps) infuriate, providing a subject for lively debate and ready reference for years to come.

Combining the social commentary of The Handmaid’s Tale with the white-knuckled thrills of Red Rising, this epic space opera filled with “lush prose” (Publishers Weekly) follows a comfort woman as she claims her agency, a soldier questioning his allegiances, and a non-binary hero out to save the solar system. First Sister has no name and no voice. As a priestess of the Sisterhood, she travels the stars alongside the soldiers of Earth and Mars—the same ones who own the rights to her body and soul. When her former captain abandons her, First Sister’s hopes for freedom are dashed when she is forced to stay on her ship with no friends, no power, and a new captain—Saito Ren—whom she knows nothing about. She is commanded to spy on Captain Ren by the Sisterhood, but soon discovers that working for the war effort is much harder when you’re falling in love. Lito val Lucius climbed his way out of the slums to become an elite soldier of Venus but was defeated in combat by none other than Saito Ren, resulting in the disappearance of his partner, Hiro. When Lito learns that Hiro is both alive and a traitor to the cause, he now has a shot at redemption: track down and kill his former partner. But when he discovers recordings that Hiro secretly made, Lito’s own allegiances are put to the test. Ultimately, he must decide between following orders and following his heart. With “a layered, action-filled plot and diverse characters” (Library Journal), The First Sister explores the power of technology, colonization, race, and gender and is perfect for fans of James S.A. Corey, Chuck Wendig, and Jay Posey.

Written when John Barth was 24 years old, The Floating Opera is his first novel, published in 1957. It is a first-person reminiscence of the day Todd Andrews decided to commit suicide. Having picked up some sense of the French Existentialist writers from the postwar Zeitgeist, this novel questions life's value through the eyes of a 37-year-old man.

Verdi's enduring presence on the opera stages of the world and as a subject for scholarly study by researchers in various disciplines has placed him as a central figure within modern culture. The composer's undisputed popularity from the mid-nineteenth century to the present day, among enthusiasts and scholars alike, lies at the heart of The Cambridge Verdi Encyclopedia. This comprehensive resource covers all aspects of Verdi's music and his world, including the people he knew and worked with, his compositions, and their reception. Extensive appendices list all of Verdi's known works, both published and unpublished, and the characters in his operas. As a starting point for information on specific works, people, places, and concepts, the Encyclopedia reflects the very latest scholarship, presented by an international array of experts in a manner that will have a broad appeal for opera lovers, students, and scholars.

Conrad Scalese is a writer of librettos for operas in a world where music has immense power. In the Church, the sung mass can bring about actual miracles like healing the sick. Opera is musicodrama, the highest form of music combined with human emotion, and the results of the passion it engenders can be nothing short of magical. In this world of miracles, Conrad is an atheist - he sees the same phenomena, but sees no need to attribute them to a Deity ... until his first really successful opera gets the opera-house struck by the lightning bolt of God's disapproval ... ... And Conrad comes to the attention of the Prince's Men, a powerful secret society, who are trying to use the magic of music to their own ends - in this case, an apocalyptic blood sacrifice. Life is about to get interesting for Conrad.

Lily thinks that the opera is boring. However, her mother takes her on an adventure that she'll never forget! A trip to the opera!