Reproduction of the original.

George P. Upton's 'The Standard Operas: Their Plots, Their Music, and Their Composers' is a comprehensive guide to the world of opera, providing detailed descriptions of the plots, musical scores, and composers behind some of the most beloved operas in history. Upton's literary style is informative and engaging, making this book accessible to both opera enthusiasts and newcomers to the genre. Written in the late 19th century, this book serves as a valuable resource for understanding the cultural significance of opera during that time period. Upton's meticulous research and passion for opera shine through in his detailed analyses of each opera's story and music. George P. Upton, a music critic and educator, drew from his extensive knowledge of opera to create this definitive guide. His expertise in music theory and history is evident in the way he dissects the composers' intentions and the development of opera as an art form. Upton's dedication to preserving the legacy of these timeless works is reflected in the thoroughness of his research and the depth of his insights. I highly recommend 'The Standard Operas' to anyone interested in delving into the world of opera. Upton's book provides a comprehensive overview of the most famous operas, making it an essential read for opera lovers and scholars alike.

Detailed survey of Vivaldi's unjustly neglected chamber cantatas, showing them to stand comparison with his more famous works. Vivaldi's chamber cantatas for solo voice, some forty in total, are steadily gaining in popularity: but because of their relatively small place in the oeuvre of a composer famed for his productivity, and also on account of the general scholarly neglect of their genre, they are little discussed in the literature. This book comprehensively explores their literary and musical background, their relation to the composer's biography, the chronology of their composition, and their musical qualities. Each cantata is discussed individually, but there is also a broader consideration of aspects concerning them collectively, such as performance practice, topical allusion, and the conventions of Italian verse. The author argues that while Vivalid's cantatas are not as innovative as his concertos and operas, he produced several masterpieces in the genre that rank with his best music. MICHAEL TALBOT is Emeritus Professor of Music at the University of Liverpool.

This is the only English translation of this important book by the world's most distinguished Bach scholar.

A history of music for the imperial court “from a professor, choral director, and professional tenor who has studied Viennese cantatas for half a century” (Lowell Lindgren, Massachusetts Institute of Technology). Lawrence Bennett provides a comprehensive study of the rich repertoire of accompanied vocal chamber music that entertained the imperial family in Vienna and their guests throughout the seventeenth and early eighteenth centuries. The cantata became a form of elite entertainment composed to amuse listeners during banquets or pay homage to members of the royal family during special occasions. Concentrating on Baroque cantatas composed in the Habsburg court, Bennett draws extensively on primary source material to explore the stylistic changes that occurred within the genre in the generations before Haydn and Mozart. “An important book. It deserves to be warmly welcomed not only by scholars but also by performers of Baroque vocal chamber music.” —Early Music “Shed[s] light on an important yet seldom-discussed repertory, written by someone whose expertise is unquestionable.” —Music and Letters “By taking multiple analytical approaches, Bennett establishes an overall understanding while also demonstrating how individual composers approached the genre. . . . Recommended.” —Choice “An important tool for understanding the context in which cantatas were composed and performed, and in which the Hapsburgs’ important music collection . . . was created.” —Notes “A wealth of new information . . . from a scholar who writes clearly and perceptively, and who has devoted decades of attention to the material.” —Steven Saunders, Charles A. Dana Professor of Music, Colby College