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The Bel Canto Operas Of Rossini Donizetti And Bellini by Charles Osborne
Includes all the operas of Rossini, Donizetti, and Bellini, describing the circumstances of each opera's first performance, discussing the libretto, outlining the plot, and giving an analysis of the music.
Bel Canto by Robert Toft
In Bel Canto, the first ever guide to the bel canto style, author Robert Toft provides singers with the tools they need to bring scores to life in an historically informed manner.
Bel Canto by James Stark
In this well documented and highly readable book, James Stark provides a history of vocal pedagogy from the beginning of the bel canto tradition of solo singing in the late sixteenth and early seventeenth centuries to the present. Using a nineteenth-century treatise by Manuel Garcia as his point of reference, Stark analyses the many sources that discuss singing techniques and selects a number of primary vocal 'problems' for detailed investigation. He also presents data from a series of laboratory experiments carried out to demonstrate the techniques of bel canto. The discussion deals extensively with such topics as the emergence of virtuoso singing, the castrato phenomenon, national differences in singing styles, controversies regarding the perennial decline in the art of singing, and the so-called secrets of bel canto. Stark offers a new definition of bel canto which reconciles historical and scientific descriptions of good singing. His is a refreshing and profound discussion of issues important to all singers and voice teachers.
The Bel Canto by Hermann Klein
Bel Canto by Ann Patchett
Now a major motion picture starring Julianne Moore and Ken Watanabe. New York Times Bestseller Ann Patchett’s award winning, bestselling novel that balances themes of love and crisis as disparate characters learn that music is their only common language—now a major motion picture starring Julianne Moore and Ken Watanabe. “Blissfully romantic…. A terrific, spellcasting story.” — San Francisco Chronicle Somewhere in South America, at the home of the country's vice president, a lavish birthday party is being held in honor of the powerful businessman Mr. Hosokawa. Roxanne Coss, opera's most revered soprano, has mesmerized the international guests with her singing. It is a perfect evening—until a band of gun-wielding terrorists takes the entire party hostage. But what begins as a panicked, life-threatening scenario slowly evolves into something quite different, a moment of great beauty, as terrorists and hostages forge unexpected bonds and people from different continents become compatriots, intimate friends, and lovers.
Bel Canto by Mathilde Marchesi
Renowned teacher presents the "vocal alphabet," or basic instructions and exercises that formed the voices of her own students, who included Melba and Calvé. Topics include breathing, attack, registers, voice management, and projection.
Giovanni Battista Rubini And The Bel Canto Tenors by Dan H. Marek
Giovanni Battista Rubini (1794-1854) was a legendary tenor and the first 19th-century non-castrati male singer to become an international star of opera. The previous two centuries had been the era of the castrati, with tenors and basses relegated to character and supporting roles in the operas of their time. Rubini stood apart because he not only matched the castrati in coloratura and pathos, but he also had an extraordinarily high voice. With Rubini’s rise, and in his wake, several tenors came to sing roles written specifically for them by Rossini, Bellini, Donizetti, and many other lesser-known bel canto composers. Signaling the end of the dominance of castrati on stage, this period would last some 40 years until the advent of Grand Opera, Wagner, and Verdi and the appearance of the first so-called High C from the chest by Gilbert-Louis Duprez in 1837. Since then, the accepted tenor sound has followed the tradition epitomized by Enrico Caruso and, in our own era, Luciano Pavarotti and Placido Domingo. Many composers, conductor, and performers would come to regard bel canto dramatic operas as decorative and vapid until Maria Callas and Tulio Serafin demonstrated the heights this genre of opera could reach. However, opera directors and opera performers of late who have expressed an interest in reviving selected masterpieces from the bel canto tradition have found themselves confronted with the problem of locating tenors versed in the vocal techniques necessary to carry the high tessituras. In Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique, Dan H. Marek explores the extraordinary life of Rubini in order to frame this special period in the history of opera and connect the technique of the castrati who were among Rubini’s instructors. Drawing on the work of Berton Coffin, Marek offers long-sought answers to the challenges presented by high tessitura of bel canto operas for tenors. To further assist working singers, Giovanni Battista Rubini and the Bel Canto Tenors includes over 60 pages of exercises written by Rubini himself before 1840, which Marek, for the first time ever has adapted to acoustical phonetics. Professional singers, teachers and their students, vocal coaches, and opera conductors will find this work indispensable as the only English-language work on high tessitura for tenor and soprano singing.
The Technics Of Bel Canto by Giovanni Battista Lamperti
In this little classic, the great Italian singing master Giovanni Battista Lamperti teaches the skills of the Bel Canto technique that dominated the Italian opera in its heyday.
Coffin S Overtones Of Bel Canto by Berton Coffin
Presents in acoustic phonetics, register and musical notation, many exercises that will make the voice stronger and more musical according to the precepts of Bel Canto.
The Bel Canto Buzz by Debra Lynn
Debra Lynn shares her unique and highly-effective approach to singing with ease, based on the bel canto principles and understanding of Manuel Garcia and Mathilde Marchesi!