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Gabrielle Krauss
Tour Du Monde (1) – Déc.14-Janv.15
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M
The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
Ma Chère Petite Aïno». the Role of a Paris
C K’NAY C (To Her) C (Poem by A
On Raconte Qu'un Jour, À L'ambigu, Pendant Une De Ces Dernières
ROBYN CATHCART: M.A. CANDIDATE in MUSICOLOGY the UNIVERSITY of VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia
Politique, Littéraire Et Artistique Echos Et Nouvelles
Meyerbeer's Les Huguenots
View Catalogue
JEANNE D'arc on the 1870S MUSICAL STAGE: JULES BARBIER and CHARLES GOUNOD's MELODRAMA and AUGUSTE MERMET's OPERA By
Catalogue 83
The Operas of Charles Gounod by Nick Fuller
Ce N'était Pas Assez Des Incendies Allumés Par La
Quale Orribile Peccato
Pope, Andrew S. (1935- )
View Laid In
Top View
Uma Ária Para Virginia Damerini: a Última Fosca De Carlos Gomes
Gounod's Last Opera
The Paul J. Jackson Opera Collection
Ellis, K. (2015). Olivier Halanzier and the Operatic Museum in Late Nineteenth-Century France
The Reception of Le Tribut De Zamora
Expanding the Public for Serious Music in Late 19Th-Century Paris
FPDF Tutorial
Eighteenth-Century Opera and the Construction of National Identity in France, 1875–1918
Umi-Umd-3310.Pdf (2.110Mb)