Charles Osborne – författare

A classic collection of well-loved poems, now brought together in one comprehensive paperback edition.This classic anthology, which was first published nearly twenty years ago, and has sold consistently well, is now available for the first time in paperback.There are nearly one hundred and fifty poems featured in the collection, written by some of the world’s most prominent and well-loved poets. These include Philip Larkin, William Blake, John Keats, W.H. Auden, Lord Tennyson, T.S. Eliot, William Shakespeare, Emily Dickinson, John Betjeman, Robert Browning and many, many more.

A comprehensive and authorised biographical companion to the works of Agatha Christie covering books, films, TV and plays – revised and updated edition.Agatha Christie was the author of over 100 plays, short story collections and novels which have been translated into 103 languages; she is outsold only by the Bible and Shakespeare. Many have tried to copy her but none has succeeded. Attempts to capture her personality on paper, to discover her motivations or the reasons for her popularity, have usually failed. Charles Osborne, a lifelong student of Agatha Christie, has approached this most private of persons above all through her books, and the result is a fascinating companion to her life and work.This ‘professional life’ of Agatha Christie provides authoritative information on each book’s provenance, on the work itself and on its contemporary critical reception set against the background of the major events in the author’s life. Illustrated with many rare photographs, this comprehensive guide to the world of Agatha Christie has been fully updated to include details of all the publications, films and TV adaptations in the 25 years since her death.

A biographical companion to the works of Agatha Christie – revised and updated editionAgatha Christie was the author of over 100 plays, short story collections and novels which have been translated into 103 languages; she is outsold only by the Bible and Shakespeare. Many have tried to copy her but none has succeeded. Attempts to capture her personality on paper, to discover her motivations or the reasons for her popularity, have usually failed. Charles Osborne, a lifelong student of Agatha Christie, has approached this most private of persons above all through her books, and the result is a fascinating companion to her life and work.This `professional life’ of Agatha Christie provides authoritative information on each book’s provenance, on the work itself and on its contemporary critical reception set against the background of the major events in the author’s life. Illustrated with many rare photographs, this comprehensive guide to the world of Agatha Christie has been fully updated to include details of all the publications, films and TV adaptations in the 25 years since her death.Note that it has not been possible to include the same picture content that appeared in the original print version.

Every opera lover enjoys a performance more when accompanied by a knowledgeable friend. In this indispensable guide, well-known opera critic Charles Osborne provides exactly that. Osborne fills in the details on 175 of the world’s most frequently performed operas, including facts about the composer and the music, a plot outline, accounts of famous performers, and much more."This book is exactly what the title claims: an opera lover's companion. Reading it is like going to the opera with a knowledgeable friend who tells you enough to make you want to see the piece but not so much you're drowned in superfluous detail."—Richard Fawkes, Opera Now"What this invaluable book contains is the ideal rundown on 175 operas from Auber's Fra Diavolo to Zimmerman's Die Soldaten, in each case putting the work in context within the composer's development, with a list of characters, a short synopsis and pointers towards the most imortant arias, duets and ensembles, all in a personal congenial tone, like unto an operatically wise and loving uncle."—Denby Richards, Musical Opinion“An erudite, instructive and unpretentious guide.”—Michael Kennedy, The Sunday Telegraph"It’s hard to imagine any other book on the subject more informative and helpful to the average enthusiast. . . . This book is one you’ll cherish."—Books in Canada

The major operas of Mozart, Don Giovanni, The Marriage of Figaro, The Magic Flute, Cosìfan Tutte ,are well known to music listeners everywhere, having secured a permanent place in the repertoire of companies throughout the world. But how much do you know about La Clemenza di Tito, Idomeneo, L'Oca del Cairo, Zaide? Charles Osborne here provides detailed descriptions of all of these and fourteen others in a volume that serves both a first-rate biography and an exhaustive critical guide to the Mozart oeuvre. Charles Osborne is obviously in command of the literature: He quotes copiously from the mountain of letters, contemporary journals, and the most recent scholarship dealing with the period. His fourfold approach,linking biography with musical, textual, and dramatic analysis,is uniquely satisfying for those seeking an integrated understanding of opera's many dimensions. With a plot summary and character listings of each work, The Completes Operas of Mozart can be read in one sitting for a panoramic sweep of Mozart's operatic genius or for reliable reference by the phonograph or radio.

While Puccini wrote only twelve operas during a long life,three of them one-acters designed to be performed together,he has to be ranked today as the world's most popular composer of opera. His La Bohème and Tosca are more frequently performed in the major opera houses than works by other composers, and Madame Butterfly and Manon Lescaut rank not far behind. What is the explanation for Puccini's enormous success? How do his operas work as music and drama? What was he like to contemporaries such as Verdi, Toscanini, and Caruso? Charles Osborne, author of highly successful Complete Operas of Verdi and Complete Operas of Mozart, here analyzes the entire Puccini oeuvre,from Tosca and Turandot to the less-often performed Edgar, La Fanciulla del West, and La Rondine. His fourfold approach,linking biography with musical, textual, and dramatic analysis,is especially valuable for Puccini, who revealed many of his personal contradictions in his music and whose sense of detail can be appreciated by close study of the scores and characters. For the legions of Puccini lovers everywhere, this guide to his life and work can serve as an ideal reference source and opera companion.

Wagner's operas can be counted among the most important works of art of the nineteenth century. But Wagner was a composer around whom violent artistic, political, and literary controversies raged during his lifetime. Even today, Wagner's music seems to arouse either adulation or antipathy. In The Complete Operas of Richard Wagner, as in the first four volumes of his famous series on the great opera composers, Charles Osborne first describes the composer's life at the time he wrote each opera, thus providing a biographical thread which runs through the book follows it with a thorough examination of the libretto and its sources and lastly tells the story of the opera, which he links to the major musical features.This book is, in effect, a musical biography of Wagner, tracing his development from his first complete opera, Die Feen, to his last, Parsifal. It serves as an invaluable guide to the often perplexing Wagner oeuvre both for the regular opera-goer and the armchair listener.

W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as ''concert'', ''art'', or sometimes even ''classical song''. ''Concert song'' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since ''art song'' sounds primly off­ putting, and ''classical song'' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never­ theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.

W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off­ putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never­ theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.