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The Great Lablache Hardcover – 29 Jul 2009
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About the Author
The author and artist Cerita Stanley-Little, was born as Cerita Ida Claire Brown in 1906, in Bournemouth, a fashionable seaside resort town in the south of England. There she pursued a fine art education, and traveled widely before her marriage. Settling down in neighboring Southampton, she raised two children. During World War.II, she returned to Bournemouth and lived in Liliput. There in spite of being severely limited by chronic asthma, she continued her artistic life, creating drawings, paintings and writing romantic novels, poems and articles. Her articles were published in various magazines and newspapers. Her delightful children's stories were read on radio BBC. She died in Lymington Hampshire in 1978. --Ce texte fait référence à l'édition Paperback.
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Most helpful customer reviews on Amazon.com
Clarissa gave as a very strong knowledge in detail of famous heads of 'Operas', composers, singers and writers long time ago.No one ever in the world will be able to achieve such distinction in operatic area era. Many young people today don't have any knowledge of Operatic entertainment. Clarisse the Author demonstrated to us with her work the past of famous true artists that aren't anymore around and also their works are vanishing slowly with them. I rate Clarissa with five gold stars for her hard work and she is a true well respected Author in my mind. Congratulation Clarissa,I hope that some other people will follow your your steps.
Dr. J. Pat Craig
I couldn't stop reading this book till the last line. It is so absorbing.
Errors? Rossini's "Matilda di Shabran" is credited to Donizetti. (p. 246) She thinks Rachel (of "La Juive") is a character in "Le Prophete." (p. 365) She has Pasta creating the role of Ugo (p. 133) No, a tenor created Ugo; Pasta created the role of Bianca. Is there really a character named Martha in "Guillaume Tell"? (p. 261) Giorgio in "Puritani" is frequently called Georgio. Lablache is caption-credited as singing Otello, when he was really Elmiro. The mezzo in "Rigoletto" is not called Magdelina. ( p. 444) Nor is the soprano lead in "Trovatore" called Lenora. (p. 450) Saint-Saens is called San Saens. The singular of "libretto" is not "libretti." Belvedere is called Belverdere (p. 44) "Voce" is printed as "voca" too many times. "Cords" for "chords" (p. 497)
Apparently, no one with a knowledge of opera did any proofreading, so we get a parade of bizarre opera/play titles: Donizetti's "Il Campanelli," (p. 237) "Compte Ory," "La donna del largo," (4 times!) "Ernanni," "La Pietra Paragone," "Mefistofile," "The Prodical Son," and my favorite "Adelaide di Borgogna in Rome."
Arsace is called Arzace. Giuditta Pasta is called Giudetta. Salvatore Cammarano is called Salvadore. Mustafa is called Mustifa. Geronimo in "Matrimonio Segreto" is often called Geronomo. She doesn't know whether the past tense of "sing" is "sung" or "sang," so she alternates. Apparenly, no writing teacher ever explained to her how to avoid dangling modifiers, so we get an interesting assortment of howlers. She has a problem with "premier" versus "premiere" and "principal" versus "principle."
There are also problems with her assertions. "The Barber of Seville" is proclaimed to be "the most popular work in the history of opera" (p. 119), which will be debatable to the fans of "Boheme," "Carmen," "Traviata," or "Aida." We are told Lablache sang (or "sung" as it were) in over 50 Rossini operas (p. 71), which is difficult to do since Rossini composed only 39 operas. She has Tamburini and Lablache singing in the same 6 June 1839 performance of "Lucrezia Borgia," which doesn't seem possible. Did they both share the role of Alfonso? (spelled "Alfonzo on p. 424)
Is English her primary language? Why does she think a couple can "sire" children as opposed to the busband only? ( p. 25) We are told someone kept "a stud of horses" (p. 443)
During the long quoted reviews and letters, there are many typos, and one doesn't know whether to blame them on the original authors or on Miss Lablache. The use of (sic) after a quoted error would have have helped clarify who is at fault.
I will say that there are a lot of great pictures. And the appendices are very informative. It's always interesting to read about performance practices of yesteryear, especially the mandatory encores. I liked reading about the selections of recitals and concerts, pieces we no longer get to hear. But an editor with a knowledge of grammar and opera could have easily cut 200 pages and made this a more readable book.