How to Listen to and Understand Opera
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Narrateur(s):
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Robert Greenberg
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Auteur(s):
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Robert Greenberg
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The Great Courses
À propos de cet audio
To watch any opera lover listen to a favorite work, eyes clenched tight in concentration and passion, often betraying a tear, is to be almost envious. What must it be like, you might think, to love a piece of music so much?
And now one of music's most gifted teachers is offering you the opportunity to answer that very question, in a spellbinding series of 32 lectures that will introduce you to the transcendentally beautiful performing art that has enthralled audiences for more than 400 years.
As you meet the geniuses - including the likes of Monteverdi, Mozart, Verdi, Wagner, and Puccini - who have produced some of the landmark artistic achievements of the form, and listen to many of their most beautiful moments, you'll grasp how the addition of music can reveal truths beyond what mere spoken words can convey, and how opera's unique marriage of words and music makes the whole far greater than the sum of its parts.
Beginning with opera's origins in the early 17th century and continuing into the 20th, you'll trace the art's evolution and its ability to convey every shade of human emotion, whether sorrow or joy, drama or buffoonery. You'll understand how different types of voices enhance character. And you'll understand how the invention of the aria gave operatic composers a new power to make human emotions soar, adding to the impact of what continues to be one of the most beautiful musical forms ever devised.
PLEASE NOTE: When you purchase this title, the accompanying reference material will be available in your Library section along with the audio.
©1997 The Teaching Company, LLC (P)1997 The Great CoursesCe que les auditeurs disent de How to Listen to and Understand Opera
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Au global
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Performance
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Histoire
- Chris Corradini
- 2022-05-28
Good introduction buffoonish professor
This is a competent and concise introduction to opera. The excerpts presented are well chosen although I dislike that for licensing reasons we cannot know the recordings or performers.
Greenberg is needlessly over the top. Engages in near constant buffoonish vamping and hyperbole. His readings of the libretti at times were so cringeworthy I had to skip ahead.
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