Genres Books

Aaron Frankel, who has directed more than 100 plays, loves the stage, especially musicals. He brings his genius to Writing the Broadway Musical by formulating an organized book, which is easy to use both as a reference and as a guide.

He fills the text with pertinent examples -- plenty of them --like chocolate chips in cookies. Frankel's book is full of encouragement for the dreamers, while it outlines the practical aspects of taking a musical play from a dream to a full-fledged production.

Frankel's concise, clear volume on writing large-scale musicals is a welcome addition to the bookshelf of anyone who wants to understand how this peculiar theatrical genre works-- when it does. By focusing on two artistically successful, well-known pieces in the canon-- "My Fair Lady" as a well-executed classic musical with linear plot, "Company" (my personal favorite) as a well-executed plotless musical whose songs move character forward--, Frankel can support his intelligent teaching points with concrete yet familiar examples. I'm very happy to see this book back in print.

This book gives a good foundation for basic elements of a musical script. I bought this wanting to write a musical script but not necessarily the lyrics/musical score and am a complete novice - was a bit lost on the different musicals it quoted. However another book that is quite "meaty" in terms of how to write a compelling gripping story/script for theatre is "The Writers Journey" surname is Vogler. What Frankel says is that the book or story needs to be written first before appropriate lyrics/musical score can be created. So I would have gone straight to this book first. Good as reference but can borrow from library, not a must have.

In only 192 pages, Frankel presents writing for the musical theatre from the perspective of the book writer, lyricist and composer -- and how each contributes to the whole. Enough specifics for each to gain a better appreciation of the others' unique contributions. The book would be an excellent introductory text for a musical theate workshop. Most examples from My Fair Lady are illustrative and excellent; other examples from Company were less helpful (as that show was less successful). Highly recommended for those working on musical to keep near at hand.

Many of today's top talents in musicals on and off Broadway have studied with Aaron Frankel. Now anyone can learn the ropes from this honored director and instructor in a step-by-step guide that makes for good reading whether you are a writer, composer, or simply an avid theatergoer. I enjoyed the previous edition and found this revised and updated one an even more interesting read.

Although the title is Acting for Singers, actors and directors will benefit as well from Ostwald's excellent analysis of what makes a believable character on stage. The book is full of helpful exercises and explanations of what works on stage. Acting for Singers should be on the bookshelf of every performer.

I came upon this book while preparing for the North American debut of a 1640's Baroque opera in Washington D.C. The information in it is invaluable and succinct. Great for anyone trying to extract meaning from music and convey it to an audience. Well-written and containing excellent advice and exercises, I recommend it.

I have been a professional opera singer and voice professor for many decades. This book REALLY gets to the heart of the acting delima which singers' face. The index is very thorough, allowing the singer to find exactly the topic they are looking for easily. The book should be read cover to cover many times if the singer is new to the field of acting. (I find it helpful for each singer to ponder this question: Am I a singer who acts or, an actor who sings, or both.) An opera singer MUST learn to create operatic characters with which the audience can identify. Each Mannerism and gesture will change with each new operatic role one intends to interpret. This book should be a great help for the preparation of singers who aspire to act realistically and who wish to conquor this extremely demanding and rewarding field called OPERA.

David Ostwald's new book, "Acting for Singers," is an important and helpful guide for singers-in-training, for professionals learning new roles, and for seasoned performers who wish to infuse new dramatic life into their repertory. As a former arts administrator for San Francisco Opera and Affiliate Artists, Inc., I feel that Ostwald's book is equally useful for stage directors, conductors, teachers, and coach/accompanists who strive to make their highly collaborative art form appear as seamless as possible. Ostwald covers a number of pertinent topics including the foundations of believable acting, ways to improve concentration, and how to motivate a character's actions. Having judged many auditions over the years, I found the chapter on "Getting the Part" to be especially helpful to young singers who may not know how to dress for the occasion, speak to the judges, or introduce their selections from the stage. The author's "Ten Maxim's of Believable Singing" provide a concise checklist of wisdom gleaned from his years of teaching and directing. Ostwald's analysis of how directors and teachers can help their singers grow and flourish, including the sage advice of "Always be supportive" and "Never humiliate anyone," presents a pithy list that bosses in any business should read and take to heart. The text is lively, clear and well designed, with headings, bulleted points and enough white space to make the book's insights both accessible and memorable. Each chapter contains helpful exercises, summaries or trouble shooting techniques which will enable singers and their colleagues to create superior performances. "Acting for Singers" will likely become an indispensable, dog-eared companion for any singers who wish to breathe live and artistry into their characters.

