Instruction Books

Excellent book for a beginner. A step by step approach is taken and each step gives you a small project to work on. Overall, this is one of the best books that I was able to follow and learn the beginning steps of enamelling on my own.

this was a very good book for learning enamelling techniques. The book includes good pictures and advices. In Finland we have nothing like that in Finnish language so first we have to learn english and then try to translate all those ways to enamel. There are so many amazing books for jewellery workers in english and this was one of them.

It is everything I need to know about enamaling. I found this book to be extremely helpful in buying products to start enameling. Iis has great pictures and explanations. Good projects. I learned alot from this book before I took my first class.

Linda

This is a very good starting book to answer questions about what you need to know and have and also do to get started in enamel. This will be a reference book you will keep if you choose to continue in the craft. This book on the craft of enameling. Is up to her other works in the jewelry/metal art fields. It starts out to ground the newbie in the basics. The publisher also chimes in with the standard warnings about materials and equipment. My only warning is if you have no uncommon sense, please take up something else. She covers intro to enameling, equipment and materials and working with enamels. Moving on to seven easy type projects that you can make changes to if they do not suit you. All without loosing any of the instruction. Then moves on to some more techniques. Following up with seven more projects. Ending with a couple of pages of troubleshooting info which a lot of craft books lack. A glossary and the resource guides.
The pictures are clear, crisp and in color. With only enough work table shown for balance. They are of a size that gives a good visual of the descriptions along with the numbers on both. The gallery pages are dispersed thru the book. With an assortment of Jinks and other artists work. I own it I am planning on keeping it.

Great book, has just the amount of instructions to help you get started.

I have been teaching music to young children for 22 years and this book has changed the way I teach. I read it through twice and will read it again. The combination of technique and experience with warmth and humor is unbeatable.

Roger Mason, Ph.D.
Miami, Florida

This book is so easy to read, clear, and helpful to music teachers and students alike. It has step-by-step guidelines, reviews often, and is written as a story that can read in an hour. I found it very insightful and helpful in my teaching.

I bought this book on sale a couple of years ago and just got around to reading it this summer. I'm an elementary school music teacher. This book has helped me organize my approach to teaching note reading not just sight singing. Mr. Bertalot explains that his approach works best with 2 to 4 students at a time. Nonetheless, in the past 12 weeks of school, I've been using his approach with my regular classes (25 kids in each class with 2nd through 5th grades targeted). Much success already. There is a video that also goes along with this. I'm looking for a resource so that I can order it. If you teach kids or adults, this is a VERY helpful book. The appoach is fresh (yet, traditional) and well laid out. If you would like to e-mail me regarding the book feel free

This is the best approach to teaching sight-singing I've seen. The five wheels are an analogy to a car - four wheels plus the steering wheel. Each wheel represents a point that a choir director or music teacher should use to guide the student quickly to learn how to pick up a piece of music and sing it successfully. You can memorize the five wheels if you assign one to each finger of your hand.

But the author - wonderfully patient, experienced, and something of a genius among choir directors - doesn't leave you there. He then gives you 12 easy steps he has found will bring students to look at, think about, and thoroughly enjoy the sheet music they have in front of them.

Oh, how many hours have I wasted getting my choir to learn songs by getting them to repeat unthinkingly what I play or sing to them? The author of "5 Wheels to Successful Sight-Singing" makes every rehearsal a lesson in improving the student's ability to read music. For choir directors this saves enormous time - you just hand the music to the choir and they sing it, even if they've never seen the music before.

If you want to teach choirs or small groups of students to sight-sing quickly and thoroughly, I don't think you will find a better way to do it than by following the simple method in this book.

This short book was highly recommended to me, and as a choir director, I enjoyed reading it.

I have also read John Bertalot's Immediately Practical Tips for Choral Directors, and found that to espouse some of the same helpful ideas.

Bertalot's short book is a quick and easy read as it takes the shape of a fictional dialogue between a music student and a master teacher. Bertalot does not support the idea that sight-singing should be taught for a few minutes at the beginning of each rehearsal and put away. His main thesis is that children should instead to learn to read music while they are learning the very same music. Bertalot then provides instruction as to how to best go about doing that.

