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Websters paperbacks take advantage of the fact that classics are frequently assigned readings in English courses. By using a running English-to-French thesaurus at the bottom of each page, this edition of Opera Stories from Wagner by Florence Akin was edited for three audiences. The first includes French-speaking students enrolled in an English Language Program (ELP), an English as a Foreign Language (EFL) program, an English as a Second Language Program (ESL), or in a TOEFL or TOEIC preparation program. The second audience includes English-speaking students enrolled in bilingual education programs or French speakers enrolled in English-speaking schools. The third audience consists of students who are actively building their vocabularies in French in order to take foreign service, translation certification, Advanced Placement (AP) or similar examinations. By using the Webster's French Thesaurus Edition when assigned for an English course, the reader can enrich their vocabulary in anticipation of an examination in French or English. TOEFL, TOEIC, AP and Advanced Placement are trademarks of the Educational Testing Service which has neither reviewed nor endorsed this book. All rights reserved. Websters edition of this classic is organized to expose the reader to a maximum number of difficult and potentially ambiguous English words. Rare or idiosyncratic words and expressions are given lower priority compared to difficult, yet commonly used words. Rather than supply a single translation, many words are translated for a variety of meanings in French, allowing readers to better grasp the ambiguity of English, and avoid them using the notes as a pure translation crutch. Having the readerdecipher a words meaning within context serves to improve vocabulary retention and understanding. Each page covers words not already highlighted on previous pages. If a difficul

This book contains the definitive treatment of the stories, texts, and music of Turandot, Gianni Schicchi, The Barber of Bagdad, Thaïs, Eugen Onegin, Prince Igor, The Golden Cockerel, Elektra, Orfeo ed Euridice, Lakmé, Les Huguenots, Così fan tutte, The Seraglio, Les Troyens, Don Pasquale, La Juive, Manon, Falstaff, Louise, Pelléas and Mélisande, The Bartered Bride, Die Fledermaus, Romeo and Juliet, Der Rosenkavalier, Cavalleria Rusticana, I Pagliacci, Wozzeck, L’Heure Espagnole, and Boris Godounov. The foremost authority on opera presented in the comprehensive volume all that the opera-goer, radio listener, music-lover, and confirmed operamane will wish to know about them. It is unique as both guide and armchair companion. Ernest Newman’s gigantic grasp of his subject is clear at every turn, as are his sheer writing ability and wit. He larded his treatment of the operas with biographical and historical materials acquired in a long lifetime of study and writing. This is the first volume of the trilogy of books (the other two being The Wagner Operas and Seventeen Famous Operas) with which Ernest Newman wished to replace his much earlier book, Stories of the Great Operas.

A Knight at the Opera examines the remarkable and unknown role that the medieval legend (and Wagner opera) Tannhuser played in Jewish cultural life in the nineteenth and early twentieth centuries. The book analyzes how three of the greatest Jewish thinkers of that era, Heinrich Heine, Theodor Herzl, and I. L. Peretz, used this central myth of Germany to strengthen Jewish culture and to attack anti-Semitism. Readers will see how Tannhuser evolves from a medieval knight to Peretzs pious Jewish scholar in the Land of Israel. The book also discusses how the founder of Zionism, Theodor Herzl, was so inspired by Wagners opera that he wrote The Jewish State while attending performances of it. A Knight at the Opera uses Tannhuser as a way to examine the changing relationship between Jews and the broader world during the advent of the modern era, and to question if any art, even that of a prominent anti-Semite, should be considered taboo.

A knowledge of great European cultural works is vital for any well-rounded classical education, and the anti-European bias of many present-day educational curricula has led to the deliberate downplaying of great works of art such as Richard Wagner's wonderful operas. Although this work was originally designed for younger readers, older persons seeking an introduction to Wagner's tales will find it equally readable and compelling. It tells the storyline of three of his most famous works: The Flying Dutchman, Lohengrin, and The Mastersingers of Nuremberg, in easy-to-read format. Once familiar with the plot, viewing the actual opera becomes immeasurably more pleasurable, and opens up a greater understanding of the dynamics of Wagnerian themes, motifs, and their underlying meaning. Lohengrin was first performed in 1850, and is based on a number of medieval German romances. Its fame has become so well-ingrained in Western consciousness that its Bridal Chorus, better known as "Here Comes the Bride," is still played as a processional at weddings. Die Meistersinger von Nurnberg (The Master-Singers of Nuremberg) was first performed in 1868, and is one of the longest operas ever written, with an average performance taking around four and a half hours. The story revolves around the real-life guild of Meistersinger (Master Singers), an association of amateur poets and musicians, and provides an unparalleled insight into life in the ancient and beautiful medieval city of Nuremberg. It is Wagner's only comedy, and also the only one which did not use supernatural elements in its storytelling. The Flying Dutchman was first performed in 1843 and is an adaptation of the older European legend of a ghost ship that can never make port and is doomed to sail the oceans forever. The ghostly crew interact with live people with unexpected consequences and Wagner was inspired to write it after a perilous sea-journey in which his own ship was nearly sunk. Illustrations by Byam Shaw.

An analysis of the role of eroticism--including the incestuous variety. McGlathery (German and comparative literature, U. of Illinois-Urbana) brings a broader psychological approach than psychoanalytic theory to this typically auxiliary realm of Wagnerian criticism of the ten operas: those classified as the romantic operas (The Flying Dutchman, Tannhauser, and Lohengrin); The Ring of the Nibelung; and the later ones (Tristan and Isolde, The Mastersingers of Nuremberg, and Parsifal). Annotation copyrighted by Book News, Inc., Portland, OR

The 1st ed. includes an index to v. 28-36 of St. Nicholas.

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