Perry-Lynn Moffitt

"Acting for Singers" speaks to the problems that most all of us share in creative situations when we are speaking to a group or preparing an article or script for publication. We do not have to be singers to use the wisdom of Ostwald's mind and experience. These challenges are inevitably concentration, trust, projection, communication, and the self-doubt that most of us sometimes experience.

If you could see David Ostwald in action, you would recognize how his life is a demonstration of his work. When the groups at my seminars would get excited and several voices were talking at once in an exercise, David (upon my request) would clearly enunciate one or two words to the whole group in a tone that instantly shifted everyone's attention to the work at hand. The whole group loved David's wit and wisdom, his power to achieve the intended focus and hold it, plus his demonstration of an open mind, the will to learn and to share knowledge gained through years of a focused mind and experience.

David's whole life is filled with the qualities of concentration, trust, projection, and communication. This is the real power of his written words. I think this book will prove so useful that it will become an essential textbook for teaching acting to singers.

This book is incredibly entertaining. I'm 25 years old, and need constant excitement to keep my attention. While reading this book I was amazed by the by the numerous experiences Buzz Cason has encountered throughout his life. Any individual one of these expeiences could be a highlight in the "average person's" life, and Buzz has had a countless number of them. You can't help but wonder in amazement how one person had the opportunity to do so many exciting things in a lifetime. No matter your age, this book is incredible!

Heroes are found everywhere in the story of a Nashville kid who made good in the brutal business of music, beginning in the late 50s and still going strong in 2004. Autobiographical in its first person telling, this story regails to us tales of "the early days"...before belly piercing and techno grooves, when some of the biggest names in rock and pop music were fledgling acts, just kids. I found myself asking how one person accomplished all these things and met all these people while turning pages as quickly as my eyes could pass the story on to my eager brain. The creativity of Buzz Cason shines brightly from the pages of this delightful story, pictures being proof of the pudding of the rememberances most of us could only imagine in some fantasy life. The photos alone are worth the cost of the book. Every book shelf should sport a copy of this delightful look back down the road over the long, fun trip it's obviously been for the author. I'm getting it for practically everyone on my Christmas list!

This book, written in the first person, actually invites one into the very thoughts that Mr.Cason has as his memory interacts with some of the most well known and famous entertainers in the entire music industry.
The book is just the "right" length of read - not too long - and full of insight and humor! It includes many photographs too!
I would love to go to one of Mr.Cason's book signing's - I know that this first edition will increase in value over time.

Living The Rock 'n Roll Dream: The Adventures Of Buzz Cason is the autobiography of musician and award-winning hit songwriter Buzz Cason, founder of the Casuals, the first rock band in Nashville. A dazzling true story about the popular music trade Cason embraced for fifty years, shedding light on his career and offering an inside peek at the early days of rock 'n roll. A treasure for rock 'n roll fans looking to experience a primary account of the origins of their wildly popular music, and especially for those who have thrilled to Cason's outstanding talent.

Over the years, I've read dozens of music industry books. This book has to go to the top of the list for history and entertainment, that covers a time like no other on the planet.

My five stars are for the performance and the book. All opera recordings should come in this format. But the cd copies are bad and will be short-lived, they easily loose their coating.