Some of his ideas may at first seem counterproductive. For instance, Bertalot thinks the accompaniment should be played as lightly and/or as seldom as possible. In addition, students should practice more often in small groups than in larger sections. While they may not pick up their part in rehearsal as quickly, singers will develop their inner hearing and ability to read the notes. Bertalot provides twelve very basic steps to sight singing, starting with the singing of one note and moving on from there.

This book is clear and concise, and Bertalot's ideas are well explained. Some may not like the dialogue-style of writing, as Bertalot's ideal "choirmaster" seems to have everything go perfectly for him. This book is geared for those who teach children. There is a short section at the end which covers different approaches for adults, but overall the book is less helpful for them.

I strongly recommend this book to any music teacher who works with children and singing. They will appreciate it.

This is a gorgeously done telling of the 12th Century carol. The drawings make some of the language more understandable to modern readers. Sweet book for teaching the song to younger children.

I loved the pictures. My son (7 y.o.) read the book in school and asked for it for a Christmas present. I am very pleased
Great for all ages.

This book is an eyeful! Tomie dePaola's gorgeous illustrations to this simple story have a sort of pre-Raphaelite glow to them, and the animals' faces seem almost soulful. I also appreciated the music in the back that enabled me to sing the words rather than simply telling them. Reading the book to a one-year-old, I would prefer that more of the pictures actually show the baby Jesus rather than implying his presence, which is a little hard to explain to a very young child. But all in all, it's a lovely Christmas book for children and lovers of Christmas carols alike.

I have loved this Christmas carol since my children learned it in their Episcopalian school. It captures the essence of the season...giving of yourself is the most precious gift of all. Each "beast" in the stable honors the Christ child by giving of itself. What a powerful message illustrated by one of the finest authors/illustrators, Tomie dePaola. I have urged every parent I know to purchase a copy.

I believe this is a 12th Century French Carol -- and not an old English Carol,as stated. Well, regardless of which side of the Channel it comes from, it's charming. If ever you have the chance to hear this sung by little ones, don't miss it -- it was meant for their sweet voices.

Both me & my 4 year old daughter are in love with this book!
You will never get sick of looking at it, we promise!

The magic of Friends With You truly gets the best possible overview with this new, oversized art book from German book publisher Die Gestalten Verlag. Featuring 176 pages, Friends With You Have Powers! showcases the incredible breadth of Sam Borkson and Arturo Sandoval's artistic output - from truly innovative toy concepts to full-room gallery installations, videos, paintings and animations.

Sweet!

If you like Modern Art, or Toys, or Design or all three you will love this book. Not only are the photographs and the items shown a treat to browse through, the book itself is a treat to hold (and behold) with it's cushioned cover and eye catching grahics. No Modern Art Book collection would be truely complete with out this fun book and if you own even one of the great art toys this book showcases, then you MUST have it.

Somewhere in heaven J.M. Barrie is hugging his Malfi and smiling. Sam Borkson and Arturo Sandova (AKA Friends with You) get it. There art is for kids, adults, anyone who is happy or needs to get happy. This book will put a smile on your face and make your heart feel warm and fuzzy. The worlds they create are beautiful magical places, the creates sweet and charming and friendly. The artwork is showcased beatifully, the shots are clear, it's well organized. I love this book so much. I know I sound like a 12 year-old girl talking about a puppy, but I'm a 30 year-old male talking about an art book. And that is why this book is pure magic. Please, please buy it.

Anyone from 4 to 104 can spend a relaxing hour in this book exploring the Friends' world of imagery, and once you put it down life seems a bit easier.

This book has a wonderful selection of soprano arias from common to somewhat lesser known pieces.

A little something for everyone in here. All the arias you've been looking for in one album. YAY.

I needed this book for my voice lessons and it was a great price and in wonderful condition. Thank you!

