Join Amazon Prime and ship Two-Day for free and Overnight for $3.99. Already a member? Sign in.
Better Together
Customers Who Bought This Item Also Bought
Giuseppe Verdi: Falstaff (Cambridge Opera Handbooks) by James A. Hepokoski
$39.99
|
The Rest Is Noise: Listening to the Twentieth Century by Alex Ross  (47)
$19.80
|
The Cambridge Companion to Verdi (Cambridge Companions to Music) by Scott L. Balthazar  (1)
$28.99
|
Verdi - La Traviata DVD ~ Renee Fleming  (28)
$19.97
|
Editorial Reviews
From Publishers Weekly
Giuseppe Verdi (1813-1901) had reason to dislike librettist-composer Arrigo Boito (1842-1918), who had scoffed at him in print. But when Verdi's librettist Francesco Maria Piave died in 1876 and a replacement was needed, Verdi's publisher lobbied hard to bring about a rapprochement between them. And as their correspondence shows, working together on Verdi's last two operas, Otello and Falstaff , as well as revising Simon Boccanegra , forged a bond between them that ended only with Verdi's death. Verdi, who virtually wrote his own librettos, allowed his librettists to function basically as versifiers, yet on reading Boito's final third of Otello , he pronounced it "divinely good." When Boito's own opera Mefistofele was revived successfully, Verdi was delighted; responding to Boito's enthusiasm for the Falstaff project, Verdi sensitively urged him to complete his opera Nerone first (Boito never did). Opera lovers will be pleased that their correspondence, edited by Verdi scholars Conti and Medici and published in Italy in 1978, is now available in Weaver's ( Verdi, A Documentary Study ) smooth translation and with his commentary. This collection of 301 letters is an important supplement to Mary Jane Phillips-Matz's biography Verdi .
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Gifted Italian poet/composer Boito was the librettist for Verdi's last and perhaps greatest operas, Otello and Falstaff. He shared a deep artistic sympathy with Verdi in their finely matched duet, and his delicate tuning adjustments to Verdi's work are evident throughout this vivid translation of their 20-year correspondence. Weaver deftly condenses notes from the original edition (published in Italy as Carteggio Verdi/Boito in 1978) and creates helpful explanations connecting the letters. Even if many other books document Verdi's operas, few of his letters are available in English. This collection is important for its size (301 letters) and themes, not the least of which is the greatness possible (in art and friendship) when two talented men collaborate with mutual loving respect. For most serious music collections.
Bonnie Jo Dopp, formerly with Dist. of Columbia P.L.
Copyright 1994 Reed Business Information, Inc.
See all Editorial Reviews
Giuseppe Verdi (1813-1901) had reason to dislike librettist-composer Arrigo Boito (1842-1918), who had scoffed at him in print. But when Verdi's librettist Francesco Maria Piave died in 1876 and a replacement was needed, Verdi's publisher lobbied hard to bring about a rapprochement between them. And as their correspondence shows, working together on Verdi's last two operas, Otello and Falstaff , as well as revising Simon Boccanegra , forged a bond between them that ended only with Verdi's death. Verdi, who virtually wrote his own librettos, allowed his librettists to function basically as versifiers, yet on reading Boito's final third of Otello , he pronounced it "divinely good." When Boito's own opera Mefistofele was revived successfully, Verdi was delighted; responding to Boito's enthusiasm for the Falstaff project, Verdi sensitively urged him to complete his opera Nerone first (Boito never did). Opera lovers will be pleased that their correspondence, edited by Verdi scholars Conti and Medici and published in Italy in 1978, is now available in Weaver's ( Verdi, A Documentary Study ) smooth translation and with his commentary. This collection of 301 letters is an important supplement to Mary Jane Phillips-Matz's biography Verdi .
Copyright 1994 Reed Business Information, Inc.
From Library Journal
Gifted Italian poet/composer Boito was the librettist for Verdi's last and perhaps greatest operas, Otello and Falstaff. He shared a deep artistic sympathy with Verdi in their finely matched duet, and his delicate tuning adjustments to Verdi's work are evident throughout this vivid translation of their 20-year correspondence. Weaver deftly condenses notes from the original edition (published in Italy as Carteggio Verdi/Boito in 1978) and creates helpful explanations connecting the letters. Even if many other books document Verdi's operas, few of his letters are available in English. This collection is important for its size (301 letters) and themes, not the least of which is the greatness possible (in art and friendship) when two talented men collaborate with mutual loving respect. For most serious music collections.
Bonnie Jo Dopp, formerly with Dist. of Columbia P.L.
Copyright 1994 Reed Business Information, Inc.
See all Editorial Reviews
Product Details
|
