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Prima donna

  • The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M

    The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M

  • A Culture of Recording: Christopher Raeburn and the Decca Record Company

    A Culture of Recording: Christopher Raeburn and the Decca Record Company

  • 6 X 10.Long New.P65

    6 X 10.Long New.P65

  • Melodrama and Metatheatre: Theatricality in the Nineteenth Century Theatre

    Melodrama and Metatheatre: Theatricality in the Nineteenth Century Theatre

  • Bel Canto: an Analysis from Birth and Background to Musical Benefaction Kaitlin Kohler Cedarville University, Kaitlinmkohler@Cedarville.Edu

    Bel Canto: an Analysis from Birth and Background to Musical Benefaction Kaitlin Kohler Cedarville University, [email protected]

  • Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers

    Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers

  • The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’S Institution

    The Idea of Prima Donna: IRASM 47 (2016) 2: 237-287 the History of a Very Special Opera’S Institution

  • Let Freedom Sing! Four African-American Concert Singers in Nineteenth-Century America

    Let Freedom Sing! Four African-American Concert Singers in Nineteenth-Century America

  • AMS San Francisco 2011 Final Abstracts

    AMS San Francisco 2011 Final Abstracts

  • Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre

    Translating, Adapting, and Performing Opera in Eighteenth-Century Cosmopolitan Europe: Lorenzo Da Ponte at the King's Theatre" (2017)

  • Fifth Elements: a Research Program in Italian Sound

    Fifth Elements: a Research Program in Italian Sound

  • Expressive Tempo Modifications in Adelina Patti's

    Expressive Tempo Modifications in Adelina Patti's

  • Salome Ever and Never the Same

    Salome Ever and Never the Same

  • Beyond Prima Donna: Pauline Viardot's Collaboration on Meyerbeer's Le Prophète, Gounod's Sapho, and Berlioz's Arrange

    Beyond Prima Donna: Pauline Viardot's Collaboration on Meyerbeer's Le Prophète, Gounod's Sapho, and Berlioz's Arrange

  • Legendary Soprano Leontyne Price Honoured at 2019 International Opera Awards

    Legendary Soprano Leontyne Price Honoured at 2019 International Opera Awards

  • A Chronology Hannah Clancy, David Gutkin, and Lucie Vágnerová

    A Chronology Hannah Clancy, David Gutkin, and Lucie Vágnerová

  • The Prima Donna

    The Prima Donna

  • New Findings and Perspectives Edited by Monica Dall’Asta, Victoria Duckett, Lucia Tralli Researching Women in Silent Cinema New Findings and Perspectives

    New Findings and Perspectives Edited by Monica Dall’Asta, Victoria Duckett, Lucia Tralli Researching Women in Silent Cinema New Findings and Perspectives

Top View
  • UC Berkeley Electronic Theses and Dissertations
  • Diva Rivalry for Fun and Profit: an Examination of Diva [Mis-] Conceptions Via the Rivalry of Maria Callas and Renata Tebaldi
  • Function of Singing Treatises
  • Fach  Coloratura Soprano  Rossini Tenor  Basso Cantante / Basso Buffo
  • Roles for MHS Phantom of the Opera
  • Box 4 ] No.39[ Journal 55] December 30, 1827-June 11, 1828
  • Pauline Viardot and Rewriting the Image of Women in Nineteenth-Century French Opera Culture
  • Prima Donna Diva Act Delivers - Rufus Wainwright's Debut Opera Scores and Never Bores by GLENN SUMI
  • Les Contes D'hoffmann
  • Opera for Beginners 1 Guidebook
  • Christina Fuhrmann, Foreign Opera at the London Playhouses: from Mozart to Bellini, Cambridge, Cambridge University Press (Cambridge Studies in Opera), 2015, Pp
  • THE PHANTOM of the OPERA Audition Requirements
  • In 2009, When Singer-Songwriter Rufus Wainwright Premiered Prima
  • The Dramatic Functions of the Ensemble in the Operas of Wolfgang Amadeus Mozart
  • Rigoletto Partners
  • Communication Through the Language of Voice “Aria Da Capo” Characteristics and Vocal Interpretative Potential in the Eighteenth - Century
  • Merope Mesmerizes the Innsbruck Festival of Early Music, 2019
  • Suranjan Matthew Sen April 9, 2008 Dr. Joy Calico Romantic And


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