Archaeologist Ivor Noël Hume chronicles his life, describing events and experiences both personal and professional from his childhood in England in the 1930s to his life on North Carolina's Roanoke Island, and discussing his thirty-five-years career in academia, along with excursions to Egypt, Jamaica, Haiti, and shipwrecks in Bermuda.
You are getting ready for a performance of Donizetti’s L’elisir d’amore and you have a few questions. How many clarinets are in the orchestra? How many orchestra members appear onstage? How many different sets are there? How long does the opera typically run? What are the key arias? Are any special effects or ballet choreography required? Who owns the rights? Where was it premiered? What are the leading and supporting roles? The Opera Manual is the only single source for the answers to these and other important questions. It is the ultimate companion for opera lovers, professionals, scholars, and teachers, featuring comprehensive information about, and plot summaries for, more than 550 operas—including every opera that is likely to be performed today, from standard to rediscovered contemporary works. The book is invaluable, especially for opera professionals, who will find everything they need for choosing and staging operas. But it is also a treasure for listeners. Similar reference books commonly skip over scenes and supporting characters in their plot summaries, lacking even the most basic facts about staging, orchestral, and vocal requirements. The Opera Manual, based on the actual scores of the works discussed, is the only exhaustive, up-to-date opera companion—a “recipe book” that will enable its readers to explore those operas they know and discover new ones to sample and enjoy.
Cecil Clarke's adaptation for television has been used as the basis for the current revised version. While retaining all the well-known musical numbers, it allows a more fluid production, no longer dependent on major scene changes, and, by omitting scenes incidental to the main plot, has concentrated on the central love story between penniless, unknown composer, Rudi Kleber, who leaps to fame in Vienna of 1911, and the operetta star who first befriends him, Maria Ziegler.
The King of Murania is dead! Long live the King! But the heir is Nikki, twenty years in exile, and living with actress Marta Karillos, disliked and distrusted by the people. To ensure a suitable succession, Elena, the Queen Mother, acidly witty and a schemer of genius, persuades Nikki to accept the crown, marry Cristiane - the snow princess from Norseland - and beget an heir as soon as is decently possible. Nikki agrees, provided his beloved Marta can be installed, in considerable grandeur, not too far from the royal abode. The emotional tangle which begins when the frigid Cristiane thaws, and Nikki finds he must fight within himself to keep faith with Marta, is heightened by political intrigues which culminate in enforced abdication and a return to exile. Ten years later, when Cristiane's little son is crowned, she knows in her heart that somewhere in the cold shadows of Bledz Cathedral the ceremonial is being watched by a proud, sad father and husband, who has loved not wisely but not well.
Glamorous Night, a musical play, was first produced in 1935 at the Theatre Royal, Drury Lane, in London's West End. It was the creation of Ivor Novello who wrote the original book and music, with lyrics by Christopher Hassall. Novello wrote the show as a starring vehicle for himself and the American opera diva Mary Ellis - it also starred a young Elisabeth Welch. It was a great success and set Novello on the road to writing other musicals in which he could star with a non-singing role including Crest of the Wave, The Dancing Years, Perchance to Dream and King's Rhapsody.Synopsis:We start with the prologue that explains how Novello invented the show on the spur of the moment. He then leads us on the journey with him to spend a Glamorous Night in the Ruritanian land of Krasnia. His character is Anthony Allen.Anthony, a journalist always in search of good copy in the lives of the rich and famous – or infamous – sets off on a luxury cruise. Whilst visiting the Kingdom of Krasnia in the Balkans, he plans to see Glamorous Night, in which Militza Hajos, the opera prima-donna is singing. Militza, the mistress of King Stefan of Krasnia, is to perform in the new opera with her friend, and erstwhile love, the tenor Lorenti.Krasnia is a hotbed of political unrest masterminded by Lydyeff the Prime Minister. However, Lydyeff's plot to assassinate Militza during her performance is prevented by Anthony, which earns him her gratitude. Militza's departure from the country is urged both by her enemies, who wish to be rid of her, and by friends who fear for her safety. By chance, she and her devoted companion Cleo Wellington join the cruise ship on which Anthony occupies the luxury suite – which Militza tries to claim for herself. Lorenti is also on board, pleased to be leaving troubled Krasnia. During a ship's concert, as Cleo entertains the passengers, a new plot is revealed – to kill Militza by blowing up the ship and making it sink. She and Anthony escape the sinking ship as do their friends.Act Two embraces a Gypsy Wedding and a counter plot – led by the loyal gypsies from where Militza comes from, to restore King Stefan and Militza to public favour and quash the revolution Prime Minister Lydyeff has planned for Krasnia. Anthony is drawn into the struggle by his love for Militza and saves the King's life by shooting LydyeffPeace is achieved and the King's threatened abdication is averted, but at the price of Militza giving up her love for Anthony and agreeing to marry Stefan.Anthony must return to England, he has the story of a lifetime but he knows it is one that will never be written.I was first asked to revise the libretto and structure of the show in the late 1990s as a precursor to a West End revival that alas faltered at the eleventh hour. However, the revised version finally had its premiere at the Buxton Opera House in 2008 produced by Present Company, demonstrating the success of the revised version and making the show workable for today's audiences. David SC
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