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Fidelio (The Black Dog Opera Library)

FIDELIO, one of the world’s best-loved operas, now joins the incredibly popular Black Dog Opera Library. The perfect listening/reading combination, this book/CD package includes a world-class recording of the complete opera along with a full-color 144-page guide featuring the libretto, history, a synopsis and more. FIDELIO features performances by opera greats Gösta Winbergh and Péter Pálinkás. The book also details the life and work of the composer, the careers of the most famous and talented performers of all time and the nuances of the opera itself.

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Fidelio: English National Opera Guide 4 (English National Opera Guides)

English National Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. Fidelio is Beethoven’s only opera and the composition he is said to have loved the most. Elizabeth Forbes introduces the background and composition of the opera, written and revised over the years when Europe was caught up in the Napoleonic campaigns. Basil Deane’s musical commentary is the fruit of a life’s study and devotion to the work. The last contribution is an extract from Ernest Newman’s translation of Romain Rolland’s classic study of Beethoven the Creator.

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Ludwig van Beethoven: Fidelio (Cambridge Opera Handbooks)

Fidelio is Beethoven’s only complete opera and one of the most admired, and problematic, in the repertoire. This Opera Handbook explores the fascinating musical and dramatic elements within the work as well as the debt to the traditions of French opera in the late eighteenth century and the French Revolution. Winton Dean offers a comparison of the opera’s first (1805) and final (1814) versions. Essays by Michael Tusa and Joseph Kerman consider its musical idiom and the challenges Beethoven faced as an instrumental composer trying his hand at opera. A final chapter examines the opera’s performance history, and the volume also includes a synopsis, bibliography, and informative illustrations.

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Fidelio: an opera in two acts [1903? ]

Originally published in ca. 1903. This volume from the Cornell University Library’s print collections was scanned on an APT BookScan and converted to JPG 2000 format by Kirtas Technologies. All titles scanned cover to cover and pages may include marks notations and other marginalia present in the original volume.

Rating: (out of 3 reviews)

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Fidelio: an opera in two acts [1903? ] Reviews

Review by B. Annis:

This is the real thing. Full orchestral score and complete. No translation from the German, unfortunately, but a translation of the libretto is not hard to find.

Review by Keith Dillon:

The history of Fidelio’s composition is one of the great comic Operas in the annals of music theatre. Beethoven wrote the opera’s first version, Leonore. He liked it, but didn’t like the overture. He wrote a second overture, didn’t like it, then wrote a third. He liked the new overture, but decided he didn’t like the opera. So he re-wrote the Opera and re-titled it Fidelio. After finishing the new score, he decided that, you guessed it, he hated the overture. After composing two full length operas and four 15-minute overtures, he finally had the piece he wanted to compose. With sweat pouring off his brow, he triumphantly exclaimed, “man, I ain’t doing that again!” Dover reprinted an early Breitkopf & Hartel edition of Fidelio, using as it’s resource B & H’s gesamtlichtwerke (I believe that’s “complete works”). Dover chose Fidelio, not Leonore, for the simple reason that Fidelio is the version most often performed today. Maybe the idea that Dover could’ve publish two versions simply underlines the assertion that Dover should begin publishing Complete Works of some of Western Classical music’s great masters, such as Beethoven (sold separately, or in a set, of course). The scholarship in this B & H Fidelio is, of course, highly reliable, and the book itself is easy to read and nearly indestructable. The print is large enough that this score could be used on the podium.

Buy Fidelio: an opera in two acts [1903? ] now for only $ 14.99!

Mozart and Beethoven: The Concept of Love in Their Operas (Irving Singer Library)

With a new preface by the author

Music, language, and drama come together in opera to make a whole that conveys emotional reality. In this book, Irving Singer develops a new mode for understanding and experiencing the operas of Mozart and Beethoven, approaching them not as a musical technician but as a philosopher concerned with their expressive and mythic elements. Using the distinction between the sensuous and the passionate (formulated in Singer’s earlier book The Goals of Human Sexuality) as framework for his discussion, Singer explores not only the treatment of love in these operas but also the emotional and intellectual orientation of these two great composers. Singer contrasts the cool sensuality of the Don in Mozart’s Don Giovanni with Leonora’s passionate love for her husband in Beethoven’s Fidelio and compares the erotic playfulness of some of Mozart’s letters with Beethoven’s fervent (and unsent) letter to “the immortal beloved.” Don Giovanni, The Marriage of Figaro, Così Fan Tutte, and The Magic Flute all express the conflict between the sensuous and the passionate, but it is only in The Magic Flute, says Singer, that this conflict is resolved. Beethoven, an admirer of The Magic Flute, emulated both its music and its ideology, and produced in Fidelio the greatest of all operas about married love.

Written while Singer was also at work on the three-volume The Nature of Love, Mozart and Beethoven can be read as a companion volume to this masterful trilogy and as a forerunner to his later work on philosophy in film.

The Irving Singer Library

• ISBN13: 9780262513647
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! BUY WITH CONFIDENCE, Over one million books sold! 98% Positive feedback. Compare our books, prices and service to the competition. 100% Satisfaction Guaranteed

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