2003, ISBN: 9780553109245

Gebundene Ausgabe

Canada: Various, 1953. (CAD) This entry consists of some 16 (there is one duplicate) from various newspapers but many from the Vancouver Sun. The clippings are yellowed, but in Good condi… Mehr…

Canada: Various, 1953. (CAD) This entry consists of some 16 (there is one duplicate) from various newspapers but many from the Vancouver Sun. The clippings are yellowed, but in Good condition with folds to many of the clippings. The earliest one I can date is from the Vancouver News Herald of June 20 1953and has a photo of Phillips in her role as Kate in the Theatre Under the Stars production of "Kiss Me Kate". Another clipping from the Vancouver Sun of July 2 1953 shows Phillips with Barbara Bailey in "Rose Marie". The latest clipping dates from Nov 4 1966 and has a photo of Phillips in her role as the wistch in Hansel and Gretel. Betty Phillips was a Vancouver-born singer and actress. She appeared at TUTS for the first time in a 1946 production of Robin Hood and subsequently played leads in more than 20 TUTS productions until 1960; she is best remembered for the role of Mrs Anna in The King and I. Phillips' radio career began in 1948 with a CBC Vancouver light classical series and has included regular appearances 1953-65 on the CBC's 'Leicester Square to Broadway'; variety work in 1955 on the BBC; solo, recital, and folksong performances on the CBC; and many British Columbia school broadcasts 1970-2. On CBC TV she sang Rosalinda in Die Fledermaus in 1954, co-starred 1956-7 with Ernie Prentice on 'Lolly-too-dum,' and was hostess 1965-7 for 'Bazaar.' Phillips has performed at the Vancouver International Festival and with the Vancouver Symphony Orchestra and has appeared in Vancouver Opera productions (Flora in La Traviata, 1961; Nicklausse in Tales of Hoffmann, 1961; Clotilde in Norma, 1963; Vera Boronell in The Consul, 1964; Zulma in The Italian Girl in Algiers, 1965; and the Witch in Hansel and Gretel, 1966). (1.0 JM HOX 1/1. Unbound. Good. Newspaper Clippings., Various, 1953, 2.5, New York: Random House, 1961. First American Edition. Hard Cover. Near Fine/Near Fine. 9x6x1. First American edition. Edges lightly foxed. 1961 Hard Cover. xx, 558 pp. Richard Georg Strauss (11 June 1864 – 8 September 1949) was a German composer and conductor best known for his tone poems and operas. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt.[1] Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Hugo Laurenz August Hofmann von Hofmannsthal (1 February 1874 – 15 July 1929) was an Austrian novelist, librettist, poet, dramatist, narrator, and essayist., Random House, 1961, 4, Sweet Pipes. Fine with no dust jacket. 1981. Stapled wraps. Clean, crisp, unmarked copy; edited by Jane Schatkin Hettrick for Soprano (orTenor) Recorder and Keyboard with solo embellishments by Kenneth Wollitz; Partita 2, Siciliana; Partita 2, Aria 6; Musica Selecta, critical editions of early music for performance and study ., Sweet Pipes, 1981, 5, Novello and Co Ltd, 2003. Paperback. New. bilingual edition. 168 pages. 11.00x8.00x0.50 inches., Novello and Co Ltd, 2003, 6, GB: OUP Oxford University Press, 1984. Music and words. 235 x 310 mm. 85 pages in glossy pictorial covers.. Paperback. VG+., OUP Oxford University Press, 1984, 3, New York: Bantam Books, 2001. As New condition in bright, shiny As New Dust Jacket (protected by a removable Brodart sleeve). No chips. No tears. No creases. No rubbing. Not a book club edition. No owner's name or bookplate. No remainder marks. Clean, square, tight, and unmarked. Sharp corners. Fresh and crisp, apparently never read. First printing, with complete row (10 987654321) on the copyright page. Fifth in the Benjamin January series. From the Dust Jacket: "In A FREE MAN OF COLOR and SOLD DOWN THE RIVER, Benjamin January guided readers through the seductive maze of New Orleans' darkest quarters. Now January joins the orchestra of the city's top opera house -- only to become enmeshed in a web of hate and greed more murderous than any drama onstage. In 1835, the cold February streets glitter with masked revelers in Carnival costumes. An even more brilliant display is promised at the American Theater, where impresario Lorenzo Belaggio has brought the first Italian opera to town. But it's pitch-black in the muddy alley outside the stage door when Benjamin January, coming from rehearsal with the orchestra, hears a slurred whisper, sees the flash of a knife, and is himself wounded as he rescues Belaggio from a vicious attack. The bombastic impresario first accuses two of his tenors, then suspects his rival, the manager of New Orleans' other opera company. Could competition for audiences really provoke such violent skulduggery? Or has Belaggio taken too many chances in the catfight between two sopranos, one superseded by the other as his mistress and his prima donna? But burning in January's mind and heart is a darker possibility. The opera Belaggio plans to present -- a magnificent version of Othello -- strikes a shocking chord in this culture. Is the murderous tragedy of the noble Moor and his lady, the spectacle of a black man's passion for a white beauty, one that some Creole citizen -- or American parvenu -- would do anything to keep off the stage? Bloody threats and voodoo signs, poison and brutal murder seem to implicate many strange bedfellows. And Benjamin must discover who -- in rage, retribution, or an insidious new commerce in this beautiful cutthroat city -- will kill and kill... and who will DIE UPON A KISS. . First Printing of the First Edition. Hardcover. Brown spine / orange boards/DJ Not Price Clipped (23.95). Illus. by Becker, Royce M. (jacket design). 8vo. (xiii), 335pp.., Bantam Books, 2001, 0<

