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OPERA IN PARIS, 1800-1850

Name: OPERA IN PARIS, 1800-1850
Author: Patrick Barbier
ISBN: 0-931340-83-7

A LIVELY HISTORY

by Patrick Barbier ‧ RELEASE DATE: May 1, 1995

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More than you want or need to know about a minor era in operatic history. Even the author admits that ``the first half of the 19th century was not the most remarkable period in the history of the Paris OpÇra.'' With this lukewarm endorsement, Barbier (History/Western Catholic Univ., France) embarks on a detailed description of operatic life in Paris during this period, focusing on the relationship between politics and music; the management of the various opera-theaters; opera audiences; the roles of the composer, librettist, and director; and the often vituperative attacks by critics on works that did not fit into the expected mold. Few notable operas originated in Paris at this time; most were imports, and many were bowdlerized by the theaters in an attempt to mold them into a more ``popular'' form. Native composers like Berlioz had difficulty having their more adventurous works staged, and when they were performed they were often roundly jeered. The author offers some lively anecdotes about the period's many colorful operatic stars, as well as the audience and composers, but these are few and far between and do not make up for the many passages in which Barbier bogs down in his enthusiasms. Originally published in French in 1987, the text often suffers from a clumsy translation—``Too much importance should not be ascribed to the staging of a production'' is typical of the often literal- minded rewording. The true opera fan may find a few illuminating moments here, but the casual reader would be better served by a general history that covers more bases. The paucity of illustrations makes this less than ideal for browsers, while the academic community will be put off by its thin scholarship. The fat lady won't stay around long to sing for this one.

Pub Date: May 1, 1995

ISBN: 0-931340-83-7

Page Count: 258

Publisher: N/A

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 1995

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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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

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.