by Garry Wills ‧ RELEASE DATE: Oct. 17, 2011
While the book has an enormous amount to teach devotees of either Shakespeare or Verdi, opera fans in particular will enjoy...
One genius interprets another: English to Italian, words to lyrics, immortal drama to overpowering opera.
In his latest, Wills (History/Northwestern Univ.; Outside Looking In: Adventures of an Observer, 2010, etc.) proves once again that he isn’t just a Pulitzer Prize–winning historian, full-time public intellectual and Catholic apologist who is fluent in Greek and Latin. In examining how the Italian composer Giuseppe Verdi (1813–1901) turned three Shakespeare plays into classics of his own, the authors demonstrates how an adaptation can both analyze and interpret its source of inspiration. Wills finds that these two creative dynamos, separated by two centuries, had much in common; both were as productive as they were pragmatic, each tailoring their work to the actors or singers who were available. Although Verdi could not speak English, he perfectly grasped Shakespeare’s complexities. The duets of Macbeth underscore the intent of the devious and deviant Lord and Lady: “[Macbeth] and his wife talk past each other, not to each other, hiding from each other, and each hiding from him- or herself. It is all there in the music.” With Otello, Verdi and his librettist Arrigo Boito turned a fiercely pessimistic play into a nihilistic one, in which Iago sees himself as the devoted servant of a cruel God. With Falstaff, he created virtually a new play, piecing together the larger-than-life character from the Shakespeare’s history plays and his lesser comedy The Merry Wives of Windsor. Just as Verdi “gave cosmic reach to Otello’s music,” writes the author, “he turns Falstaff into a force of nature, an earth-daimon.” Wills isn’t afraid to plumb the subterranean depths and the delicate infrastructure of these works.
While the book has an enormous amount to teach devotees of either Shakespeare or Verdi, opera fans in particular will enjoy the author’s close and illuminating attention to backstage history, as well as words, music and phrasing.Pub Date: Oct. 17, 2011
ISBN: 978-0-670-02304-2
Page Count: 240
Publisher: Viking
Review Posted Online: July 5, 2011
Kirkus Reviews Issue: July 15, 2011
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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