2003, ISBN: 9780553109245

Gebundene Ausgabe

Sweet Pipes. Fine with no dust jacket. 1981. Stapled wraps. Clean, crisp, unmarked copy; edited by Jane Schatkin Hettrick for Soprano (orTenor) Recorder and Keyboard with solo embellishm… Mehr…

Sweet Pipes. Fine with no dust jacket. 1981. Stapled wraps. Clean, crisp, unmarked copy; edited by Jane Schatkin Hettrick for Soprano (orTenor) Recorder and Keyboard with solo embellishments by Kenneth Wollitz; Partita 2, Siciliana; Partita 2, Aria 6; Musica Selecta, critical editions of early music for performance and study ., Sweet Pipes, 1981, 5, New York: Random House, 1961. First American Edition. Hard Cover. Near Fine/Near Fine. 9x6x1. First American edition. Edges lightly foxed. 1961 Hard Cover. xx, 558 pp. Richard Georg Strauss (11 June 1864 – 8 September 1949) was a German composer and conductor best known for his tone poems and operas. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt.[1] Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's compositional output began in 1870 when he was just six years old and lasted until his death nearly eighty years later. His first tone poem to achieve wide acclaim was Don Juan, and this was followed by other lauded works of this kind, including Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, Don Quixote, Ein Heldenleben, Symphonia Domestica, and An Alpine Symphony. His first opera to achieve international fame was Salome which used a libretto by Hedwig Lachmann that was a German translation of the French play Salomé by Oscar Wilde. This was followed by several critically acclaimed operas with librettist Hugo von Hofmannsthal: Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella. His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. A prominent conductor in Western Europe and the Americas, Strauss enjoyed quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works. A conducting disciple of Hans von Bülow, Strauss began his conducting career as Bülow's assistant with the Meiningen Court Orchestra in 1883. After Bülow resigned in 1885, Strauss served as that orchestra's primary conductor for five months before being appointed to the conducting staff of the Bavarian State Opera where he worked as third conductor from 1886 to 1889. He then served as principal conductor of the Deutsches Nationaltheater und Staatskapelle Weimar from 1889 to 1894. In 1894 he made his conducting debut at the Bayreuth Festival, conducting Wagner's Tannhäuser with his wife, soprano Pauline de Ahna, singing Elisabeth. He then returned to the Bavarian State Opera, this time as principal conductor, from 1894 to 1898, after which he was principal conductor of the Berlin State Opera from 1898 to 1913. From 1919 to 1924 he was principal conductor of the Vienna State Opera, and in 1920 he co-founded the Salzburg Festival. In addition to these posts, Strauss was a frequent guest conductor in opera houses and with orchestras internationally. In 1933 Strauss was appointed to two important positions in the musical life of Nazi Germany: head of the Reichsmusikkammer and principal conductor of the Bayreuth Festival. The latter role he accepted after conductor Arturo Toscanini had resigned from the position in protest against the Nazi Party. These positions have led some to criticize Strauss for his seeming collaboration with the Nazis. However, Strauss's daughter-in-law, Alice Grab Strauss [née von Hermannswörth], was Jewish and much of his apparent acquiescence to the Nazi Party was done to save her life and the lives of her children (his Jewish grandchildren). He was also apolitical, and took the Reichsmusikkammer post to advance copyright protections for composers, attempting as well to preserve performances of works by banned composers such as Mahler and Felix Mendelssohn. Further, Strauss insisted on using a Jewish librettist, Stefan Zweig, for his opera Die schweigsame Frau which ultimately led to his firing from the Reichsmusikkammer and Bayreuth. His