Amazon.com's Best of 2001
In an unnamed South American country, a world-renowned soprano sings at a birthday party in honor of a visiting Japanese industrial titan. His hosts hope that Mr. Hosokawa can be persuaded to build a factory in their Third World backwater. Alas, in the opening sequence, just as the accompanist kisses the soprano, a ragtag band of 18 terrorists enters the vice-presidential mansion through the air conditioning ducts. Their quarry is the president, who has unfortunately stayed home to watch a favorite soap opera. And thus, from the beginning, things go awry.
Among the hostages are not only Hosokawa and Roxane Coss, the American soprano, but an assortment of Russian, Italian, and French diplomatic types. Reuben Iglesias, the diminutive and gracious vice president, quickly gets sideways of the kidnappers, who have no interest in him whatsoever. Meanwhile, a Swiss Red Cross negotiator named Joachim Messner is roped into service while vacationing. He comes and goes, wrangling over terms and demands, and the days stretch into weeks, the weeks into months.
With the omniscience of magic realism, Ann Patchett flits in and out of the hearts and psyches of hostage and terrorist alike, and in doing so reveals a profound, shared humanity. Her voice is suitably lyrical, melodic, full of warmth and compassion. Hearing opera sung live for the first time, a young priest reflects:
Never had he thought, never once, that such a woman existed, one who stood so close to God that God's own voice poured from her. How far she must have gone inside herself to call up that voice. It was as if the voice came from the center part of the earth and by the sheer effort and diligence of her will she had pulled it up through the dirt and rock and through the floorboards of the house, up into her feet, where it pulled through her, reaching, lifting, warmed by her, and then out of the white lily of her throat and straight to God in heaven.
Joined by no common language except music, the 58 international hostages and their captors forge unexpected bonds. Time stands still, priorities rearrange themselves. Ultimately, of course, something has to give, even in a novel so imbued with the rich imaginative potential of magic realism. But in a fractious world, Bel Canto remains a gentle reminder of the transcendence of beauty and love. --Victoria Jenkins
Book Description
Somewhere in South America, at the home of the country's vice president, a lavish birthday party is being held in honor of the powerful businessman Mr. Hosokawa. Roxanne Coss, opera's most revered soprano, has mesmerized the international guests with her singing. It is a perfect evening -- until a band of gunwielding terrorists takes the entire party hostage. But what begins as a panicked, life-threatening scenario slowly evolves into something quite different, a moment of great beauty, as terrorists and hostages forge unexpected bonds and people from different continents become compatriots, intimate friends, and lovers.
Download Description
With hilarious insights, observations, and personal anecdotes on everything from partying all night, to learning to do laundry, to falling asleep in class, Aaron Karo has captured the college experience like never before. It took college freshman Aaron Karo only one week to realize that college was a joke - an especially funny one that he could share with his friends in a regular email newsletter about life on campus. By his senior year, Ruminations on College Life had become an international phenomenon. Now, for the first time in print, here is the best of the original ezine, previously unpublished material, and brand new introductions to each section by the author. Share in the absurdity and insanity of the college experience with Karo as you read his outrageous inside account of scheming students, crazy professors, confused parents, and rowdy frat boys. Perfect for anyone who is destined for college, currently surviving it, or already a veteran, this book is a cult classic readers can enjoy alone or read out loud at their next party for tons of laughs.
Customer Reviews:
Even better the second time.......2007-09-28
I just finished Bel Canto for the second time, and enjoyed it even more than I did on first reading. Without rushing towards the end to find out "what happens" -- which I did, in spite of myself, the first time, I was able to luxuriate in Ms. Patchett's elegant, evocative sentences. Her characters are so deftly drawn that they will remain with you long after you close the covers of the book. She's able to do the impossible, it seems: write about love and music within a highly charged, almost over-the-top scenario, without ever becoming melodramatic or maudlin. I believed this book so deeply, it seemed every word was true. Every character was real. Every note of music was there for the listening. I understand why another reviewer bought every one of Ann Patchett's books after reading this one -- I'm about to do the same!
a stunning novel.......2007-09-23
Ann Patchett's Bel Canto is wonderful. Her use of the English language is a wonder to behold. You will remember her descriptions long after you forget the name of other novels. This is truly her best work.
