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The most comprehensive one-volume collection of unabridged opera lyrics ever published. It features virtually all of the operas that are being performed in the foremost opera houses and concert halls today. The text is presented in its original language as well as in an English translation. To enrich the experience, a short synopsis precedes each libretto. 101 Opera Librettos is indispensable for opera lovers and everyone curious about the literary richness of the worlds most beloved vocal musical performances.
- Sales Rank: #553868 in Books
- Published on: 1996-01-10
- Ingredients: Example Ingredients
- Original language: French
- Number of items: 1
- Dimensions: 11.10" h x 2.74" w x 8.92" l,
- Binding: Hardcover
- 1474 pages
Amazon.com Review
You're never going to haul this book to the opera house, it is true, but, on the other hand, you'll probably never again have to fret over where to find a libretto for most standard repertory operas. This massive, 1,474-page (plus endpapers) volume, which could readily double as a doorstop or a booster seat at the theater, contains all the words, in their original languages (for the most part) and in English, of 101 out-of-copyright operas. The selections run the gamut from Ludwig van Beethoven's Fidelio through Carl Maria von Weber's Euryanthe, with scores of stories in between. In addition to the word-for-word libretti, a brief pr�cis of each plot is also provided.
There are some puzzling omissions--Mozart's Cos� fan tutte and Abduction from the Seraglio--and puzzling inclusions as well: Paderewski's Manru and Horatio Parker's Mona are not considered standard operas by any authority that readily springs to mind. Borodin's Prince Igor is, incomprehensibly, given in Italian and English (the Russian people improbably sing, "Ad Igor, signor nostro, vittoria"), as are Mussorgsky's Boris Godunov and Tchaikovsky's Evgeny Onegin. There are also some annoying little errors that could have been avoided with more careful proofreading ("Madam Butterfly"?), and the paper used is disappointingly cheap. Still, with these caveats in mind, The Book of 101 Opera Librettos is a very useful book for the money, a one-stop shop for many of the operas you're likely to encounter. Just be sure to read the libretto before you leave for the opera house.
Language Notes
Text: English, French, German, Italian
About the Author
A multiple GRAMMY� nominee, pianist Allison Brewster Franzetti has received international acclaim from critics and audiences alike for her stunning virtuosity and musicality, both as a soloist and chamber musician. Born in New York City, she received her Bachelor of Music degree from the Manhattan School of Music and her Master of Music degree from the Juilliard School. She has won first prizes from the Paderewski Foundation and the Piano Teachers Congress of New York as well as awards from the Kosciuszko Foundation and the Denver Symphony Orchestra. She was the recipient of two HEART (History, Education, Arts – Reaching Thousands) Grants from the Union County Board of Chosen Freeholders and the Starr Foundation, and was appointed Concert Artist in Piano and Chamber Music at Kean University in 2001. She was elected to the honor society Phi Kappa Phi in 2002. Kean University bestowed its first Graduate Commencement Performing Artist Award on her in 2003. An accomplished accompanist and chamber musician, Allison Brewster Franzetti has collaborated with some of the finest performers and composers in the world, including Sir James Galway, John Corigliano, Stephen Paulus, Lowell Liebermann, Ransom Wilson, Eugenia Zukerman, Julius Baker, Robert White, and members of major American and international symphony orchestras. She has performed at Carnegie Hall, Lincoln Center, festivals in the United States, Mexico and Europe, and on radio and television.
Most helpful customer reviews
72 of 77 people found the following review helpful.
big book big disappointment
By voicebox
I am a voice teacher,a member of the National Association of Teachers of Singing, and a professional musician. I received this book as a gift. It looks expensive, (and unfortunately is) but cheaply printed on flimsy and cheap paper. Don't try to do any quick researching, or you'll rip it to shreds. And these are NOT word for word translations! They are the transcriptions for the English versions of the opera written to somewhat suit the music which was written for the original language. They would not be what is up on the supertitles at a live opera performance. And some operas have omissions, like some missing dialogue and lyrics from the original language and hence from the English. Take heed of the editorial review, because it does have strange inclusions, glaring exclusions, and goof ups like incorrect original languages. Only get this book if you are a student, and can't get or do your own better translations. If you want a really useful book, and you are an opera lover, but not as knowledgeable as you'd like to be, get the latest edition of the New Grove Book of Operas. Or even Kobbes. Or 101 opera stories. Skip this one. Save your money.
33 of 33 people found the following review helpful.