I've had this book since I was 17 when I first started studying voice. It's a great resource, especially for beginners who have not yet mastered Italian, French or German. It provides literal translations of every aria which is so important. It is also lightweight but sturdy. My copy is still in great shape. The only bone I have to pick is that the fach varies quite a bit from repertore suited to light lyric sopranos all the way to the dramatic. One singer obviously would not sing all of these arias. However, if your voice grows and matures I guess it's possible to start with a Handel aria in this book and progress to the heavier Puccini, depending on how your career goes. In any event, it's a nice collection of arias and you'll probably find 2 or 3 at least that you'll need at some point which is much better than shelling out cash for the complete scores.

Although not all of the arias in this edition (or any edition for that matter) will fit one particular fach, the range and selection of pieces is really wonderful in this volume. I prefer it to the first volume, only because it has a few lesser known gems that are great audition pieces, whereas the first volume covers mostly pieces everyone has heard a million times before (though there are some of those in this volume too!).

Over all, well edited, wonderful translations and very easy to read.

This book is just plain fun. For anyone who admires Galliano, you should enjoy this book. Galliano is quite an imaginative designer, and this book contains lots of photos of his creations, along with a bit of personal information about the designer and behind-the-scenes photos as well. From outrageous to beautiful clothing.

a great provider of information, artistic direction, and visual stimulation. i can't put it down

Thank you Colin McDowell! John Galliano to me is the most talented designer in the world, and I have always been waiting for books to be published. This is very completely story of who he is, how he works, and how he gets inspired which will in turn inspires many other creative people of the same wavelength. The book is very detailed and incredibly beautiful and intricate.

If one wants an insight into the mind of the most creative force in fashion, this is the book to get! The escentric John Galliano has been praised as the greatest fashion stylist and designer of our time (all of this praise was given at such a young time in his career).This beautiful book proves why Galliano is the fashion force that he is. A "work in progress" is the term the author uses to describes this book about Galliano. It is not a biography,though it briefly cronicles his childhood and days in St. Martin's School,nor is it a retrospective. What this book does, though, is disect a master at the verge of stardom, from his graduation show at St. Martin's to his stint at Givenchy to his sucess at Christian Dior,as well as his independant line.Beautiful photography shows the reader Galliano's process of creating a collecton from start to finish.Pages from his concept book is shown, giving readers a gimpse into how Galliano thinks and creates.Above all else,the best part is Galliano's creations, and that is the best part about the book.In it,one can see how the master's work evolves from different points in his young career.I highly recommend this book about a master's "work in progress" .

GALLIANO IS THE MOST AMAZING COUTURIER ALIVE IN TODAY'S HAUTE COUTURE. HIS CLOTHES BOTH FOR DIOR AND HIS LABEL ARE WONDERFUL CREATIONS. THIS BOOK IS FILL WITH BREATHTAKING CLOTHES MODELED BY TRUE SUPERMODELS . HE IS AN ARTIST AND EACH OF HIS DESIGNS IS A MASTERPIECE

This volume is easily the most complete and well organized collection of Alchemical images ever published. The author begins with an incredibly insightful explanation and history of both the origin and meaning of hieroglyphics, and concisely explicates how these engravings are a natural intellectual evolution of the original Egyptian concept of pictorial language, one much more adept for conveying immense knowledge than written verse. And he does not rely solely on his own voice for this: crucial passages from the most relevant philosophers and scholars throughout history punctuate his discourse frequently to give the reader the most thorough explanation possible. He then trails into a brief history of how these collections first became available from a few dedicated publishers until they blossomed into a popular Hermetic movement, one that was responsible for the majority of the images contained within this book. Curiously, he ends his introduction with an incredibly cryptic passage on the Quest for the Philosopherýs Stone, rife with innuendo and subtle symbolism, an allusion which I am not fortunate enough to decipher.

The images themselves are presented chronologically, showing the original Latin, German, etc., prefaces with English translations immediately below. A short biography of both the author and circumstances surrounding the publication of their respective work is also listed faithfully, followed by the plates themselves in consecutive original order. At least a paragraph explaining the most obvious of the plateýs symbolism provided in the form of footnotes is given as well. There is no detail that escapes the authorýs eye, and he specifically tells how they relate to Alchemical process, once again adding commentary from other learned minds where relevant. It is obvious that this was an intense labor on Mr. DeRolaýs part, a product of many years spent honing an incredible grasp of the craft which he has so competently brought to us.

