CONTEMPORARY COLLECTION Bolero Music by Maurice Ravel Video Link Choreography by Anatoly Emelianov

Total Page:16

File Type:pdf, Size:1020Kb

CONTEMPORARY COLLECTION Bolero Music by Maurice Ravel Video Link Choreography by Anatoly Emelianov The Crown of Russian Ballet CONTEMPORARY COLLECTION Bolero Music by Maurice Ravel Video Link Choreography by Anatoly Emelianov. 10-12 dancers The premiere took place on February 10, 2011 in Queretaro (Mexico) And we are born from one, and we are similar to each other, and at first there is no difference between us. But over time, between us their are features of a completely different, incomprehensible nature , which grows into mistrust and irritation, eventually becoming a confrontation that ends in death. And this can all happen again ... Video Link Carmen Music by Bizet – Shchedrin - 40 min. 12-16 dancers Carmen Music by Bizet – Shchedrin - 40 min. 12-16 dancers Video Link “Carmen” by Georges Bizet. For almost a century and a half the image of Carmen irresistibly attracts many artists who embody it in verse and prose, in music and theatre, in painting and cinema. For the first time the plot about the most famous and passionate gypsy became a fact-art in 1845, when the French writer Prosper Merimee wrote his novel. A year later the young choreographer Marius Petipa created a one-act ballet “Carmen and Toreador” on stage at the Madrid Theatre, 29 years later one of the most famous opera masterpieces - “Carmen” of Georges Bizet appears. Since then, the image of the Spanish gypsy is inextricably linked with the music of the great Frenchman. In the XX century ballets using the score of Bizet, appeared regularly. Among the most famous are Carmen by Roland Petit, created by him in 1949 for Zizi Jeanmaire, and a 1971 performance in Stuttgart by John Cranko where Marcia Heide danced. Among less well known works - the choreographic opus of Americans R. Paige and B. Stoun called “Rifles and castanets.” It is almost unknown that in Russia in the 30s the same attempt was made by the choreographer-innovator Kasyan Goleizovsky. In 1967, a new name appeared on the playbill of the Bolshoi Theatre - the ballet “Carmen Suite”. Bizet’s music in the modern transcription of the composer Rodion Shchedrin, choreography by Alberto Alonso. In the centre of the ballet is the tragic fate of the Gypsy Carmen and the beloved soldier Jose, whom Carmen leaves for the sake of the young Torero. The relationship between the heroes and the death of Carmen at the hands of Jose is predetermined by Rock. Thus, the history of Carmen (in comparison with the literary source and the opera by Bizet) is solved in a symbolic sense, which is strengthened by the unity of the place of action (the bullfighting platform). Daylight Leaves Earth Music by Petr Tchaikovsky (6th Symphony) Choreography by Anatoly Emelianov Libretto by Anna Akeksidze - 40 min. 21 dancers and 6-12 children We all come to this world alone and leave it alone. All that remains for a person is his memories The Firebird Music by Igor Stravinsky Video Link Choreography by Anatoly Emelianov. Classical Ballet in 1 act Prince Ivan ventures into the garden of the evil Kashchei. He catches the magical Firebird. She promises to aid the Prince whenever he needs help if he will release her. He takes a magic feather from the bird’s tail, then releases her. Twelve princesses with the Tsarevna (daughter of the Tsar) dance. They are in the power of Kashchei. Prince Ivan falls in love with the Tsarevna. He asks Kashchei whether he can marry her. Kashchei is angry and sends his monsters after the Prince. Kashchei is about to turn him to stone, when the Prince waves the feather. The Firebird appears, and comes to the Prince’s rescue. She casts a spell on the monsters. They fall asleep. The Firebird tells the Prince that Kashchei’s soul lies in an egg. The Prince smashes the egg. Kashchei loses his power, the monsters, and his palace. The Prince marries the Tsarevna. Prince Ivan ventures into the garden of the evil Kashchei. He catches the magical Firebird. Video Link Giselle Composer - Adolphe Adam Libretto: Theophile Faunter and Jean-Henry Saint-Georges. Choreography: Jean Coralli, Jules Perrot, Marius Petipa, Leonid Lavrovsky. Choreographic version: Anatoly Emelianov Video Link Giselle A Small Village in the Rhine Valley. By tradition at harvest time, the villagers gather at a different house each day to taste the new wine. We find them gathered at the cottage of the peasant girl Giselle. Count Albrecht, Duke of Silesia, has fallen in love with Giselle. He disguises himself as a peasant in order to court her. Hilarion, a gamekeeper, who also loves Giselle, suspects the true identity of his rival and warns her to be wary of