After this one? I bought all her books.......2007-09-07
Oh - this book! This wonderful, amazing, lyrical, gut and heart-wrenching book. This was the first book I read by the incredibly talented Ms. Patchett - and upon finishing it - I promptly went about buying everything else she's written. The characters are so beautifully drawn, the language is so evocative, the feelings behind the words are so intense... I just loved this book and was so sad that I eventually had to finish it.
Language like chocolate.......2007-09-05
Some books have great plots that are worth the read regardless of the writing. These books become bestsellers. But a rare few books tell a good story while wrapping it in language that is like smooth, dark chocolate. F. Scott Fitzgerald, Ian McEwan are a few that come to mind. This book is one of those books. The story is so compelling it could have held its own in the hands of a lesser writer, but Ann Patchett delivers words so lovely that sometimes you have to pause just to savor a sentence. Never a word out of place. Late in the books she startles the reader with very vulgar language in the thoughts of one of her characters - and even this word choice is soooo perfect, slapping the reader awake as they have been floating along in a sea of the most tranquil prose. Don't miss this book!!!
Delicious language, worth every moment........2007-08-20
Patchett's use of language is a joy and I'll hold this wonderful story close to my heart for a long time. This gifted writer created a sense of time and place in the lives of these unlikely bedfellows that transcended my expectations, surprised me and moved me. What a delight. I'll be wrapping this book in beautiful paper and giving it to those who appreciate beautiful things.
Book Description
In this well documented and highly readable book, James Stark provides a history of vocal pedagogy from the beginning of the bel canto tradition of solo singing in the late sixteenth and early seventeenth centuries to the present. Using a nineteenth-century treatise by Manuel Garcia as his point of reference, Stark analyses the many sources that discuss singing techniques and selects a number of primary vocal 'problems' for detailed investigation. He also presents data from a series of laboratory experiments carried out to demonstrate the techniques of bel canto.
The discussion deals extensively with such topics as the emergence of virtuoso singing, the castrato phenomenon, national differences in singing styles, controversies regarding the perennial decline in the art of singing, and the so-called secrets of bel canto.
Stark offers a new definition of bel canto which reconciles historical and scientific descriptions of good singing. His is a refreshing and profound discussion of issues important to all singers and voice teachers.
Customer Reviews:
No direction.......2007-08-01
I don't know what these other people got out of this book. I am a DM student in voice and have had to read over 37 books on pedagogy, including this one, and this one seems to be one of the weaker ones. Yes, the content is all factual, but it is poorly organized and it is hard to follow. There are so many other books out there that are a whole lot better. I was amazed that so many people lauded the book. I'm sorry I have to be a naysayer but I thought you all might like an other opinion.
Recovering a Golden Age for tomorrow's singers.......2006-05-05
My students at University and I used this text as one of the books for our Graduate Vocal Pedagogy Class. Having a desire to complement a more technical tome, (McCoy's "Your Voice: An Inside View") I chose this newer work by Stark for the 'historical overview' of the subject.
Today was our last class, and we all found that Stark's 'Bel Canto' has been a very good choice. His voluminous use of resources (Both primary source documents of singers, composers, vocal pedagogues speaking not only on vocal issues, but on composers, music, national styles, etc.) as well as Stark's 'historical overview' approach - starting and ending with Garcia, "the Master" -was an excellent tactic, in trying to put what we singers call 'The Golden Age' into both historical and aesthetic perspective.
I might not have purchased this book for my own personal library from the cover alone, nor might I have searched it out for post-doctoral study, had I not been 'assigned' the task of teaching Pedagogy by the rest of the Vocal area; (the 'new kid on the block' syndrome- you tenured faculty know what I am talking about!- lol) but I am very glad that I did teach this class. Coming after my Doctoral Orals, and achieving ABD status, I found this book to be a fitting summation of what the last twenty years has been about- that elusive 'search' for the 'secrets' of how to sing. Stark's own journey thus became MY journey, and, as a result of reading his book, it will now join it's place next to other books that have changed my view- for the better, (Reid's trilogoy, Ristad's Soprano on her Head, Hines' Great Singers on Great Singing, etc.) on matters of vocal pedagogy, music making, and what it means to be a Singer, entrusted with this most elusive and ephemeral of Arts. Thank you, James Stark. Your work is a gem.