What is also obvious from the authorýs elusive admission is that Alchemy is not solely a process for the transmutation of metals so much as it is a purification of oneýs soul. This book is not an end all definitive manual for such things. Despite the authorýs profound understanding of this philosophy, he does not eagerly impart unto us the deeper meaning of alchemy. He remains quite prudent, but not selfish; within the text he gives many clues about how to penetrate the surface of this transcendentalism. Youýll find many references such as ýOne would be wise to pay close attention to this part of the frameý, or ýThe learned man should look past the obvious theme of this symbolý. In essence, this work will provide the most comprehensive reference of Alchemical engravings available short of an expensive trip to Europeýs most hallowed libraries. On a deeper level, Mr. DeRola lends a wise hand that may guide the more intuitive mind past tired folklore and into the realm that the most proficient Hermetic intellects strove to inhabit. An indispensable work, invaluably resourceful and seamlessly crafted.

As outside, so within, one might say. The construction of the book itself is sturdy and handsome, and no doubt able to deal with the occasional spilled alembic. Me, I got some coffee on it. It still looks good. Excellent qualifications for home-library fare.

But the *contents*. Good heavens. I was expecting page after page of illustrations with small-text captions. I bought it with an eye toward obscure imagery; I got it, but as an unexpected bonus there is a *wealth* of material explaining what it all means, and the sources, and the authors in whose works it appeared originally, and relevant snippets therefrom. Glorious! In addition to the images (and there are a great many, scrupulously reproduced and diverse, never fear) there is supplemental text on the history of the imagery and--among other things--why the 'hieroglyphics' of alchemy had such appeal to for alchemists and for the world of these illustrations' time. There are woodcuts, ink drawings, engravings and a few other media for the plates themselves. All look clear, or at least true to the original artist's shortcomings. Kings, queens, lions, baths, ovens, snakes, eggs, phoenixes and the like abound. That's not all, certainly: be assured that there are also rarer devices included. If I had it on my lap at the moment, I could blow the rest of my available space here with them. You will be satisfied with the breadth of the material, I'm certain.

It's *such* a good book to have. It stimulates both eyes and brain. Artists will draw inspiration from it, and the more scholarly folks will find it a gracious and sage read. I got it both ways. Lucky me.

This book is basicly the biography of many alchemist's from that period. Each alchemist featured starts with a brief bio of him and then the images of his engravings. After that is translations of the latin on the engravins and an inerpretation.

However, I must warn you that the translations from latin are very simple, they will say 'cook' when the word means 'cook by boiling down'. It is best to check any translations you wish to rely on. As for the authors interpretation's, that is strictly a matter of opinion.

This book is a true treasure for those who are working with alchemical emblems. Yes, there are not many explanations of the emblems, but then again the purpose of working with the alchemical emblems is to stimulate the emergence of the information coming from one's deeper wisdom, which is facilitated by contemplating and meditating upon the emblems.

Adam McLean has a number of courses which can assist those who don't know how to start working with emblems. They are excellent.

If you are interested in alchemical iconography this book will not disappoint. Ninety-nine percent of the book contains reproductions of engravings from alchemical works published in the 17th century. Also they are not the teeny-tiny pictures you find in a lot of other books on the subject.

The softcover edition (Thames & Hudson) is printed in Slovenia on glossy paper. The hardcover editions (Thames & Hudson/George Braziller) are both printed in the German Democratic Republic on what appears to be acid-free cream-colored paper.

The reproductions look slightly better in the softcover edition printed in Slovenia. Perhaps because the glossy paper provides a higher contrast. Or it could be that it was just printed better. (I think the German Democratic Republic in 1988 could have been the former East Germany.)

The George Braziller hardcover just slightly edges out the Thames & Hudson hardcover. Although some people might say the quality of the reproductions look the same.

