Puccini Without Excuses
A Refreshing Reassessment of the World's Most Popular Composer
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- ¥710
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- ¥710
発行者による作品情報
Puccini is the most beloved composer of opera in the world: one quarter of all opera performances in the U.S. are of his operas, his music pervades movie soundtracks, and his plots have infiltrated our popular culture. But, although Puccini’s art still captivates audiences and the popularity of such works as Tosca, La Bohéme, and Madama Butterfly has never waned, he has long been a victim of critical snobbery and cultural marginalization.
In this witty and informative guide for beginners and fans alike, William Berger sets the record straight, reclaiming Puccini as a serious artist. Combining his trademark irreverent humor with passionate enthusiasm, Berger strikes just the right balance of introductory information and thought-provoking analysis. He includes a biography, discussions of each opera, a glossary, fun facts and anecdotes, and above all keen insight into Puccini’s enduring power. For anyone who loves Puccini and for anyone who just wonders what all the fuss is about, Puccini Without Excuses is funny, challenging, and always a pleasure to read.
INCLUDES:
• Why Puccini’s art and its message of hope is crucial to our world today
• How Anglo audiences often miss the mythic significance of his operas
• The use of his music as shorthand in films, from A Room with a View to Fatal Attraction
• A scene-by scene analysis of each opera
• A guide to the wealth of available recordings, books, and videos
PUBLISHERS WEEKLY
Puccini, the celebrated composer of La Boh me, Tosca and Madama Butterfly (together, the three make up perhaps a quarter of all U.S. opera performances) is often regarded as a "guilty pleasure," too melodic, too "easy." Not so fast, says Berger, who proceeds to demonstrate exactly why attention must be paid. This is the third in the amusing, educational opera series by the popular NPR commentator and radio host, following Wagner Without Fear and Verdi with a Vengeance. The informal, sometimes slangy tone assumes readers' ignorance (but willingness to learn) and coaches them in everything they need to know. The formula follows that of the earlier books: first, a brief biography of the artist; then a breakdown of each opera (eight here) with comments, introducing the characters and explaining what kind of singer each part calls for; then an act-by-act summary with instructions on what to watch and listen for. Next, Berger veers off into three idiosyncratic essays, including one on Puccini's influence on modern show biz (on Boh me knockoffs: Moulin Rouge was good; Rent, not so much). Then it's back to instruction: singers to recognize, recordings to buy or rent, books to read and a glossary of musical terms, many Italian.