A collection of reprinted turn-of-the-century librettos
By Christopher Hapka
The pros and cons of this book are both the natural result of what it really is: a collection of reprinted, out-of-copyright libretti from the 1900s and 1910s. These are the libretti you would have seen for sale if you'd attended the Met a hundred years or so ago, newly typeset but otherwise unchanged.
This is good in that it lets us get 100 libretti cheap; there's no way the publishers would have been able to afford new translations of everything.
On the other hand, this means that the selection is a bit odd. In general, only librettos from 1921 and before are going to be out of copyright, which explains why operas (like "Turandot") composed after that date can't be included. This also explains why operas such as "Cosi fan tutte", which was rarely if ever performed in most American opera houses, are absent--Cosi didn't really enter the American repertory until the 1950s Met production.
In addition, the book can only present the versions of the operas as they were performed at American houses at that time. This means that the book omits materially traditionally cut by whatever house they got the libretto from (most likely the Met). If that house performed a Russian opera in Italian translation, you'll get an Italian and English libretto in this book as well. And the English translations themselves are generally fairly archaic and flowery, as was the style in American opera houses at the time.
So if your needs are the same as an early 20th century opera attendee--getting a general idea of the story or a more-or-less accurate copy of the original-language libretto--then this is a good value. I find it a very useful resource just because it is so comprehensive. But if you're looking for a deep understanding of an individual libretto, or a quality modern English translation, you'll need to look elsewhere.
40 of 42 people found the following review helpful.
GREAT, BUT WITH SPELLING MISTAKES AND LIBERAL TRANSLATIONS
By A Customer
Opera is a unique and splendid art form. It combines glorious singing by soloists and ensembles, dramatic or comic acting, spectacular scenes on indoor and outdoor stages, light effects and vibrant music. All these effects depend on the lyrics contained in librettos as a paramount foundation stone. Popular and great composers paid a lot of attention to the libretto or "parola scenica" (scenic word) as Verdi defined it. Puccini struggled in search of suitable subjects for opera. Once he found them, he had stormy relationships with his librettists on lyrics, for him to get inspired and compose immortal melodies. Verdi had problems with librettists apart from censors, in his quest at compressing the action on stage for maximum dramatic effect. When he found a poetic genius (Arrigo Boito) to write for him, he dished out "Otello", a masterpiece of condensed poetry and music, which would have made Shakespeare proud of the opera based on his play. Wisely, Wagner went a stage further and wrote his own lyrics. This book under review is an innovative, monster compilation of famous and popular opera librettos, which will delight and inform operagoers. What is also very handy in the book is a faithful description (in the original language and English) of what goes on the stage. Of course, the book is heavy and thank goodness that it is a single volume, although the pages are thin paper. Otherwise, with more robust paper, there would have been the need of several volumes!
That said, reflecting on the importance of a libretto as foundation stone, I went about checking the accurate spelling of the Italian librettos (my mother-tongue) and how faithful the corresponding English translations were. On the book dust jacket, the editors wrote "COMPLETE ORIGINAL LANGUAGE TEXTS WITH ENGLISH TRANSLATIONS". I found a myriad of spelling mistakes in the Italian texts to make fire ants look like frightened and depleted hordes! As an example, in Luisa Miller (Verdi), Act II and Scene IV, the first 50 singing lines between Walter and Wurm have 18 spelling mistakes of the Italian language. Misspellings and absence of consonants and vowels, missing words and attachment of prepositions to words. It is a real bedlam! There is a claim that the English translations are full. Surely, they are full of sentences that do not correspond to the Italian ones. At times, the meaning conveyed sounds very poetic but is not faithful to the original intention. As an example, in Tosca (Puccini), Act III, Mario Cavaradossi, reminiscing one night of love with Tosca, sings "...mi cadea fra le braccia"(she fell in my arms) translated as "In her soft arms she clasped me" and "le belle forme disciogliea dai veli" (beautiful forms she disclosed from the veils) translated as "A thing of beauty, of matchless symmetry in form and feature!". This is very liberal translation, poetry within poetry!! I may accept the poetic versions in English but a very useful book of complete opera librettos with glaring spelling mistakes is inexcusable. Great pity, because the editors only needed to do a thorough spelling check of the Italian and all other original language librettos. Then, the book would have deserved 5 stars. There is still time and opportunity for the editors to do it. Their effort in producing a great book deserves more accolades than they received from readers so far.
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