opera Friedenstag, which premiered just before the outbreak of World War II, was a thinly veiled criticism of the Nazi Party that attempted to persuade Germans to abandon violence for peace. Thanks to his influence, his daughter-in-law was placed under protected house arrest during the war, but despite extensive efforts he was unable to save dozens of his in-laws from being killed in Nazi concentration camps. In 1948, a year before his death, he was cleared of any wrongdoing by a denazification tribunal in Munich. Hugo Laurenz August Hofmann von Hofmannsthal (1 February 1874 – 15 July 1929) was an Austrian novelist, librettist, poet, dramatist, narrator, and essayist., Random House, 1961, 4, Novello and Co Ltd, 2003. Paperback. New. bilingual edition. 168 pages. 11.00x8.00x0.50 inches., Novello and Co Ltd, 2003, 6, GB: OUP Oxford University Press, 1984. Music and words. 235 x 310 mm. 85 pages in glossy pictorial covers.. Paperback. VG+., OUP Oxford University Press, 1984, 3, New York: Bantam Books, 2001. As New condition in bright, shiny As New Dust Jacket (protected by a removable Brodart sleeve). No chips. No tears. No creases. No rubbing. Not a book club edition. No owner's name or bookplate. No remainder marks. Clean, square, tight, and unmarked. Sharp corners. Fresh and crisp, apparently never read. First printing, with complete row (10 987654321) on the copyright page. Fifth in the Benjamin January series. From the Dust Jacket: "In A FREE MAN OF COLOR and SOLD DOWN THE RIVER, Benjamin January guided readers through the seductive maze of New Orleans' darkest quarters. Now January joins the orchestra of the city's top opera house -- only to become enmeshed in a web of hate and greed more murderous than any drama onstage. In 1835, the cold February streets glitter with masked revelers in Carnival costumes. An even more brilliant display is promised at the American Theater, where impresario Lorenzo Belaggio has brought the first Italian opera to town. But it's pitch-black in the muddy alley outside the stage door when Benjamin January, coming from rehearsal with the orchestra, hears a slurred whisper, sees the flash of a knife, and is himself wounded as he rescues Belaggio from a vicious attack. The bombastic impresario first accuses two of his tenors, then suspects his rival, the manager of New Orleans' other opera company. Could competition for audiences really provoke such violent skulduggery? Or has Belaggio taken too many chances in the catfight between two sopranos, one superseded by the other as his mistress and his prima donna? But burning in January's mind and heart is a darker possibility. The opera Belaggio plans to present -- a magnificent version of Othello -- strikes a shocking chord in this culture. Is the murderous tragedy of the noble Moor and his lady, the spectacle of a black man's passion for a white beauty, one that some Creole citizen -- or American parvenu -- would do anything to keep off the stage? Bloody threats and voodoo signs, poison and brutal murder seem to implicate many strange bedfellows. And Benjamin must discover who -- in rage, retribution, or an insidious new commerce in this beautiful cutthroat city -- will kill and kill... and who will DIE UPON A KISS. . First Printing of the First Edition. Hardcover. Brown spine / orange boards/DJ Not Price Clipped (23.95). Illus. by Becker, Royce M. (jacket design). 8vo. (xiii), 335pp.., Bantam Books, 2001, 0<

ISBN: 9780553109245

Bantam. Hardcover. GOOD. Spine creases, wear to binding and pages from reading. May contain limited notes, underlining or highlighting that does affect the text. Possible ex library cop… Mehr…

Bantam. Hardcover. GOOD. Spine creases, wear to binding and pages from reading. May contain limited notes, underlining or highlighting that does affect the text. Possible ex library copy, will have the markings and stickers associated from the library. Accessories such as CD, codes, toys, may not be included., Bantam, 2.5<