Richard Wagner – författare

Boken innehåller texten till samtliga ingående operor: Rhenguldet, Valkyrian, Siegfried och Ragnarök. Wagners tyska originaltext står sida vid sida med ny svensk översättning. Vid översättningen har särskilt lagts vinn om att göra texten och innehållet begripliga. Den svenska texten är inte avsedd att sjungas. Inledande förord om Nibelungensagan av Maren Jönsson.

I denna bok presenteras de kompletta texterna till Richard Wagners tre "romantiska" operor Lohengrin, Tannhäuser och Den Flygande Holländaren. Den tyska texten är Wagners originaltext; den svenska, som löper jämsides, är en nyöversättning. Texterna är tänkta att läsas som fristående dramer men är också lämpliga att läsas samtidigt som man lyssnar till musiken. man finner här ett intressant författarskap, medryckande dramatik och innehållsrika formuleringar av hög poetisk kvalitet.

A superb new translation of one of the greatest nineteenth century poems: the libretto to Wagner's Ring cycleThe scale and grandeur of Wagner's The Ring of the Nibelung has no precedent and no successor. It preoccupied Wagner for much of his adult life and revolutionized the nature of opera, the orchestra, the demands on singers and on the audience itself. The four operas-The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods - are complete worlds, conjuring up extraordinary mythological landscapes through sound as much as staging. Wagner wrote the entire libretto before embarking on the music. Discarding the grand choruses and bravura duets central to most operas, he used the largest musical forces in the context often of only a handful of singers on stage. The words were essential: he was telling a story and making an argument in a way that required absolute attention to what was said. The libretto for The Ring lies at the heart of nineteenth century culture. It is in itself a work of power and grandeur and it had an incalculable effect on European and specifically German culture. John Deathridge's superb new translation, with notes and a fascinating introduction, is essential for anyone who wishes to get to grips with one of the great musical experiences.

A superb new translation of the libretto to Wagner's Ring cycle'Smiling in sorrowI sing of love'The Ring of the Nibelung, Wagner's epic cycle of four musical dramas about primal envy, cosmic conflict, the search for glory, spectacular self-sacrifice, redeeming human love and the downfall of gods, revolutionized the nature of opera and conjured up an entire mythological world. It is also one of the greatest texts ever written for the lyric stage, where words are not an adjunct to the music, but an essential part of a transformative experience. John Deathridge's superb new facing page translation of the Ring libretto conveys the pungency and vitality of Wagner's words, reflecting the work's literary power while retaining its sense and dramatic energy. Translated with an introduction and notes by John Deathridge

Boken omfattar såväl Wagners tyska originaltext som en ny svensk översättning. De båda texterna står sida vid sida vilket underlättar tolkningen av den tyska texten. Den svenska texten är utformad så, att man skall kunna förstå vad man läser och därmed också kunna ta till sig innehållet i operan.

Richard Wagner var en stor beundrare av Beethoven. Men gav han sig verkligen ut på en pilgrimsvandring till honom?Träffade han honom rentav? Hade han faktiskt ett spännande samtal med honom?Är denna berättelse sann eller uppdiktad?Även om den förmodligen inte är sann, så är den i alla fall intressant och underhållande läsning ...

Author Mitch Anthony has been recognized as the voice of conscience for the financial services industry. For more than a decade, he has shown advisors how building authentic, genuine relationships can serve clients'' best interests and build heathly—and financially successful—practices at the same time.

In From the Boiler Room to the Living Room, Mitch examines where the financial services industry has failed in the past, and what it needs to do to restore trust at both the individual and industry levels. He teaches readers how to better understand the emotional significance of the money that clients entrust to their advisors and the struggles they face as they attempt to get "more life for their money." The book also discusses why venture philosophy, funding single moments, and rethinking one''s purpose in life is more important to clients than net worth or asset allocation. Finally, it discusses how to develop dialogues that forge meaningful, long-term client connections—in other words, how to stop selling and start listening.

This reprint is of the first English paperback edition of Richard Wagner's autobiography. This is a primary document of enormous importance for all Wagner enthusiasts, being virtually the sole source of information of the composer's childhood and youth. Written for Wagner's second wife, Cosima, and his patron, King Ludwig II, the autobiography runs from the composer's birth up to the eve of his fifty-first birthday in 1864. Given the intended readership and the circumstances of its composition it is hardly surprising that Wagner should either omit or distort facts from time to time: he does not linger over previous affairs, he portrays his relationship with his first wife, Minna, as a good deal more distant than it really was and he plays down his involvement in the Dresden uprising of 1849. Despite all this, the book presents a panoramic view of Wagner's times and contemporaries and offers a unique perspective on the operas themselves. This translation is of the complete edition published in Munich in 1963 and based on the manuscript in the Wagner Archives in Bayreuth. Wagner's slips of memory are noted, as are references to obscure names and events.