James Stark, bel canto book review.......2006-03-11
I am in the process of a research project which completes the requirements for my Master's degree in music ed. I found this book to be the most comprehensive, complete, and unbiased review of the history and ideas of bel canto.
A must for voice students/teachers.......2005-02-04
This book covers the history of vocal pedagogy from its very beginings to detailed discussions on the thoeries of Manuel Garcia, Lamperti and so forth. It also gives you some glimpse on other techniques that were brought into being, backing them solidly with proofs to why the old italian school of voice production was and still is the most natural and favourite. It gives detailed description on the vocal technique itself with description of how the larynx works and so forth. (the title makes you think its only history but IT IS NOT! It is what one calls a professional down to earth book which talks about the practical but it is not an exercise workbook!) I never found a book so detailed in describing the many 'things' that are part of this technique so well put and easily understood. it also talkes about idiom and expression in the voice. Makes you love technique and not be bored just by reading about it, makes you appreciate this great gift our culture has handed upon us, to continue to nurture it in our own little ways. The Language is very well written - serious, steady and professional. Presentation is excellent. Points well made and clearly understood. This book has so many good virtues, that words just cannot measure what I mean to say. for me, it is THE definate voice bible I have been so long waiting for, both for my thesis and vocal studies! Then for further reading, I suggest J.T. Caldwell Expressive Singing Dalcroze Eurhythmics for voice. It sort of contiues where J.Stark leaves off as regards to discussing expressivity. With this later book Please be careful cause I was greatly dissapointed with the damaged one they sent me (without any reply when I complained) but nonetheless, a good book is a good book - sufferes a bit with presentation though.
Book Description
Greatest teacher presents method that produced Melba, Calve; Garcia tradition. Exercises, text.
Customer Reviews:
The "Hanon" for voice... .......2006-03-22
I was just copying this link to send to a friend who was looking for vocal books - and I was pleasantly surprised to see my former voice teacher's review on here! I very much agree with her assessment.
From a personal standpoint, while I've really only tackled the first dozen pages or so, I've found that it's really helped me broaden my range, and smooth out my break.
Now... if only I could dance while I sang ;)
Nice Vocal Exercises.......2005-08-03
I bought this book to review it and decide whether or not to use it in my studio for my students.
The preface in which she describes the glottal stroke is correct in that this is what happens upon phonation, but a singer may interpret it as to start the sound with a diliberate glottal stroke which is harsh on the vocal chords.
The exercises are nice and challenging. The progression of the exercices build on each other as well. I have started using this for my more advanced students.
A must have for those who want to learn bel canto.......2001-03-14
This book is mostly scales with a few pages of actual vocal technique. This is not for the beginner to use though. The person who uses this book should use it as a supplement to their own vocal studies and have a solid technique for the scales to actually work for you. I'm thorougly enjoying the book thus far.
Don't try this alone, kids!.......2000-09-17
While the book includes a set of progressive exercises which are definitely essential, Marchesi's comments on singing technique are limited to only a few pages. When you consider that leading pedagogues such as Richard Miller, Meribeth Bunch and others have devoted volumes to vocal technique, Marchesi's advice is sparse, to say the least. A good book if you are currently working with a teacher or are an advanced singer with solid classical technique looking for some new exercises. Not for the beginner to attempt alone!!!
Bel Canto's Best.......2000-09-08
This is a must have book for the novice through advanced singer, it shows the fundamentals and advanced techniques of the most famous and timeless method of singing. Marchesi and Miller teamed up for an extraordinary work on the art of singing. Explained in a easy to understand manner, the method makes the art of singing an effortless skill that can be easily learned by anyone with the will, and wants to experience and enjoy the benefits of the art of singing.