the stranger. The peasants return with the last of the grape harvest and join in a dance with Giselle and the disguised Count. Laughing off her mother’s warning that her passion for dancing might be endangering her life, Giselle is crowned Queen of the Vine. A hunting party led by the Duke of Courland with his daughter Bathilde, stops at Giselle’s cottage to rest. Hilarion, learning that Bathilde is dethroned to Count Albrecht, reveals the truth to Giselle. The shock is too great for her and she dies, heartbroken. The banks of a pool in a forest: Giselle’s grave. Midnight: The hour when the Wilis, the ghosts of the young women who have died of a broken heart, appear to waylay unwary men and dance them to death. Count Albrecht and Hilarion come to grieve at Giselle’s grave. The Wilis are commanded by their Queen Myrtha to dance with the two men,Hilarion cannot escape their spell and dies, but Count Albrecht is saved from Myrtha the Wilis by Giselle’s abiding love for him. Hemanages to dance until dawn, when the power of the Wilis fades, and escapes, taking his leave of Giselle forever. Gypsy Motives Folk music. Libretto and choreography by Anatoly Emelianov - 30 min.15-20 dancers The performance is on a stage, in which the character of the main characters are written out with graphic accuracy, and the temperamental, fascinating beauty of the lines of dance is the story of a complicated relationship within the eternal love triangle. Add to this the charming little gypsies dancing along with adults and you will understand that it is absolutely necessary to see “Gypsy motives”. The Kursk Songs Music by Georgy Sviridov, Igor Stravinskiy Choreography by Anatoly Emelianov. 13 dancers “Kursk songs” - the secret breath of the Russian land. Listening to them, it seems that the pictures of the life of our fathers and grandfathers are resurrecting before us, the melody itself opens the door to the long-gone, but painfully native. Feel what they were, these people, and you realize that they are the same as we are. They experienced, believed, hoped and loved. Truly, the human soul is an uncharted world. And this soul is poured out in “The Kursk songs”. The more you listen to this music, the more you go deeper into this boundless Russian beauty, each time discovering new facets of exciting sounds. In these songs you cannot help falling in love, because they were born from us. The ballet was staged in association with the “Russian Classic Orchestra” company. Snow White Video Link & the Seven Dwarfs Music by Pavlovsky – 40 min The ballet “Snow White and the Seven Dwarves” is based on the German fairy tale by the brothers Grimm about Snow White living in a castle with her evil stepmother, the Queen, who was very proud of her beauty. Learning from a magic mirror that Snow white was the most beautiful girl in the world, her stepmother decided to kill her pretty stepdaughter. But the poor girl did not die in the woods, but on the contrary, she met some real friends - seven funny dwarves: Bashful, Doc, Dopey,Happy , Sleepy, Sneezy and Grumpy . This ballet is not just a beautiful tale of good and evil characters; this is also a romantic story that teaches us that we all have a Guardian angel, which gives us faith and hope for a bright future on the difficult road of life. This story of a beautiful girl who has been alive for more than two centuries. Born in German folklore, she became the property of all mankind, due to the great storytellers the brothers Grimm “...her eyes were as blue as the lake, her lips red as rose petals. And her face was white as pure snow. And that’s why they called her Snow White.” The Time Music by Avro Part - 20 min. 7 dancers and 1 child Time... We do not hear it pass. We neither feel it nor see it. Yet in our every thought, movement, word, it beats with the incessant pulse of eternity. It seems it is not present. Not true. Slowly, imperceptibly, with secret aspiration, it moves step-by-step forward, and to it the distant future opens the door. It would seem time is here - not born yet! But look, it has already disappeared from the face of the earth forever, leaving only vague memories which completely dissolve in seconds, minutes, years. How painful to realize this thought, and how hard to be hopeful and aspire to something knowing the result is its ending. Stop! Inhale this time - just now - it is yours and yours alone. Understand it and do not condemn. Tristan and Isolde Music by Tchaikovsky, Mahler, Shostakovich, Barber as well as music of the Middle Ages and Renaissance - 40 min Tristan and Isolde Act I Act II Selfless love em the meaning of life. Only selfless love remains when time Act II - In Britain King Mark meets his favourite Tristan and Princess Isolde.