None of the reproductions (which are probably photolithography) can compare to the original metal plates. Just look at the detail in any 100 to 200 year old book and you will see what I'm talking about.

Be that as it may I highly recommend this book. This is an important compilation of Alchemical art. Normally you would have to purchase many books to acquire what is contained in this one. Buy it before its gone; before you have to purchase a beat-up used copy, or an expensive out-of-print hardcover.

Bill makes reading fun and very informative in this book. The personal stories and reflections make this a book hard to put down except for the fact you want to go out and try his suggestions.

Golf can be very frustrating at times but Bill's book has taken a lot of the frustration out of the game for me. Thanks

This book is a must for learning how to take your game to the next level. Easy to read and loaded with great stories and ways to become a really good player without mumbo jumbo. This is the real thing for learning to play great golf!

I recommend this book for golfers at all levels. Unlike some other "how to" books I've read, it is well written. It makes you think about why you play golf and suggests that improving your mental approach is as important as improving your mechanical skills. I loved the descriptions of behaviors observed at the driving range. I look forward to better scores and to Mr. Kroen's next book.

Bill and I have played golf over the last winter down in the Treasure Coast of Florida. I was one of those people hung up on mechanics - striving to regain my lost distance and capability as a former 9 handicap. After meeting Bill - and having him look at my swing during one practice session, Bill focused not on what I thought was wrong - but on what he saw. He gave me a drill to use to insure that I made a turn but kept balanced - and lo and behold my handicap started dropping - and now is approaching my former levels. ( I am now 65)

Bill's book reads like the man I know who so easily helped me. Read it and you may get to be as good as you want to be.

Dave Friedman

Just finished reading Bill's new book, "Golf: How Good Do You Want to Be?".

I'm impressed. I gotta level with ya, not very many instructional golf books that I buy end up getting read all the way through. Somewhere in the midst of planes, angles, and differing philosophies, I tend to drastically lose interest. And most all of them fail to address what most of us agree to be the most important area in golf -- the mental aspects of the game. Well, Bill has done a wonderful job of not only providing the reader with an excellent mental foundation to build upon, but also touching on the basic fundamentals and principles of the swing and 'golf wellness.'

I've experienced some quality golf the past few rounds, and it's not just a coincidence that this came after reading some of Bill's insight to something that has been a nagging nuisance in my own game the past few years -- maintaining a mental edge for the entire 18 holes. While some of the consistency may have been lacking in my game, I was able to exercise some of the principles he outlined to keep focused. What normally would be average rounds turned out to be better than average results. Monday saw the resurgance of what used to be a very tidy short game. I had one of the best putting rounds in over a year, and actually tied my 9 hole personal best with only 12 putts on the back nine. Then today, I set a new personal best with only 11 putts on the back, 26 putts total for the round.

And it just hasn't been with the putting.... I'm not known to be a long baller. If I can get 230-240, I'm more than content most days. Monday was undoubtedly the best tee game I've had in years, and hit some of the longest, straightest balls off the tee that I've hit in years. I would estimate that my driving averages the past three rounds have increased in both fairways hit and total driving distance. All of a sudden those 400+ yard par4's aren't that long.

The information that Bill has translated through this book has been digested and applied. I didn't change my swing, just changed my way of thinking, planning, and preparing. Whether you're a twice a month or twice a week player, beginner or seasoned, I would higly recommend you check it out if you're serious about improving in the game.

Thanks, Bill!
Scott

Awful convenient for those girls that their mothers "just happened" to leave this book and a vibrator lying around, wasn't it? ;)

The third edition of the guide (previous editions were published in 1976 and 1982).

It's neat that the title page was retained from the first edition - 'Being a Treatise on the use of machines in the Indolent Indulgence of Erotic Pleasure-seeking together with Important Hints on the Acquisition, Care, and Utilization of Said Machines and Much More about the Art and Science of Buzzing Off.'

The newer editions do not contain Tee Corinne's illustrations of the vibrators nor the female anatomy but are illustrated extensively by Marcia Quackenbush...