A superb new translation of one of the greatest nineteenth century poems: the libretto to Wagner's Ring cycleThe scale and grandeur of Wagner's The Ring of the Nibelung has no precedent and no successor. It preoccupied Wagner for much of his adult life and revolutionized the nature of opera, the orchestra, the demands on singers and on the audience itself. The four operas-The Rhinegold, The Valkyrie, Siegfried and Twilight of the Gods - are complete worlds, conjuring up extraordinary mythological landscapes through sound as much as staging. Wagner wrote the entire libretto before embarking on the music. Discarding the grand choruses and bravura duets central to most operas, he used the largest musical forces in the context often of only a handful of singers on stage. The words were essential: he was telling a story and making an argument in a way that required absolute attention to what was said. The libretto for The Ring lies at the heart of nineteenth century culture. It is in itself a work of power and grandeur and it had an incalculable effect on European and specifically German culture. John Deathridge's superb new translation, with notes and a fascinating introduction, is essential for anyone who wishes to get to grips with one of the great musical experiences.

Richard Wagner's vast Der Ring des Nibelungen cycle comprises four full-length operas (Das Rheingold, Die Walkure, Siegfried and Gotterdammerung) and is arguably the most extraordinary achievement in the history of opera. His own libretto to the operas, translated by Andrew Porter, is an intricate system of metric patterns, imaginative metaphors and alliteration, combining to produce the music in text.

Music examples and charts illustrate the analyses, and each essay is fully annotated by the editor. in some cases, the results of the original research by the editor or by others working in the field are published here for the first time. Much of the material has never before appeared in English.A score embodying the best available musical text.Historical background—what is known of the circumstances surrounding the origin of the work, including (where relevant) original source material.A detailed analysis of the music, by the editor of the volume or another well-known scholar.Other significant analytic essays and critical comments, exposing the student to a variety of opinions about the music.

Originally published in 1991, user charges and earmarked taxes are methods by which people pay directly for the services they recieve from government. As such they are frequently supported by those who oppose increased taxation, who argue that they are more like market transactions than traditional forms of taxation. This book explores the cogency of these arguments in the light of public choice analyses of political processes.

Originally published in 1991, user charges and earmarked taxes are methods by which people pay directly for the services they recieve from government. As such they are frequently supported by those who oppose increased taxation, who argue that they are more like market transactions than traditional forms of taxation. This book explores the cogency of these arguments in the light of public choice analyses of political processes.

Economics originated as a branch of the humane studies that was concerned with trying to understand how some societies flourish while others stagnate, and also how once-flourishing societies could come to stagnate. Over the major part of the 20th century, however, economists mostly turned away from these humane and societal concerns by importing mechanistic ideas from 19th century physics. This book seeks to show how that original humane and social focus can be renewed.The many particular topics the book examines can be traced to two central ideas. Firstly, that economic theory, like physics, requires two distinct theoretical frameworks. One treats qualities that are invariant across time and place; this is the domain of equilibrium theory. The other treats the internal generation of change in societies through entrepreneurial action that continually transforms the ecology of enterprises that constitutes a society. Secondly, economic theory is treated as a genuine social science and not a science of rationality writ large. The book also explores ways in which life in society is understood differently once economics is treated as a social science. The book will be useful to professional audiences who work with economic theory and who find that much of the hyper-formality that comprises economic theory these days fails to make reasonable contact with reality. It will also be of interest to sociologists, political scientists, and researchers in law, public policy, Austrian economics, evolutionary economics, institutional economics and political economy.

Economics originated as a branch of the humane studies that was concerned with trying to understand how some societies flourish while others stagnate, and also how once-flourishing societies could come to stagnate. Over the major part of the 20th century, however, economists mostly turned away from these humane and societal concerns by importing mechanistic ideas from 19th century physics. This book seeks to show how that original humane and social focus can be renewed.The many particular topics the book examines can be traced to two central ideas. Firstly, that economic theory, like physics, requires two distinct theoretical frameworks. One treats qualities that are invariant across time and place; this is the domain of equilibrium theory. The other treats the internal generation of change in societies through entrepreneurial action that continually transforms the ecology of enterprises that constitutes a society. Secondly, economic theory is treated as a genuine social science and not a science of rationality writ large. The book also explores ways in which life in society is understood differently once economics is treated as a social science. The book will be useful to professional audiences who work with economic theory and who find that much of the hyper-formality that comprises economic theory these days fails to make reasonable contact with reality. It will also be of interest to sociologists, political scientists, and researchers in law, public policy, Austrian economics, evolutionary economics, institutional economics and political economy.