Recommended publications
  • Winter Journal 2017 – Issue No. 13
    GLAZE THREAD MURMUR No. 13 WINTER 2017 3Elements Review Issue No. 13 Winter 2017 3Elements Literary Review Born in 2013 PUBLISHED QUARTERLY Spring, summer, fall, and winter by 3Elements Review Phone: 847-920-7320 www.3ElementsReview.com This issue ©2017 by 3Elements Literary Review Typesetting Layout & Design Marlon Fowler Cover Photo Reflection by Katerina Pravdivaia Back Cover Mercurial Perspective by Brian Alvarado EDITOR-IN-CHIEF Mikaela Shea MANAGING EDITOR Megan Collins Senior Fiction Editor Nonfiction Editor Katherine Davis Kelly Roberts Fiction Editor Fiction Editor Poetry Editor Jen Corrigan Sarah Wylder Deshpande Elizabeth O'Connell-Thompson ©2017 by 3Elements Literary Review. All rights reserved by the respective authors in this publication. No part of this periodical may be reproduced without the consent of 3Elements Literary Review. The journal’s name and logo and the various titles and headings herein are trademarks of 3Elements Literary Review. The short stories and poems in this publication are works of fiction. Names, characters, places, and incidents are either the products of the authors’ imaginations or used ficticiously. Any resemblance to actual events or people, living or dead, is coincidental. Contents Contents Art Poetry 8 Black Boy Dreaming Kiarra Lynn Smith 9 The Gauntlet Devon Balwit 10 Thread, Glaze(d Doughnut), Murmur(ation of Swallows) Nancy Hathaway 11 Rumor of Tornado Susan Pittman 13 Thin Skinned Anita Gangi Balkun 12 My Mountain Laura Schaffer 14 Commonplace Cupboard Anita Gangi Balkun 24 The Hollowness of Breathing Joyce Zhou 29 #4 Ramsay Wise 26 Transformation Cristina Baptista 30 #5 Ramsay Wise 28 Awaiting the Miracle Alison Dyer 34 Reflection Katerina Pravdivaia 31 Neighborhood Watch Bryan Miller 44 Migration Brigitte Aflalo-Calderon 32 Beta Anna Lowe Weber 49 Daedalus Susan Yount 42 Nightwork Judith H.
    [Show full text]
  • Carmen Music for Orchestra (2021) to the Movie of the Same Tle (1918) by Ernst Lubitsch DuraOn: 92 Min
    Tobias Schwencke (*1974) Carmen Music for Orchestra (2021) to the movie of the same Atle (1918) by Ernst Lubitsch Dura:on: 92 Min. WORK IN PROGRESS – Rental material available from November 2021 Instrumenta:on: Wood instruments Brass instruments Keys, Percussion, Others Strings Carmen | D 1918 | D: Ernst Lubitsch | HD-s/w-newly restored version (2021) Carmen is a 1918 German silent drama film directed by Ernst Lubitsch and starring Pola Negri, Harry Liedtke, and Leopold von Ledebur. It was based on the novella Carmen by Prosper Mérimée. Like Bizet's opera Carmen, this film only adapts the third part of Mérimée's novella and transforms the character of Don José at the beginning of the story from bandit on the run to honest man in love with his childhood sweetheart. The film was released with English inter:tles in the United States in 1921 under the alternave :tle Gypsy Blood. Tobias Schwencke was born 1974 in Berlin and grew up in Duisburg. Studied in Duisburg, Saarbrücken and Berlin, where he has lived since 2001. His work includes free composion, music theatre, theatre music, pianis:c ac:vity; regular work at the Maxim Gorki Theater Berlin, Berliner Ensemble, Staatsoper Unter den Linden. Produc:ons under his musical direc:on and involvement include the Theater an der Wien, Teatro Real Madrid, Uppsala Stadstheater (S), HAU and Radialsystem and Deutsches Theater in Berlin; Düsseldorfer Schauspielhaus, Theater Bremen, Staatstheater Wiesbaden and the Munich State Opera. Collabora:on with Herbert Fritsch, Nurkan Erpulat, Claus Peymann, Manfred Karge, Anna Bergmann, Leander Haußmann, Frank Castorf, among others.
    [Show full text]
  • INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
    INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.
