Titlebook: Galileo and the ‘Invention’ of Opera; A Study in the Pheno Fred Kersten Book 1997 Springer Science+Business Media Dordrecht 1997 Aron Gurwi

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The Age of Onset of Bipolar Disorders,e. Auden’s caveat is worth repeating here because it expresses Schrade’s point in yet another way: “in a sense, there can be no tragic opera because whatever errors the characters make and whatever they suffer, they are doing exactly what they wish. Hence the feeling that . should not employ a conte

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Room at the Center, up the bend I came upon a large, crudely lettered sign that said, “If you have come this far, you have gone too far.” Sure enough; a few hundred yards on, in the middle of the old road, I confronted a large, raunchily dressed man—no leathered-up, bechained biker, either—with a large rifle, pointed

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The Room, the Universe And the Gap,rs, writers, aesthetes, and others who, although they had never heard of it, were more fin than siècle. Most of the custom there believed they were bar-coded for fame and immortality and increasingly suffered, like El Greco, from what can only be called “room fever.” They were neurotic, manic depres

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Baroque Twins: Science and Opera: The , of the Baroque Formulation of Consciousness,th a Prologue sung by “tragedia.” Still, the inventors of opera, like their contemporary playwrights, certainly believed they had revived or even reinvented Greek tragedy, and perhaps with good reason.. Of course, even though the plots of operas were drawn from the still well-stocked shelves of anci

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