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Balanced Studies Meyerbeer's OperasReview Date: 2006-01-12

Insightful & InspiringReview Date: 2006-02-08

Available online for freeReview Date: 2008-04-08

A great essay on the mislabeling of genocide.Review Date: 2008-02-12
Buy this essay and give it a read, hearing both sides to a story riddled with propaganda is the democratic way.

Abecedarian -- Someone learning their ABC'sReview Date: 2007-09-02

We love Moonpaws!Review Date: 2006-06-21

The best study I have ever read!Review Date: 2007-04-19

Used price: $22.50

Great read all the wayReview Date: 2008-03-11
If you are a newbie and wants to leanrn about Feng Shui, this book is for you.

Excellent Article Review Date: 2008-04-06

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A great look back at investigative journalismReview Date: 2003-08-04
When looking at all three articles, they might seem to a 21st century reader as a little flat and not all that shocking or sensational. However, if one looks back at some of the hokey pablum that many papers and magazines employed, these articles were nothing short of a bombshell. Some of the journalism of that era smacked of boosterism or partisan sentiment, but these articles were indeed beholden to none but the truth (or as close to that moving target as you can get).
The introduction and essays that accompany these pieces do a good job of providing the reader with information about the writers. The essays also help put the events of the early 20th century into context. It is safe to say that while these essays are not necessarily flashy or earth-shattering in their conclusions, they are solid, helpful material that only give the reader a deeper appreciation for the term "muckraking."
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In 1936 Meyerbeer's opera Les Huguenots achieved its 1,120th performance at the Paris Opera. This extraordinary record is an indication of the vast fame and influence of its composer who was once a household name, like Verdi or Puccini. Now he is unknown to the ordinary opera lover. These essays represent something of an odyssey to seek out and know the shadowy figure behind so much divided opinion and long neglect. They represent attempts, at various stages over thirty years, to find Meyerbeer and enter the world of his remarkable operatic creations that once so characterized the musical life of European civilization.
The first chapter is a basic introduction to Meyerbeer's career and some of the characteristics of his musical language. His great dramatic power, melodic richness, and famed orchestral virtuosity are all considered, as represented in his most famous opera, Les Huguenots. Other essays look at aspects of his life, especially in the light of his personal papers that have been opened up to the world since the early 1960s.
The second set of studies endeavors to understand Meyerbeer's major operas in some kind of intellectual framework, and in relation to one another. Meyerbeer's six French operas helped to define the classicgenres of grand opera and opera comique. A representative of each of these types is explored, analyzing origins, literary elements, and musical style. The com¬poser's first opera comique, L'Etoile du Nord (1854), is a work of surprising com¬plexity and invention that pays tribute to a long tradition of beloved operatic conventions in a most original way. L'Africaine (1865) was the swansong of his career and a valediction to the classic form that had dom¬inated the serious lyric stage in Paris since the late seventeenth century.
The third set of essays combines the biographical and analytical approaches to investigate Meyerbeer as man and musician in relation to his contemporaries. The heady world of nineteenth-century Paris is explored, with Halevy and Auber pre-eminent among Meyerbeer's colleagues. Meyerbeer's reactions to them personally and professionally provide fresh perspectives on the history of French opera in the mid-nineteenth century.
Meyerbeer is also examined in relation to Bellini, the famous composer of long, beautiful melodies. Bellini's essentially lyrical gifts are thought of as antithetical to Meyerbeer's more passionate dramaturgy, yet consideration of Meyerbeer's use of melody, and its extension in dramatic purposefulness, reveals points of their close affinity.
The longest and final contribution is devoted to Meyerbeer's relations with Berlioz, his brilliant and versatile contem¬porary on the Parisian scene. The two conducted a surprisingly close but troubled friendship over thirty-five years, and this complex relationship is explored in their writings about each other.