    [Show full text]
  • CARMEN.Maquia
    SECTIONS MAGAZINE EVENTS ALERTS RADIO NEWSLETTER LINKS ABOUT US ADVERTISE NOTE: NJ Stage is not affiliated with this event. For ticket info, please contact the venue directly. Ballet Hispanico: CARMEN.maquia Facebook Twitter Print Email Pinterest More Sat, March 21, 2020 @ 7:30pm Category: dance Victoria Theater @ New Jersey Performing Arts Center (NJPAC) One Center Street Newark, NJ 07102 Ballet Hispánico, the nation’s premier Latin dance organization, brings its celebrated CARMEN.maquia, a sensual, full-length work created by Spanish choreographer Gustavo Ramírez Sansano, inspired by Bizet’s beloved opera. Fueled by physically charged choreography that fuses contemporary dance with Spanish paso doble and flamenco, CARMEN.maquia takes its cues from the 1845 novella by Prosper Mérimée and the 1875 opera by Georges Bizet. The ballet tells the dramatic story of Carmen, a spirited gypsy, and her love triangle with the doting Don Jose, an army officer, and Escamillo, a bullfighter. In his version, Sansano reimagines Carmen in a Picasso-inspired setting, with a white, canvas-like set and sculptural costumes made to evoke the inside of traditional flamenco attire. Bizet’s classic score remains the soundtrack, in the form of various orchestral versions with no vocals. Currently under the artistic direction of Eduardo Vilaro, Ballet Hispánico tours worldwide with a diverse repertory by some of the foremost choreographers of our time as well as emerging artists. The company is acclaimed for works that fuse Latin dance with classical and contemporary techniques to create a new style in which theatricality and passion propel every move. “Ballet Hispánico shows what it is to be Latino in the modern world,” says The Financial Times.
    [Show full text]
  • Connection/Separation
    Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director MSM Opera Theatre productions are made possible by the Fan Fox and Leslie R. Samuels Foundation and the Joseph F. McCrindle Endowment for Opera Productions at Manhattan School of Music. Friday, February 12, 2021 | 4 PM MANHATTAN SCHOOL OF MUSIC OPERA THEATRE Tazewell Thompson, Director of Opera Studies presents Connection/Separation Featuring arias and scenes from Carmen, Così fan tutte, Die Zauberflöte, La clemenza di Tito, L’elisir d’amore, Le nozze di Figaro, Les pêcheurs de perles, and Lucio Silla A. Scott Parry, Director Myra Huang, Vocal Coach & Pianist Kristen Kemp, Vocal Coach & Pianist Megan P. G. Kolpin, Props Coordinator DIRECTOR’S NOTE In each of our lives—during this last year especially—we may have discovered ourselves in moments of wanting, even needing some sort of human connection, but instead finding separation by any number of barriers. In the arias and scenes that follow, we witness characters in just this kind of moment; searching for meaningful contact yet being somehow barred from achieving it. Through circumstance, distance, convention, misunderstanding, pride, fear, ego, or what have you, we may find ourselves in situations similar to the characters in this program, while looking forward to the days when connection can be more easily achieved and separation the exception to the rule.
    [Show full text]
  • SPAIN and PORTUGAL Designed for Professor Sally Guyton | 13 Days | May 2016
    SPAIN AND PORTUGAL Designed for Professor Sally Guyton | 13 days | May 2016 College Study Tour s SPAIN AND PORTUGAL INCLUDED ON TOUR Round-trip flights on major carriers; Full-time Tour Director; Air-conditioned motorcoaches and internal transportation; Superior tourist-class hotels with private bathrooms; Breakfast daily; Select meals with a mix of local cuisine. Sightseeing: Lisbon; Evora; Seville; Granada; Barcelona Entrances: Castelo De Sao Jorge Mosteiro dos Jeronimos Palacio Nacional de Sintra Bone Chapel Cork Factory Tour, São Brás de Alportel Fortaleza de Sagres Cathedral, Seville Alcazar, Seville Wine Tasting Course, Ronda Alhambra, Granada Park Guell, Barcelona Business Visit, Barcelona Overnight stays: Lisbon (2) Algarve (3) Seville (1) Costa del Sol (2) Granada (1) Barcelona (2) NOT INCLUDED ON TOUR Optional excursions; Global Travel Coverage; Beverages and lunches (unless otherwise noted); Transportation to free-time activities; Customary gratuities (for your Tour Director, bus driver and local guide); Porterage; Adult supplement (if applicable); Weekend supplement; Shore excursion on cruises; Any applicable baggage-handing fee imposed by SIGN UP TODAY the airlines (see efcst.com/baggage for details); Expenses caused by airline rescheduling, cancellations or delays caused by the airlines, bad efcst.com/1727810ZZ weather or events beyond EF’s control; Passports, visa and reciprocity fees YOUR ITINERARY Day 1: Board Your Overnight Flight to Lisbon! Day 4: Evora | Algarve Day 2: Lisbon Transfer to the Algarve Region via a Guided Sightseeing of Evora A local guide will lead you on a sightseeing tour of Evora. A walled Arrive in Lisbon town since Roman times, Evora is now mostly Moorish in character Built around the wide, winding River Tagus, the Atlantic port of Lisbon with alleys cut by arches and brilliant, whitewashed houses decorated was conquered from the Moors in 1147 and later set forth intrepid with colorful azulejos (tiles).