Customer Reviews:
A very disappointing book.......2006-11-27
This book appears to be self-published. I applaud such efforts, but I think that it's a shame when an author presents himself as poorly as does Mr. Ciampa. This book is nothing more than a disorganized collection of anecdotes (mostly other people's), received wisdom, lists of famous singers, paeans to favorite singers, catty remarks about disliked singers (as well as certain conductors, producers, and other critics), and a few not very helpful, informative, or specific remarks about "technique". Despite the title, I still have no real idea what the author means by "belcanto". There are bits and snatches of insight (for example, an interesting discussion of the various "e" vowels, and a bit about "bocca rotonda"), but these are poorly organized and Mr. Ciampa usually fails to provide singer-specific examples of such matters. If there is another edition, it would be helpful if, for example, Pertile (a favorite singer) and others were used to illustrate the more general points that Mr. Ciampa tries (and fails) to make.
Mr. Ciampa would appear to have a pretty good idea of what constitutes good singing - at least, his opinion and mine coincide well over 90% of the time. His choices for "essential listening", sprinkled throughout the book, are generally sound. The problem, among others, is that he does a very poor job of explaining those opinions. If he likes a singer, then that singer is good, AND is an exemplar of "belcanto". If he dislikes a singer, then that singers is bad, AND is not an exemplar of belcanto. For example, he is a great admirer of Heppner (as am I), but Mr. Ciampa does little to explain what there is about Heppner's singing that he likes. Instead, the opinion would appear to be based upon Heppner's repertoire choices, which include a lot of Tosti, one of Mr. Ciampa's favorites.
Other material simply doesn't belong here. There's a retelling of the Bjoerling/Solti/Culshaw/Ballo story with a very obvious bias. Eight or so pages are devoted to Roald Reitan's version of Warren's onstage death. Does anyone really care exactly which line was Warren's last before he collapsed, particularly when Mr. Ciampa repeats the old conclusion that Warren died of a cerebrovascular accident (this is absolute conjecture, since no one actually knows whether it was a CVA or a sudden cardiac death, and most opinions favor the latter)? I'm always happy to see such matters discussed on an Internet opera forum, but what are they doing in a book entitled "The Twilight of Belcanto".
Among the other egregious problems with this book is Mr. Ciampa's choice of "experts", and his method of research. It would appear that Mr. Ciampa waits around for people (but only people he considers trustworthy) to tell him which singers he should hear, rather than seek them out for himself and form his own opinions.
"The Twilight of Belcanto" is not entirely without its moments; there are occasional good lines, such as (about Mario del Monaco) "Everything he sang was like a hungry stray dog ripping apart a slab of raw meat." And some of the stories about little-known divos and divas are entertaining. But such moments are poor compensation for the endless pages of tedium.
Best Opera Book of 2005.......2006-02-19
This is easily the best opera book to have come out in 2005. Honestly, you need to have this book. It is everything: scholarly, conversational, serious, funny, autobiographical, fact-filled. REALLY fact-filled -- 500+ pages worth of facts! Really, a
classic of a book. For the price ... go out and buy this one. Yours, Tobia.
This is the book..........2005-12-01
Sick of opera books that talk about Pavarotti this, Fleming that, Kathy Battle whatever? No, "The Twilight of Belcanto" is about REAL SINGING. Tucker. Peerce. Shicoff. The divine Beniamino Gigli. And the sopranos! Leyla Gencer. Maria Chiara. And a long interview with Virginia Zeani which is absolutely worth the price of the book.
Time to order "The Twilight of Belcanto."
A staple of opera literature.......2005-12-01
You thought you knew about opera and singers? NOT! Revisionist is an understatement. Ciampa -- who is this guy? where did he come from? -- takes centuries of opera history and opera techniques and sets them all straight. All is written with a style that can only be called "infectious." You pick up the book and before you know it, you're on page 200.
Wow, this book is really going to make the MET take notice. I'll bet Opera News does their best to ignore the book altogether. If they can. If I can give this book one word, it's "unignorable." A staple of opera literature.
A little harsh ..........2005-12-01
No one said that the Three Tenors were the three greatest tenors of all time, or even of their time. It doesn't take extraordinary cleverness to discern that Neil Shicoff sings better. In that sense, Ciampa's book "The Twilight of Belcanto" is filled with the obvious.
However, I cannot tell a lie. I was told, "You have to buy this book; it's a must-own." Having bought and read it, I agree that it is. Ciampa is formidable on the topic of "beautiful singing." You can almost hear Gigli's "mezza voce" as you read about it. Though not without a tinge of reluctance (annoyance, even), I recommend that every opera lover is at some point going to have to purchase a copy of this book.
