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Acknowledgments | ||
A Note on Italian Prosody | ||
Introduction | 3 | |
1 | From Rossini's Mose to Verdi's Nabucco | 8 |
2 | Verdi and Don Giovanni: On the Opening Scene of Rigoletto | 34 |
3 | Remarks on Verdi's Composing Process | 48 |
4 | Thoughts for Alzira | 75 |
5 | Toward an Explanation of the Dramatic Structure of Il trovatore | 100 |
6 | Music in the Theater (apropos of Aida, Act III) | 113 |
7 | More on the Three "Systems": The First Act of La forza del destino | 127 |
8 | Verdi's Musical Thought: An Example from Macbeth | 141 |
9 | The Musico-Dramatic Conception of Gluck's Alceste (1767) | 153 |
10 | Notes on Bellini's Poetics: Apropos of I puritani | 162 |
11 | Bellini and Paisiello: Further Documents on the Birth of I puritani | 176 |
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Add Music in the theater, Well-known for leading audiences to a new appreciation of Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli here turns his attention to the intriguing question of how musical theater works. In this collection of lively, penetrating ess, Music in the theater to the inventory that you are selling on WonderClubX
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Add Music in the theater, Well-known for leading audiences to a new appreciation of Verdi as a subtle and elaborate musical thinker, Pierluigi Petrobelli here turns his attention to the intriguing question of how musical theater works. In this collection of lively, penetrating ess, Music in the theater to your collection on WonderClub |