    [Show full text]
  • On Modernity, Identity and White-Collar Boxing. Phd
    From Rookie to Rocky? On Modernity, Identity and White-Collar Boxing Edward John Wright, BA (Hons), MSc, MA Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy. September, 2017 Abstract This thesis is the first sociological examination of white-collar boxing in the UK; a form of the sport particular to late modernity. Given this, the first research question asked is: what is white-collar boxing in this context? Further research questions pertain to social divisions and identity. White- collar boxing originally takes its name from the high social class of its practitioners in the USA, something which is not found in this study. White- collar boxing in and through this research is identified as a practice with a highly misleading title, given that those involved are not primarily from white-collar backgrounds. Rather than signifying the social class of practitioner, white-collar boxing is understood to pertain to a form of the sport in which complete beginners participate in an eight-week boxing course, in order to compete in a publicly-held, full-contact boxing match in a glamorous location in front of a large crowd. It is, thus, a condensed reproduction of the long-term career of the professional boxer, commodified for consumption by others. These courses are understood by those involved to be free in monetary terms, and undertaken to raise money for charity. As is evidenced in this research, neither is straightforwardly the case, and white-collar boxing can, instead, be understood as a philanthrocapitalist arrangement. The study involves ethnographic observation and interviews at a boxing club in the Midlands, as well as public weigh-ins and fight nights, to explore the complex interrelationships amongst class, gender and ethnicity to reveal the negotiation of identity in late modernity.
    [Show full text]
  • 5. Calling for International Solidarity: Hanns Eisler’S Mass Songs in the Soviet Union
    From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 i v ABSTRACT From Massenlieder to Massovaia Pesnia: Musical Exchanges between Communists and Socialists of Weimar Germany and the Early Soviet Union by Yana Alexandrovna Lowry Department of Music Duke University Date:_______________________ Approved: ___________________________ Bryan Gilliam, Supervisor ___________________________ Edna Andrews ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Yana Alexandrovna Lowry 2014 Abstract Group songs with direct political messages rose to enormous popularity during the interwar period (1918-1939), particularly in recently-defeated Germany and in the newly- established Soviet Union. This dissertation explores the musical relationship between these two troubled countries and aims to explain the similarities and differences in their approaches to collective singing. The discussion of the very complex and problematic relationship between the German left and the Soviet government sets the framework for the analysis of music. Beginning in late 1920s, as a result of Stalin’s abandonment of the international revolutionary cause, the divergences between the policies of the Soviet government and utopian aims of the German communist party can be traced in the musical propaganda of both countries.
    [Show full text]
  • Bloomsbury Adult Catalog Fall 2020
    BLOOMSBURY Fall 2020 September – December BLOOMSBURY PUBLISHING SEPTEMBER 2020 The Apology Eve Ensler From the bestselling author of The Vagina Monologues—a powerful, life-changing examination of abuse and atonement. Like millions of women, Eve Ensler has been waiting much of her lifetime for an apology. Sexually and physically abused by her father, Eve has struggled her whole life from this betrayal, longing for an honest reckoning from a man who is long dead. After years of work as an anti-violence activist, she decided she would wait no longer; an apology could be imagined, by her, for her, to her. The Apology, written by Eve from her father’s point of view in the words she longed to hear, attempts to transform the abuse she suffered with unflinching truthfulness, compassion, and an expansive vision for the future. Through The Apology, Eve has set out to provide a new way for herself and a BIOGRAPHY & AUTOBIOGRAPHY possible road for others so that survivors of abuse may finally envision how to / LITERARY be free. She grapples with questions she has sought answers to since she first Bloomsbury Publishing | 9/15/2020 9781635575118 | $16.00 / $22.00 Can. realized the impact of her father’s abuse on her life: How do we offer a doorway Trade Paperback | 128 pages rather than a locked cell? How do we move from humiliation to revelation, from 8.3 in H | 5.5 in W curtailing behavior to changing it, from condemning perpetrators to calling Other Available Formats: them to reckoning? What will it take for abusers to genuinely apologize? Hardcover ISBN: 9781635574388 Remarkable and original, The Apology is an acutely transformational look at how, from the wounds of sexual abuse, we can begin to reemerge and heal.
