Literary Nonfiction. Italian American Studies. "Through a fortunate concatenation of events, a collection of letters written by an Italian farmer of the time has recently become available, now archived at the Western Reserve Historical Society in Cleveland, Ohio. Between 1910 and 1913 Antonio Vasquenz, a native of the Abruzzo village of Cerchio, wrote about forty letters totaling 25,000 words to his son Angelo, an immigrant working in the coal mines of western Pennsylvania. Unlike many contadini, Antonio was fully literate. He was also a talented writer and intelligent man. Over a four-year period he described in detail, with vivid and sometimes pungent prose, all the events and trials of his life: family illness and death, agricultural conditions, and always, always the financial burdens..." from the Introduction"

Opera is often regarded as the pinnacle of high art. A "Western" genre with global reach, it is where music and drama come together in unique ways, supported by stellar singers and spectacular scenic effects. Yet it is also patently absurd -- why should anyone break into song on the dramatic stage? -- and shrouded in mystique. In this engaging and entertaining guide, renowned music scholar Tim Carter unravels its many layers to offer a thorough introduction to Italian opera from the seventeenth to the early twentieth centuries. Eschewing the technical musical detail that all too often dominates writing on opera, Carter begins instead where the composers themselves did: with the text. Walking readers through the relationship between music and poetry that lies at the heart of any opera, Carter then offers explorations of five of the most enduring and emblematic Italian operas: Monteverdi's The Coronation of Poppea; Handel's Julius Caesar in Egypt; Mozart's The Marriage of Figaro; Verdi's Rigoletto; and Puccini's La Bohème. Shedding light on the creative collusions and collisions involved in bringing opera to the stage, the various, and varying, demands of the text and music, and the nature of its musical drama, Carter also shows how Italian opera has developed over the course of music history. Complete with synopses, cast lists, and suggested further reading for each work discussed, Understanding Italian Opera is a must-read for anyone with an interest in and love for this glorious art.

"Nothing could be more spontaneous and ebullient than Chopin's letters." "Books" "Perhaps no composer's letters are so kindred to his music, and reminiscent of the impression produced by it, as Chopin's are." "The New York Times" This superbly edited selection of nearly 300 of Chopin's letters, the first to be published in English, vividly reveals the composer as man and artist, and evokes the remarkable age Europe of the 1830s and 1840s he shared with an equally remarkable cast of characters, from Jenny Lind to Isabella II of Spain, from Queen Victoria to George Sand, from Heinrich Heine to Victor Hugo. The tone of the letters is exuberantly engaging: "They abound in delightful gossip, they are merry rather than malicious, they are engagingly witty, and at times their humor becomes positively Rabelaisian" (Peter Bowdoin, "Books"). Their contents offer rare glimpses into Chopin's childhood environment, his mind and character, his tragic love for George Sand, the origins of many of his compositions, the various musical influences that shaped his creative ideas and habits, and the artistic circles in which he moved. Originally collected by the Polish musicologist Henryk Opienski, the letters have been translated and annotated by Chopin scholar E. L. Voynich. Students and admirers of Chopin will find in their pages vast resources to deepen their love and appreciation for and wonderment at the unique individuality and achievement of this great musical personality. "

Though studying opera often requires attention to aesthetics, libretti, staging, singers, compositional history, and performance history, the music itself is central. This book examines operatic music by five Italian composers--Rossini, Bellini, Mercadante, Donizetti, and Verdi--and one non-Italian, Meyerbeer, during the period from Rossini's first international successes to Italian unification. Detailed analyses of form, rhythm, melody, and harmony reveal concepts of musical structure different from those usually discussed by music theorists, calling into question the notion of a common practice. Taking an eclectic analytical approach, author William Rothstein uses ideas originating in several centuries, from the sixteenth to the twenty-first, to argue that operatic music can be heard not only as passionate vocality but also in terms of musical forms, pitch structures, and rhythmic patterns--that is, as carefully crafted music worth theoretical attention. Although no single theory accounts for everything, Rothstein's analysis shows how certain recurring principles define a distinctively Italian practice, one that left its mark on the German repertoire more familiar to music theorists.

An unusual look at Italian opera in the nineteenth century.