I bought this as my first piece from the Black Dog Library in preparation for seeing the Vancouver BC Operas production in 2002. Black Dog Library is a must for everyone going to see an opera. Get this, listen to it, fall in love with the music and then see this opera live if you ever get the chance. This is opera at its best. After seeing the production live, I can't wait to see it again. And by listening to the cd's I can bring it right back to my mind and my heart.

Bravo Giuseppe, Bravo......

Wow!! Wow!! O my God! I just heard this album and my jaw dropped. Why it so many critic snub this recording ? It's the best Aida on record. I think it has to do with the fact it's very rare and more of a collector's piece as well overshadowed by more popular editions- i.e. Placido Domingo/Leontine Price, Jon Vickers..Pavoratti..Montserrat Caballe etc. But the cast in this album can not be more perfect. Birgit Nilsson was a grand lady of the opera- with a voice that cut through great orchestras, with dramatic integrity in her stage performances (she was as much as an actress as she was a singer and in this way she was like Maria Callas). It is true that she is far more recognized for her Wagner heroines- she is the best Isolde and Brunhilde, but her Wagnerian voice, so high, so powerful, is perfect for such diva roles as Aida. Verdi wrote the role for soprano di forzas which Birgit Nillson delivers with electrifying prowess. She was trained in Italian as well, which people seem to forget. Her Italian voice is rich, powerful, with a high top and generous bottom. She gets into characters with passionate intensity as well. Has anyone ever heard Turandot ? It's the best! So intense and powerful. And her Tosca is breathtaking. She also sang in Mozart's Don Giovanni starred opposite Leontine Price and the famous bass Cesare Siepi in that one. She can do the Italian roles as good as the rest of them!! There is also her powerful interpretation of Turandot and Tosca. So there you have it. Her Italian was as dynamic as her German. Franco Corelli is an awesome Radames, with hot-blooded, masculine energy and lyrical moments of love and grief. He can be a tough guy and a sensitive lover. "Celeste Aida" is superbly done, even if not sung as written. His Tomb Scene at the end is incredible. Grace Bumbry is the best Amneris, and she sang the role numerous times which made her an expert on it. She has a dignity of her own in the role and she is not as scary or bitchy as Rita Gorr's interpretation. Bumbry's perfect. You can also hear her as Amneris in the Leontine Price/Placido Domingo version conducted by Erich Leinsdorf. This is truly a great recording and will have you wanting to get other recordings of its amazing lead singers. Certainly Franco Corelli is a magnet of opera lovers with his excellent artistry. He sang with Birgit Nilsson in the greatest operas of their careers- Puccini's Turandot and Tosca which are also available at Amazon.com and I strongly urge you seek them out. Their Aida is mind-blowing.

The sound to this recording been digitally remastered from the old LP and sound fresh, powerful and moving. The Black Dog Opera Library series offers the best in opera to a beginner who takes interest in the world of opera or to fans who are already converted. It does more for the novice, however. My first of these "cd-books" was Verdi's La Traviata starring Beverly Sills and Nicolai Gedda. This was indeed a perfect performance. This was followed by Bizet's Carmen starring Jon Vickers and Grace Bumbry..another winner! Then came Mozart's Magic Flute starring Peter Schreir, Anneliese Rothenberger, Kurt Moll, Walter Berry and Edda Moser. This is the best Magic Flute out there. Indeed, all the recordings on this series are of the highest calibre. This book comes with the libretto, pictures of Aidas in the past, and bios on Corelli, Nilsson and Bumbry. Go out and get it today!!!

The historical account and the story help the person new to opera appreciate the opera. The sound is of high quality. I only wish Amazon carried the full series of The Black Dog Opera Library.

Brilliant voices of Birgit Nilsson, Franco Corelli with Orchestra e Coro Del Teatro dell' Opera di Roma under Zubin Mehta. A marvelous studio recording without audience noises. A number of stage photos of major performances and introduction of Verdi and the writing of AIDA. Two CD's with the complete opera with complete libretto in Italian and English. A great value. A must-have.