    [Show full text]
  • The Desert of Wheat
    1 The Desert of Wheat The Desert of Wheat CHAPTER I<p> CHAPTER I CHAPTER I CHAPTER II<p> CHAPTER II CHAPTER II CHAPTER III<p> CHAPTER III CHAPTER III CHAPTER IV<p> CHAPTER IV CHAPTER IV CHAPTER V<p> CHAPTER V CHAPTER V CHAPTER VI<p> CHAPTER VI CHAPTER VI CHAPTER VII<p> CHAPTER VII CHAPTER VII CHAPTER VIII<p> CHAPTER VIII CHAPTER VIII CHAPTER IX<p> CHAPTER IX CHAPTER IX CHAPTER X<p> CHAPTER X CHAPTER X CHAPTER XI<p> CHAPTER XI CHAPTER XI CHAPTER XII<p> CHAPTER XII 2 CHAPTER XII CHAPTER XIII<p> CHAPTER XIII CHAPTER XIII CHAPTER XIV<p> CHAPTER XIV CHAPTER XIV CHAPTER XV<p> CHAPTER XV CHAPTER XV CHAPTER XVI<p> CHAPTER XVI CHAPTER XVI CHAPTER XVII<p> CHAPTER XVII CHAPTER XVII CHAPTER XVIII<p> CHAPTER XVIII CHAPTER XVIII CHAPTER XIX<p> CHAPTER XIX CHAPTER XIX CHAPTER XX<p> CHAPTER XX CHAPTER XX CHAPTER XXI<p> CHAPTER XXI CHAPTER XXI CHAPTER XXII<p> CHAPTER XXII CHAPTER XXII CHAPTER XXIII<p> CHAPTER XXIII CHAPTER XXIII CHAPTER XXIV<p> CHAPTER XXIV CHAPTER XXIV CHAPTER XXV<p> CHAPTER XXV CHAPTER XXV CHAPTER XXVI<p> CHAPTER XXVI CHAPTER XXVI CHAPTER XXVII<p> CHAPTER XXVII CHAPTER XXVII CHAPTER XXVIII<p> CHAPTER XXVIII CHAPTER XXVIII CHAPTER XXIX<p> CHAPTER XXIX CHAPTER XXIX The Desert of Wheat 3 CHAPTER XXX<p> CHAPTER XXX CHAPTER XXX CHAPTER XXXI<p> CHAPTER XXXI CHAPTER XXXI CHAPTER XXXII<p> CHAPTER XXXII CHAPTER XXXII The Desert of Wheat The Project Gutenberg EBook of The Desert of Wheat, by Zane Grey This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.
    [Show full text]
  • Overture Opera Guides
    overture opera guides in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago on the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with repertoire being staged by the company at the London Coliseum. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the poetry of the libretto and the nuances of the score, read- ers’ understanding and appreciation of the opera and the art form in general will be enhanced. John Berry Artistic Director, ENO The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventu- ally included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies. The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, some newly commissioned articles, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the intentions and meaning of the original.
    [Show full text]
  • The Faerie Queene Study Guide
    The Faerie Queene Study Guide © 2018 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary The Faerie Queene is a long epic poem that begins and ends with Christian affirmations. In it, Edmund Spenser draws on both Christian and classical themes, integrating the two traditions with references to contemporary politics and religion. The poem begins with a representation of holiness in book 1, and the Mutabilitie Cantos (first printed with the poem in 1609 after Spenser’s death) conclude with a prayer. Book 1 is identified as the Legend of the Knight of the Red Cross (or Saint George) in canto 2, verses 11-12. Red Cross, as an individual, is the Protestant Everyman, but as Saint George, historically England’s patron saint, he also represents the collective people of England. He is a pilgrim who hopes to achieve the virtue holiness, and for the reader his adventures illustrate the path to holiness. Red Cross’s overarching quest, as an individual, is to behold a vision of the New Jerusalem, but he also is engaged in a holy quest involving the lady Una, who represents the one true faith. To liberate Una’s parents, the king and queen, Adam and Eve, Red Cross must slay the dragon, who holds them prisoner. The dragon represents sin, the Spanish Armada, and the Beast of the Apocalypse, and when Red Cross defeats the dragon he is in effect restoring Eden.
    [Show full text]