Book Description
Lucie Manen presents the findings of her extensive investigation into the original Italian art of Bel Canto singing. After summarizing the history of Bel Canto and some mistaken teaching methods, she describes in detail her own research into the physiological aspects of Bel Canto - from posture and breathing to details of messa di voce and coloratura. This is a completely revised and expanded version of Lucie Manen's The Art of Singing: A Manual of Bel Canto (Faber Music Ltd, 1974; 2nd edition 1981). It is illuminated throughout by the author's practical and musical insights, and illustrated with exercises from original Bel Canto manuals. `The publication of this book must surely herald a change of attitude. Lucie Manen's clear exposition of her solidly grounded theories and well-tried practice will prompt wise, healthy, and positive questioning of established methods, and should serve to bring about a long-overdue revolution in that least-regulated of all professions, the teaching of singing.' (From the Preface by Brian Trowell) `Lucie Manen has more qualifications than any singer I have ever met for writing a Manual for singers. There have been learned books on the voice but the authors have not been singers; there have been biographies and autobiographies whose subjects have revealed a personal secret or two. But there have been few who have combined experience as a singer with a deep and wide learning so convincingly as Madame Manen.' Peter Pears
Book Description
Presents in acoustic phonetics, register and musical notation, many exercises that will make the voice stronger and more musical according to the precepts of Bel Canto.
Customer Reviews:
Over my head.......2005-06-24
It is obvious that Dr Coffin has done a tremendous amount of research and experimentation, and I have little doubt that his method works. But, this is not for a beginner, and I would go as far as to say that this is not for self-study (not that singing ever is), but that one would need to be guided through the exercises by a teacher well-versed in this technique. The use of the international phonetic alphabet means that one has to do a tremendous amount of work before even starting the exercises, and this makes the whole thing a very daunting task indeed - I would have to be absolutely convinced that the expected results would be worth this great pre-effort, and I have not heard enough reports to convince me that following another system is not as productive with much less work on what amounts to (in my opinion, seeing as other highly successful systems, don't include them) side-issues. Having said that, if I could find a teacher well-versed in this method, I would love to study it.
I studied personally with Dr. Coffin.......2003-11-17
Dr. Coffin took my broken voice (caused by incorrect teaching by former teachers), put it back together within my 2 years graduate study with him, and added an octave to my upper range. I enjoyed 30 years as a professional singer and am still singing well at age 65. My private voice students voices are developed quickly and remarkably using Dr. Coffin's exercises. I can't recommend this book enough. One must learn the International Phonetic Alphabet and apply it in the exercises and the book can be quite technical, but years of application in my voice as well as my students has me completely sold on it's merits. This book is for the serious voice student who is willing to work at his/her craft.
Amazing.......2003-10-21
After studting Mr. Coffins technique for over a year, I am amazed at the difference it has made in my range, tonal quality, and overall ease of singing. A bit difficult to just dive into, the book is perhaps best approached with the assistance of one who knows it well. All singers should be trained this way!
Book Description
This guide somatically explains how to sing using fundamental 'bel canto' technique. It is unique because it explains the physical technique of 'bel canto' in plain words, rather than discussing opinions and observations, style, vocalises, history and theory. The author, Kendrick Jacocks, has used the method, which was identified as 'bel canto' by professionals in the field as he prepared for his debut performances of Verdi's "Otello' with the Donetsk State Opera in The Ukraine and on tour in Spain. His performances held interest for his unique ability to transmit real emotion through the use of timbre, intensity, and dynamics, which was enabled by three essential physical movements. The 'bel canto position' was taught to him by the successful 'bel canto' teacher and soprano Virginia Zeani. The technique was then applied by the actions he sets forth in this book, and aided by his own studies and practice. The second half of the book provides helpful remedies, suggested listening, a short explanation of the teachings of Manuel Garcia II, Enrico delle Sedie, Mathilde Marchesi, and Giovanni Sbriglia, "Constantin Stanislavsky on Singing in the Mask", quotations on the value of humming and suggestions from Zinka Milanov, Virginia Zeani, Marian Anderson, G. B. Lamperti, Jean de Reszke, and Rosa Ponselle, and a short gallery.