This is a great book if you are a huge American Idol fan and you want to know behind-the-scenes stuff. There's a lot of info. about each of the contestants as well, from their favorite color to their birthday. My favorite AI% was Jessica Sierra.

But, I have one question: Where's the Season 5 book? :)

WHEN you read this book it will let you know what happend
behind the scencs of american idol! and you will also learn
more about the top 12.MY favorite idols are CARRIE UNDERWOOD
and LINDSEY CARDINLE they are fantastic singers.IF only
lindsey wasnt voted off so quickly! BUY THIS BOOK its AWESOME!

This book is pretty good. There are some bad things like since it was published and released before Carrie Underwood won, they don't show the winner like screaming, crying, being happy, blah, blah, blah. I watch the show every night and never missed an episode. The top 12 finalists are Lindsey Cardinale, Mikalah Gordon, Jessica Sierra, Nikko Smith, Nadia Turner, Anwar Robinson best!, Constantine Maroulis, Scott Savol, Anthony Federov, Vonzell Soloman, Bo Bice, and Carrie Underwood. They are in order in which they were eliminated from AI. The best is Anwar Robinson because he just sings great, looks great, never nervous, and so on. I think he should have been voted off near the end. Overall this book is awesome.

This book is a great book to get to know the Top 12 a little better. It has quick facts, pictures, and a bio of each of them. Plus some behind the scences stuff, never- before seen pics, and them shopping, etc. When I met the Top Ten (but not Bo), I had them sign their page, and it worked out great. I love it!

I thought it was a good book, had lots of good quality pictures in there. The only complaint I have with it is it came out too early. It should have come out after the season was done so they could have the last final weeks in there and the winner showing her happiness. That's the only complaint I have is it should have been published after the season was over with. Otherwise it was a good book.

As someone new to the singing scene, I find this volume to be my "go to" resource for my voice lessons. Purchased on the recommendation of my voice teacher, it has all the tenor arias you need--wherever you are on the singer's journey...The major repetoire is represented; all the major langugages. From "Amor ti Vieta" to the more recognizable arias, I expect this volume to be with me for years to come.

The book is a great collection. The book was in excellent condition, priced aptly, and delivered promptly. I can trust Amazon.com...

I use this book constantly in my teaching. I love it.

"Arias for Tenor", a G. Schirmer Antholgy(opera), is a plended collection of originally keyed scores of tenor arias from some of the most famous works of all time. Layouts of "Don Giovanni" and "Rigoletto" are just a couple of classics sung by the greats of opera that are obtained by purchasing this book. Whether you are a professional vocalist or an aspiring opera singer, this is definitly a valuable and sound investment.

Sylvester Allen
Greensboro College, NC

As far as i am concerned it's the best book that is just made-written for tenors and people who are students at the conservatories-music schools as me ,should truly benefit from it,

This book is great! The articulation studies are hip and tricky, and you can actually use them in a "real life situation". There are also some interesting articles on various jazz trumpeters. I highly recommend this book.

Without a doubt, John McNeil has done something with this book that has long been overdue. With the advent of jazz education, so much focus has been put on what to play, rather than on how to play it. McNeil presents exercises that go beyond the simple articulation of scales and puts them in real world situations. Furthermore, the author addresses technique issues that most other jazz trumpet books fail to even acknowledge exist. The section on alternate fingerings and different ways of tonging, that are so important to today's jazz improviser, are throughly covered through simple explanation and execution. Not to mention, the accompanying CD has several examples being performed by astute trumpet players who play through them with the ease of a basic stamp warm-up routine.

Quite possibly, the most important part of the book is the section on finger technique. With three pages full of finger twisters for the jazz trumpet player to navigate, the trumpet player will find more fluidity in their performance, resulting in better solos and overall better trumpet facility. This book should be required to be used by every trumpet player, commercial or not. The result will be a much more technically proficient musician, no longer hindered by a lack of technique, but rather, aided by a plethora of it.