The contents were expended and pages grew to 65 include -

Foreword to the Third Edition by Betty Dodson
Once Upon a Time...
The "Hysterical" History of the Vibrator
So Many too Choose From
Oddities
Buying a Vibrator
Vibrators: A User's manual
Women and Vibrators
Men and Vibrators
Water and Vibrators
Vibrator's - Who's the Boos?
Vibrators and your partner
Health Considerations and special Uses
...And She (or He) Buzzed Happily Ever After

This edition also offers two pages of selected readings.

The writing is wonderfully upbeat and accessible to the reader.

Awful convenient for those girls that their mothers "just happened" to leave this book and a vibrator lying around, wasn't it? ;)

I found this book in the house and read it. I am only 13 years old but I can tell you it was great! Orgasm after orgasm with my mom's vibrator! Works best when barefoot!

i am 14 and like the 13 year old girl i had orgasm after orgasm with mom's vibrator after reading this book go buy this book, or better yet buy it here you'll love it SOOOOOOO much! well off to the bedroom for a little more fun!

This is my favourite book on singing, and I have a few hundreds. I've been waiting for years for an updating that hasn't happened. Still I don't know a better survey of the vocal art on records from the invetion of the 78 r.p.m. until the early seventies, date of the first edition. A magnificent and unique book, the best of Steane, a scholar and a lover of the art of singing with a beautiful writing style. I wouldn't sell my copy for anything.

Part 1: The Golden Legend, Pre-Electrical Recording 1900-1925
The Old Order: Nineteenth-Century Echoes (Adelina Patti, Francesco Tamagno, Lilli Lehmann)
The Golden Age: Five Great Singers (Nellie Melba, Ernestine Schumann-Heink, Fernando de Lucia, Mattia Battistine, Pol Plancon)
New Times, New Gods: The Changing Opera (Enrico Caruso, Titta Ruffo)
Good Deeds in a Naughty World: Lyricism Resistant (Lucrezia Bori, Alma Gluck, John McCormack, Alessandro Bonci, Giuesppe de Luca)
Coloratura: The Soprano as Virtuoso (Marcella Sembrich, Luisa Tetrazzine, Amelita Galli-Curci, Frieda Hempel, Selma Kurz, Margarethe Siems)
Approach to Wagner: Questions of Balance (emmy Destinn, Johanna Gadski, Jacques Urlus, Hermann Jadlowker)
Eastern Europe: A Cultural Exchange (Olimpia Boronat, Antonina Neshdanva, Dmitri Smirnoff, Feodor Chaliapin, Leff Sibiriakoff)
France: Years of Plenty (Emma Calve, Edmond Clement, Leon Escalais, Maurice Renard, Marcel Journet)
America: Talent and Training (Emma Eames, Geraldine Farrar, Frances Alda)
Italy: Bel Canto con Forza (Celestina Boninsegna, Salomea Krusceniski, Giuseppe Anselmi, Riccardo Stracciari, Pasquale Amato)
Part II: Decline and Survival, The Electrical 78 1925-1950

Decline: New Talents and Lost Discipline (Lily Pons, Aureliano Pertile)
Italy: A Handful of Exceptions (Toti dal Monte, Hina Spani, Tito Schipa, Benjamine Gigli, Renato Zanelli)
Around Italy: A Second Harvest (Lina Pagliughi, Magda Olivero, Giacomo Lauri-Volpi, Mariano Stabile, Tancredi Pasero)
Germany and Austria: Keepers of the Seal (Maria Ivogun, Meta Seinemeyer, Sigrid Onegin, Richard Tauber, Heinrich Schlusnus)
Lieder: More than Singing (Elisabeth Schumann, Lotte Lehmann, Elena Gerhardt, Karl Erb, herbert Janssen, Gerhard Husch, Alexander Kipnis)
Wagner: The Triumph of Lyricism (Frida Leider, Lauritz Melchior, Friedrich Schorr)
Splendid Isolationists: Standards in Britain and France (Florence Austral, Eva Turner, Claire Croiza, Ninon Vallin)

