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In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical-as opposed to a dramatic-necessity for opera during this period and that Mozart's Idomeneo is properly enjoyed and judged only when listeners are attuned to its seventeenth and eighteenth-century forebears.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
JORDAN Fiscus
reviewed Osmin's rage on August 12, 2011
Osmin's rage
I read this as research for my novel, My Phantom: The Memoir of Christine Daaé. A useful guide to the history of the art form.
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Add Osmin's rage, In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical-as opposed to a dramatic-necessity for opera during this pe, Osmin's rage to the inventory that you are selling on WonderClubX
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Add Osmin's rage, In his new concluding chapter, Peter Kivy advances his argument on behalf of a distinctive intellectual and musical character of opera before Mozart. He proposes that happy endings were a musical-as opposed to a dramatic-necessity for opera during this pe, Osmin's rage to your collection on WonderClub |