It is important to realise that unlike many other jazz books this book does not set out to try to teach you how to improvise, nor is it a jazz theory book. You would benefit from at least some working knowledge of both these topics before you embark on this book (I would recommend something like Levine's The Jazz Theory Book if you need more background). Instead it helps you to develop the more technical aspects of jazz trumpet playing through exercises, etudes and well-written text.

The first part of the book covers the history of jazz trumpet from about the bebop era onwards, through some discussions of the musical styles of a number of key players and some musical examples.
The hard work starts with a large section on jazz articulation, in which you learn to control your placement of accents on different notes in a phrase and develop a polyrhythmic feel. He provides exercises for wide interval playing - something that is quite hard on trumpet compared to an instrument like the saxophone. Alternate fingerings are covered along with some exercises. He also discusses doodle tonguing made famous by especially by Clark Terry. This is the jazz player's way of tonguing fast passage as opposed to the multiple tonguing used by classical players. He has a useful section on tricky fingering studies which you can even practise without blowing into the horn (useful when the chops are tired).

Although I said that he doesn't try to teach you how to improvise, there are a few useful ideas scattered through the text. For example, after his first articulation study, he gives an example of how you might shift sections of it up or down a semitone at random when you are playing to get an "out" feeling. Putting some randomness into a fixed exercise helps you to exercise the parts of your brain that are needed for improvising without throwing you completely in the deep end. Another exercise he mentions is to play a 1235 or 1535 pattern around the cycle, alternating at random between 1235 and 1535 at random. McNeil describes this particular exercise in more detail in a 2002 journal article for the International Trumpet Guild entitled "Creative Pattern Practice" which is worth scouring the web for - it will give you a good taste of his writing style and his way of thinking about improvisation.

The book also comes with a CD demonstrating some of the exercises and etudes so you can hear what they sound like when performed correctly.

John McNeil is a highly respected Jazz trumpeter and his book is a classic that every aspiring jazz trumpet player should own. I love this book and use it often.

I fell in love with it since I bought it on Amazon.com. It quite amaze me since I wanna learn more about jazz. This book would definitely take u far as being the best trumpet player u'll be. I'm also a trumpet player, and 'specially play other instruments I self-taught like the piano, keyboard, organ, harmonica, recorder, trombone, mellophone, French horn, euphonium, percussion, drums, flugelhorn, guitar, etc.

I'm not gonna say "I don't like this or whatever". I think it's a great introduction showing some basics and material work on how you 'gon be good at it. I know a lot of people don't agree what I'm saying. I believe that every trumpet player or music learner perhaps should have this along with Jazz & Blues, Arban's Conservatory Method for Trumpet, 1001 Blues Licks, 1001 Jazz Licks, Building a Jazz Vocabulary, The Jazz Fakebook, 28 Modern Jazz Trumpet Solos, Bks. 1 & 2, 14 Blues and Funk Etudes, and 14 Jazz and Funk Etudes all by Bob Mintzer.

Like this is definitely a book I should keep even tho I wanted practice some more I believe.

Fellow Travelers -

I have found John McNeil's "The Art of Jazz Trumpet" to be truly helpful and inspiring. The exercises presented are tough, though-provoking, and very cleverly focused on amplifying skills that appear - to me at least - to be genuinely useful in a jazz setting. Personally, I see the value of this book less in the applicability of specific lines ("licks") to tunes, and more in improving the improviser's ability to present his/her own ideas with more propulsive articulation, fluidity, and melodic confidence.

There is, of course, a significant (in terms of wood shed frustration) cost factor here - but most players, I suspect, will feel that the improvements are deep and fast enough to fall well within our pain and patience thresholds.

Thanks John for a terrific contribution to the field, and for my (small but enjoyable) personal mini-breakthrough - it has been a long time, and I'm really enjoying the experience.

Bravo.

Jim Stagnitto
www.stagnitto.newhopecollective.com

This fun to read and well researched book explores the rise of Bachata from its obscure beginning as a musical style of the rural and urban poor in the Dominican Republic to its eventual international popularity. It is the only book of its kind in english and a must read for anyone interested in bachata's roots.