Old Worlds and New: Chicago and the Elevating Influence (Claudia Muzio, Dusolina Giannini, Conchita Supervia, Marian Anderson, Richard Crooks)
Metropolitan: Five Great Singers (Rosa Ponselle, Elisabeth Rethberg, Giovanni Martinelli, Lawrence Tibbett, Ezio Pinza)
Survival: Wartime and Aftermath (Helen Traubel, Maggie Teyte, Kathleen Ferrier, Julius Patzak, Mark Reizen)
Part III: Renaissance, The Long Plaing Record 1950-1970

Wagner: Every Note, Every Word (Kirsten Flagstad, Birgit Nilsson, Wolfgang Windgassen, Hans Hotter, Gottlob Frick)
Trial by Mozart: Vintage Soprano (Elisabeth Schwarzkopf, Irmgard Seefried, Lisa della Casa, Hilde Guden, Ljuba Welitsch, Sena Jurinac)
Opera at Home: Five Great Singers (Maria Callas, Victoria de los Angeles, Jussi Bjorling, Tito Gobbi, Boris Christoff)
Let the Florid Music Praise: Rococo Revival (Joan Sutherland, Beverly Sills, Anna Moffo, Teresa Berganza, Marilyn Horne)
America: The Seal Goes West (Leontyne Price, Martina Arroyo, Shirley Verrett, Grace Bumbry, Jon Vickers, James McCracken, Richard Tucker, Robert Merrill)
Italy: A Tale of Two Tableaux (Renata Tebaldi, Mirella Freni, Giulietta Simionato, Fiorenza Cossotto, Franco Corelli, Carlo Bergonzi, Giuseppe di Stefano, Luciano Pavarotti)
European Notes: Moscow to Madrid (Regine Crespin, Rita Gorr, Irene Arkhipova, Nicolai Gedda, Geraint Evans)
Singer and Song: An Exhibition of Artists (Janet Baker, Christa Ludwig, Peter Pears, Dietrich Fischer-Dieskau, Gerard Souzay)

Ancient and Modern: The Singer as Musician
1971: Present and Prospective (Montserrat Caballe, Gundula Janowitz, Placido Domingo, Sherrill Milnes, Nicolai Ghiaurov
Conclusions: The Grand Tradition

Index of Composers

General Index

Bibliographical Note

The pictures are of the singers mentioned above.

Anyone interested in opera and singing would appreciate this book. Steane is one of the greatest listeners around, and reading (and re-reading) his insights on these singers will make you a better listener too.

This is a book that can't be adequately praised enough. For anyone who has shelves of recordings, especially of opera singers of the pre-WW2 era, this insightful writer has an uncanny way of describing the merits of each singer, especially given the aural limitations of the old recordings, and in describing certain phrases or certain colors at the singer's disposal, makes one run for the actual selection, and listen to it with new ears. It's also exciting to hear his reasons for praising a certain singer and to hear him articulate so brilliantly what it is about a certain artist that, in his opinion, makes them cherishable. For instance, I've tried to explain what it is about Tito Schipa and Lotte Lehmann that moves me to tears, and here in this book are ample descriptions and commentaries.

Especially interesting is the chapter about individual arias, for which he suggests up to 6 recordings by various artists to use as comparison, phrase by phrase, and sometimes note by note!

For a lover of great singing, and a student of the history of singing, this book is literally priceless.

I am saddened that this book is OP though perhaps a reprint is in the works. JBS from Gramaphone takes us on a tour of the history of recorded opera and lieder singing. His knowledge and enthusiasm lead me into a world of singing that I scarcely knew existed. His lucid style and comprehensive take on the records have had me buying and enjoying scores of CD's as an entire era has opened for me. I can't thank him enough for guiding me through the thicket of various recordings and providing insights that have deepened my understanding and enjoyment of singing. This exciting history has been a bedside favorite for years and I still turn to it when I see a new historical issue. Though the book covers singing up to more recent years, I may never make it to the 50's! Though the book could stand updating for current CD issues, it's not hard to translate dates of recordings to current issues. A tremendous acheivement. I could only wish for more, though I get that in his long running column in Gramaphone.