Author Mitch Anthony has been recognized as the voice of conscience for the financial services industry. For more than a decade, he has shown advisors how building authentic, genuine relationships can serve clients' best interests and build heathly—and financially successful—practices at the same time. In From the Boiler Room to the Living Room, Mitch examines where the financial services industry has failed in the past, and what it needs to do to restore trust at both the individual and industry levels. He teaches readers how to better understand the emotional significance of the money that clients entrust to their advisors and the struggles they face as they attempt to get "more life for their money." The book also discusses why venture philosophy, funding single moments, and rethinking one's purpose in life is more important to clients than net worth or asset allocation. Finally, it discusses how to develop dialogues that forge meaningful, long-term client connections—in other words, how to stop selling and start listening.

Author Mitch Anthony has been recognized as the voice of conscience for the financial services industry. For more than a decade, he has shown advisors how building authentic, genuine relationships can serve clients'' best interests and build heathly—and financially successful—practices at the same time.

In From the Boiler Room to the Living Room, Mitch examines where the financial services industry has failed in the past, and what it needs to do to restore trust at both the individual and industry levels. He teaches readers how to better understand the emotional significance of the money that clients entrust to their advisors and the struggles they face as they attempt to get "more life for their money." The book also discusses why venture philosophy, funding single moments, and rethinking one''s purpose in life is more important to clients than net worth or asset allocation. Finally, it discusses how to develop dialogues that forge meaningful, long-term client connections—in other words, how to stop selling and start listening.

Decode one of the most complex books in the Bible!Are you baffled by the Book of Revelation? Understand the purpose, key themes, and symbolism of the most fascinating book in the Bible with The Book of Revelation For Dummies, an easy-to-understand guide that will help you grasp the enduring messages of Revelation and apply them to your life. You will understand what Revelation says about the past, present, and future, and how it relates to the rest of the Bible.

You will learn how this mysterious book of the Bible fits into a historical context. You’ll discover all kinds of interesting facts about the apostle John and learn about the details of his world. You will be able to choose a perspective for interpreting this book of the Bible and decipher the many haunting symbols. There is no need to read this reference guide from cover to cover; simply browse the table of contents or flip through the pages to find the answers and assistance that you need. Discover how to:

Interpret the prophecy of the Revelation Place it in historical context Understand how it relates to other books in the Bible Unravel the details of the apostle John’s life and world Choose a perspective for understanding See the grander scheme of things

Complete with lists of the ten most commonly asked questions about end times and the ten rules of thumb for interpreting scripture, The Book of Revelation For Dummies will help you understand and decode one of the most perplexing books in the Bible!

This book is a guide to Berg's second opera, Lulu, written in non-technical language and intended for those students and music lovers wishing to become familiar with one of the masterpieces of twentieth-century music. Jarman presents a clear and concise introduction to the musical language and to the intricate musical and dramatic structure of Berg's opera. The volume also examines the literary background, the genesis, composition, and tortuous posthumous career of the work. The final chapters survey the performance history and suggest a possible interpretation of this complex and challenging composition. An important feature of the book is the inclusion of source documents and critical responses to the opera. Illustrated with photographs from the premiere and from recent productions, the volume also includes a synopsis, bibliography, and discography.

Benjamin Britten's Peter Grimes is one of the few operas of the last half-century to have gained a secure place in the repertory. Its appearance in 1945 shortly after the end of the war in Europe was a milestone in operatic history as well as in British music. But the origins of the work lie in the United States, where Britten and his friend Peter Pears (the first Grimes) spent the years 1939-42. In 1941 they read an evocative essay by the novelist E. M. Forster on the Suffolk poet George Crabbe (1754-1832); this precipitated Britten's decision to return to his native country, and sent them both to Crabbe's poem, The Borough, which gave them the idea for the plot they drafted together. This book opens with Forster's original essay and his later one on Crabbe and Peter Grimes. From there the reader can trace the history of the opera: in Donald Mitchell's annotated interview with the wife of the librettist, Montagu Slater; in Philip Brett's detailed study of the fascinating documents preserved in the Britten-Pears Library at Aldeburgh; and in his history of the work's stage presentation and critical reception. Hans Keller's remarkable synopsis, first printed in 1952, is complemented by a fine new analytical study by David Matthews of Act II scene 1, the crux of the opera.