Hernandez delves particularly into social conditions and class issues which impacted bachata's formative years. The book traces back the Dominican Republic's musical and social climate beginning from the period of the repressive Trujillo Dictatorship (1930s-1961), and through bachata's humble beginnings in the 1960s to its attainment of international popularity by the early 1990s.

While the subject matter is complex, the book flows easily and is actually difficult to put down. Interviews with musicians, colorful anecdotes and plentiful song lyrics all help to bring to life the humor, candor, and also the pains, of the people who created bachata.

An excellent companion to this book is the classic bachata compilation CD Bachata Roja: Acoustic Bachata From the Cabaret Era - the accompanying booklet features an introduction by Hernandez along with many of the photos she took while researching.

I'm glad to have gotten this book, but the cover photo of Raulin Rodriguez is somewhat misleading. I'm a huge fan of Raulin and I was hoping to read more about his impact on the popularity of the Bachata in the DR. There is still a lot of stigma attached to the Bachata as music suited for bothels and shantytowns and the emergence of Raulin and Antony Santos has done much to make this form of music legit in the public view. The bachata of today is very different than the political songs described in the book. It also seems to me that most of the research took place in the Santo Domingo area rather than on the north coast where the Bachata is far more popular. Just as you wouldn't research country music in NYC, it seems odd to research the Bachata in the DR's largest city. A full follow-up book on the Bachata of today would be great that includes the Americanization of the form by such groups as Aventura and the current complexity of the music's guitar form.

Un curioso estudio, un libro de bachata. La primera vez que lo vi no me anime a leerlo. Pensé como todo mal dominicano con el complejo de gazcue que un libro sobre una música que no me gusta no merecía que le dedicara tiempo. Tuvo que pasar un año y un despertar de mi entendimiento para saber que no importa que la música no me guste o que sea de clase baja o que sea vulgar y yo solo escuche música clásica o rock; lo importante es que es nuestra música, nuestra identidad nos guste o no. El libro como una disección cuidadosamente hecha por una antropóloga trata el tema no con la frialdad de un descubrimiento arqueológico sino con la calidez de un tema humano, bueno con toda la calidez que puede hacerlo una norteamericana. Ella trata el tema de la bachata desde la historia de la etimología de la palabra. No sabia y ahora sé que la palabra bachata significa jolgorio, reunión en que las personas tocan música con guitarras. Las influencias de la bachata según la autora provienen de cuba.

El método de investigación de la autora consistió en residir en Republica Dominicana por un tiempo, mientras entrevistaba a los bachateros de radio guarachita, a artistas famosos, a historiadores y sociólogos. El libro escrito en ingles, también posee unas cuantas letras de bachatas famosas con su respectiva traducción, una galería de fotos de bachateros y merengueros y muestra el avance de la música y su aceptación final al llegar bachata rosa de Juan Luis Guerra al escenario y darle un impulso internacional a la bachata. La autora después de este acontecimiento tuvo que cambiar su foco narrativo, porque esta música lentamente se empieza a aceptar en la radio y ha dejado de ser marginada. Me agrada mucho ver que de todas estas cosas salen estudios, libros, análisis y que mi país esta bien representado. Ojala que autores dominicanos se enfrenten a la labor de exaltar lo nuestro y dejemos nuestro complejo gazcuense, nuestra exaltación de lo extranjero sobre lo nacional y nos pongamos a escribir sobre mas cosas de nuestro país.

Luis Méndez.

Deborah Pacini Hernandez offers an excellently researched, intelligently written, and amazingly detailed history of the Dominican Republic's Bachata music. Be forewarned ... this is not an easy book to read; this is not a glib magazine article with a superficial history of Bachata. On the contrary, Ms. Hernandez analyzes the growth of Bachata from a socio-economic / political and cultural point of view and her discussions and overall presentation often read like a doctoral dissertation.

