Dallapiccola on Opera (Selected Writings, Volume I)
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Product Details
Author:
Luigi Dallapiccola
Format:
Hardcover
Pages:
296
Publisher:
Boydell & Brewer Inc. (January 1, 1987)
Imprint:
Toccata Press
Language:
English
Audience:
Professional and scholarly
ISBN-13:
9780907689096
ISBN-10:
0907689094
Weight:
20oz
Dimensions:
5.63" x 8.74"
File:
TWO RIVERS-PERSEUS-Metadata_Only_Perseus_Distribution_Customer_Group_Metadata_20250917125524-20250918.xml
Folder:
TWO RIVERS
List Price:
$19.95
Country of Origin:
United Kingdom
Case Pack:
20
As low as:
$15.36
Publisher Identifier:
P-PER
Discount Code:
A
Overview
Brings out Dallapiccola's enduring importance as critic as well as composer.
The Italian composer Luigi Dallapiccola [1904-75] always characterised himself as a `man of the theatre', and Il Prigioniero [The Prisoner] has been performed more often than any other Italian opera since Puccini. Dallapiccola on Opera, the first collection of his writings to appear in English, proves that he was also an inspired essayist and critic. To the directness and psychological insight of his narrative style, Dallapiccola adds probing observation of details in the critical texts that form the core of this book. Whether writing about familiar masterpieces like Mozart's Don Giovanni and Verdi's Falstaff, Mussorgsky's Boris Godunov and Debussy's Pelleas et Melisande, or discussing such great but problematic works as Monteverdi's Il Ritorno di Ulisse in patria, Busoni's Doktor Faust and Verdi's Simon Boccanegra, Dallapiccola illuminates fundamental, previously unnoticed dramatic and musical aspects.
The Italian composer Luigi Dallapiccola [1904-75] always characterised himself as a `man of the theatre', and Il Prigioniero [The Prisoner] has been performed more often than any other Italian opera since Puccini. Dallapiccola on Opera, the first collection of his writings to appear in English, proves that he was also an inspired essayist and critic. To the directness and psychological insight of his narrative style, Dallapiccola adds probing observation of details in the critical texts that form the core of this book. Whether writing about familiar masterpieces like Mozart's Don Giovanni and Verdi's Falstaff, Mussorgsky's Boris Godunov and Debussy's Pelleas et Melisande, or discussing such great but problematic works as Monteverdi's Il Ritorno di Ulisse in patria, Busoni's Doktor Faust and Verdi's Simon Boccanegra, Dallapiccola illuminates fundamental, previously unnoticed dramatic and musical aspects.