Customer Reviews:
Amazing Book on Technique and Excellent for kids.......2007-01-27
This is the most useful book on how to sing I have ever read. I bought my copy on [...] after reading the description. There is some concise history on bel canto and quotations too, but most useful was the presentation of an ancient system of bel canto in the simple and direct manner as it was taught as early as Caccini. This method gave my group a great "cathedral sound" and the kids picked it up instantly. In three short steps the book solved problems related to breathing, control, placement, and legato, and it is not a long book but a very focussed and detailed technique guide.
For professionals and young artists I think the book takes the guess work out of vocal technique for the stage. It presents classic bel canto. For example, a singer will learn "the position" of bel canto and will learn to direct his entire voice by focusing on what is happening in the air spaces above the tongue. The result is a full warm sound without registers and bumps in dynamics. Step by step without any scientific terms you will be guided to sing messa di voce, mezza voce, difficult legato phrases, and above all approach the high notes easily. After you've heard the miracle of your resonance and gained such facility in controlling your tone, you will never forget this ancient bel canto approach to training your voice.
This may not be your only technique book. You may need another source for your physiology and therapy type issues, but for performance technique and immediate help, it would be hard to beat this advice.
Book Description
An indispensable guide for modern singers, this rare resource offers exercises and instructions for attaining the absolute breath control, vocal sheen, evenness of tone, agility, and elegance of the 18th-century Italian vocal technique. Includes studies for scales, turns and trills, vocalises, solfeggio studies, more.
Customer Reviews:
The spirit of the 19th century.......2007-01-05
This book is just a delightful pedagogy, and a voyage in what was probably the nicest in the spirit of music in the middle of the 19th century.
However, let the author talk, and imagine you're told this not only by your singing teacher, but by any performing art teacher: "Keep on studying...my dear students (...) My wish for you is that you will feel the urge to excel, that you will be on guard against rivalry, and that very soon you will give me the great joy of applauding you".
Book Description
Somewhere in South America at the home of the country's vice president, a lavish birthday party is being held in honor of Mr. Hosokawa, a powerful Japanese businessman. Roxanne Coss, opera's most revered soprano, has mesmerized the guests with her singing. It is a perfect evening—until a band of terrorists breaks in, taking the entire party hostage.
But what begins as a life-threatening scenario slowly evolves into something quite different. Friendship, compassion, and the chance for great love lead the characters to forget the real danger that has been set in motion and cannot be stopped.
Ann Patchett has written a novel that is as lyrical and profound as it is unforgettable. Bel Canto is a virtuoso performance by one of our best and most important writers.
Average customer rating:
- The foundamentals to understand the quality of lyric voices
|
A History of Bel Canto (Clarendon Paperbacks)
Rodolfo Celletti
Manufacturer: Oxford University Press, USA
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Solutions for Singers: Tools for Performers and Teachers
ASIN: 0198166419 |
Book Description
Bel canto singing was a historical phenomenon which embraced Italian opera of the eighteenth and nineteenth centuries. It required infinite variety of sound, in particular a lyrical ecstacy, a faultless technique to dispatch the vocal pyrotechnics demanded of it, and earned itself eloquent praise as `the singing which is heard within the soul'. Rodolfo Celletti, who has devoted his whole career to studying the voice from every historical, technical, and musical aspect, offers here a fascinating history of bel canto singing and the voice in operatic literature. He begins by discussing the links of bel canto with the operatic ideals of the baroque, and points out that the style was created as much by operatic composers and their librettists as by their executants, the singers. To this end he undertakes a review of Italian opera of the period, andtraces the development of the style in different composers and their works. There is a chapetr on Castrati - the voice par excellence of bel canto - and the art of singing in their day. The final chapter looks at the history of bel canto since Rossini, charting its death and resurrection.
Customer Reviews:
The foundamentals to understand the quality of lyric voices.......1997-01-23
It is impossible to find in the original language The History of Bel Canto. It is only available in some Conservatory Library.
This History is foundamental to clearly understand the evolution of the several technics of singing through the centuries. Rodolfo Celletti is probably the most reliable living "expert" of lyric voices. By reading his works you can distinguish a real, good operatic voice from trivial and bad voices.
Do not miss this text!!
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