Despite the book's academic tone, it is a wonderfully rich, engrossing study of Bachata and I highly recommend it. The book covers the birth of Bachata (circa the early 1960's) and traces its growth up until the early 1990's. I would like Ms. Hernandez to write another book that covers the explosive growth and popularity of Bachata from the mid 1990's up to the present. Ms. Hernandez is to be commended on her extraordinary research and intelligent presentation. I rate this book: A+.

This is a great book, one that challenges white male assumptions about class and its relation to music. A valuable book for anyone interested in combatting stereotypes, and patriarchal and racist interpretations of 'popular' music. I was reading a somewhat pompous academic's book about hiphop musical culture by someone named Russell Potter, and it almost made me swear off academic books about music. But Deborah Pacini Hernandez is unusual in that she understands, appreciates, and identifies with the best of Dominican popular music. What a great book!

I highly recommend the Black Dog opera books. They're the perfect way to learn about an opera: They include cd's of the opera by outstanding singers, photos of performances, historical and critical commentary, a scene-by-scene summary of the plot, and the complete libretto in both English and the original language, so you can play around with the translation if you're interested. They can't be beat.

This is a wonderful study score to Rossini's wonderful masterpiece. The story of a Barber named Figaro, who is the person that everyone comes to seeking advice.
It's easy to read and the size is standard (9in x 12in). It lies easily on a music stand or desk. It's low price is great for the starving music student. I highly reccommend this for professionals and opera-goers alike.

Be aware that the book shown when you take a "Look Inside" is NOT the book you get. What they show is a bound copy of the musical score with the libretto added. What you get is the libretto described in the written review, no musical score. That having been said, the book you get is useful and of interest, and the CD is a great recording.

One of Rossini's best operas, the Barber of Seville, is immortalized here in another one of Dover's fine scores. From the fast-paced overture to the "Figaro" aria (both made famous in old Bugs Bunny cartoons), this opera is nonstop greatness.

As usual, Dover has provided us with a book of the highest quality: they sew their books instead of gluing them so as for them to stay bound and be flexible, and they print legibly. Unfortunately, legible print is becoming disappointingly rare in modern scores, but Dover is the exception.

For a great score of a great opera at a great price, you can't go wrong with Rossini's Barber of Seville.

This book and CD set are the perfect combination for those who are new to the world of opera and not fluent in foreign language. Better than just a synopsis, the libretto in English lets you read every word so you won't miss the humor or pathos. As a homeschooling mom, I really appreciated this set as a teaching tool. I hope to increase my collection of The Black Dog Opera Library series.

Since the first pages I was captive with Mr. Vargas-Caba novel. I know he is Dominican and couldn't be a soviet pilot, but he knows the enviroment, the planes, the feelings and you feel that you were in that base with those pilots. You feel their angst and frustrations. I hope that some day I'll watch the movie.

Great Story, well written and well researched. very entertaining. Having read several of the Clancy novels, Miguel has created a detailed story on the very same level. Growing up under the cloud of the Cold War, this novel provides a detailed perspective of the OTHER side. The book weaves together the story line with obviously well researched aspects of the Soviet Military and insight into the hardships of life there.

From the very first page I felt as if I was there with these men sharing their fears in life threatening situations, wondering if they would make it to the end. At points I was unclear about whether it was a true story because it was so real. I finally came to realize that this was a product of Miguel's imagination and not a piece of history. If it would have happened, this is the way it would have happened.

From the very first page I felt as if I was there with these men sharing their fears in life threatening situations, wondering if they would make it to the end. At points I was unclear about whether it was a true story because it was so real. I finally came to realize that this was a product of Miguel's imagination and not a piece of history. If it would have happened, this is the way it would have happened.

This is a real page-turner! You will follow the lives of men who, in their struggles and disillusioments within the Soviet military system, come to the decision to seek freedom. The author realistically portrays his characters' angst as well as their hopes. The descriptions of the Bear itself woven into the story are fascinating and integral to the plot--even to one not so familiar with aircraft! You will find your own heart beating a little faster along with the Captain's throughout the ingenious twists and turns. It's a great read!