By Denis Forman
This a little irreverent advisor to opera summarizes the plots of 17 of the world's nice operas, together with Aida, l. a. Boheme, and Carmen, and describes their characters, artists, and composers.
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Extra resources for A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings
Was opposed to his sons entering the music profession. Instead, both Strauss Jr. and Josef were enrolled at the prestigious Schottentorgymnasium and encouraged toward middle-class, professional careers: Strauss Jr. as a bookkeeper, Josef as an engineer. But Strauss Jr. ’s orchestra, most notably violinst Franz Amon, also supported Strauss Jr. ’s 1844 debut took place at Dommayer’s Casino when he was nineteen years old; just as in the case of his father in 1825, his career was launched in response to a drastic change in his domestic situation.
It is difficult to assess exactly the personal viewpoints espoused by members of the Strauss family during 1848. 51 Strauss Sr. was appointed to the position of imperial ball music director in 1846 (k. k. 52 But his compositional activities during this time make it difficult to assess his personal position. He wrote six marches in 1848, which matched his waltz output for that year. 56 Biographers writing after 1918, though, were less enthralled by it. ’s political outlook, suggesting that he had written it less as a celebration of Radetzky and more as a paean to the conservative regime based in Vienna.
And his native city; the works were praised because they contained the musical encapsulation of Vienna and its unique culture. ’s pieces do not simply evoke images of the city in their titles, they also do so in the music. Consider, for instance, the zither found in the introduction of Tales from the Vienna Woods, an authentic instrument from the region incorporated into the piece. 42 More often, though, his ability to capture his city in music was less tangible, as can be seen in this description of his works from Karl Kobald’s 1925 biography: And even today, when an Austrian, Viennese, anywhere in the wide world hears Strauss’s wonderful, jovial melodies, he is afflicted by a deep homesickness, he laughs and cries, and in his mind appears the beautiful image of the beloved city on the Danube, the silhouette of the Stephansdom, of Kahlenberg, Schönbrunn Palace that in their blossoming, still gardens and hills surround the “beautiful blue Danube …”43 This passage paints a picture of Vienna by invoking several of its best-known locales.
A Night at the Opera: An Irreverent Guide to The Plots, The Singers, The Composers, The Recordings by Denis Forman