Opera is often regarded as the pinnacle of high art. A "Western" genre with global reach, it is where music and drama come together in unique ways, supported by stellar singers and spectacular scenic effects. Yet it is also patently absurd -- why should anyone break into song on the dramatic stage? -- and shrouded in mystique. In this engaging and entertaining guide, renowned music scholar Tim Carter unravels its many layers to offer a thorough introduction to Italian opera from the seventeenth to the early twentieth centuries. Eschewing the technical musical detail that all too often dominates writing on opera, Carter begins instead where the composers themselves did: with the text. Walking readers through the relationship between music and poetry that lies at the heart of any opera, Carter then offers explorations of five of the most enduring and emblematic Italian operas: Monteverdi's The Coronation of Poppea; Handel's Julius Caesar in Egypt; Mozart's The Marriage of Figaro; Verdi's Rigoletto; and Puccini's La Bohème. Shedding light on the creative collusions and collisions involved in bringing opera to the stage, the various, and varying, demands of the text and music, and the nature of its musical drama, Carter also shows how Italian opera has developed over the course of music history. Complete with synopses, cast lists, and suggested further reading for each work discussed, Understanding Italian Opera is a must-read for anyone with an interest in and love for this glorious art.

Understanding Italian Opera

Arts & Photography

Carter, Tim

Music

Oxford University Press

Oklahoma!: The Making of an American Musical, Revised and Expanded Edition (Broadway Legacies)

First published in 2007, Oklahoma! The Making of an American Musical tells the full story of the beloved Rodgers and Hammerstein musical. Author Tim Carter examines archival materials, manuscripts, and journalism, and the lofty aspirations and mythmaking that surrounded the musical from its very inception. The book made for a watershed moment in the study of the American musical: the first well-researched, serious musical analysis of the show by a musicologist, it was also the first biography of a musical, transforming a field that had, prior to this, oriented itself around creators rather than creations. In this new and fully revised edition, Carter draws on newly uncovered sources, including the Rouben Mamoulian Papers at the Library of Congress, which offer new correspondence, contracts, and even new versions of the working script used - and annotated - throughout the show's rehearsal process. Carter also focuses on the key players and concepts behind the musical, including the original play on which it was based (Lynn Riggs's Green Grow the Lilacs) and the Theatre Guild's Theresa Helburn and Lawrence Langner, who fatefully brought Rodgers and Hammerstein together for their first collaboration. The crucial new perspective these revisions and additions provide make this edition of Carter's seminal work a compulsory purchase for all teachers, students, and lovers of musical theatre.

Performing Arts

Rodgers and Hammerstein's Carousel (Oxford Keynotes)

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Moln�r, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Moln�r to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

Carousel (1945), with music by Richard Rodgers and the book and lyrics by Oscar Hammerstein II, was their second collaboration following the surprising success of Oklahoma! (1943). They worked again with Theresa Helburn and Lawrence Langner of the Theatre Guild (producers), Rouben Mamoulian (director), and Agnes de Mille (choreographer). But with Oklahoma! still running to sell-out houses, they needed to do something quite different. Based on a play, Liliom (1909), by the Hungarian playwright Ferenc Molnár, Carousel took Broadway musical theater in far darker directions because of its subject matter-the protagonist, Billy Bigelow, is wholly an anti-hero-and also given its extensive music that some claimed came close to opera. The action is shifted from a gritty working-class suburb of Budapest to the New England coast (Maine), but the themes remain the same as two social misfits try to survive harsh economic times. Billy Bigelow is unemployed, prone to domestic violence, and dies in the course of committing a robbery; Julie Jordan sticks by him through thick and thin; and the show seeks some manner of redemption for both of them as Billy is given a day back on earth to do some good for his wife and their daughter. Troubling though these matters are nowadays, they fit squarely in the context of a country moving through the end of World War II to an uncertain future. Not for nothing had composers such as Giacomo Puccini and Kurt Weill already tried to persuade Molnár to release his play. It also led Rodgers and Hammerstein to new heights: songs such as "If I Loved You," Billy's "Soliloquy," and "You'll Never Walk Alone" transformed the American musical. In this book, we discover how and why they came about, and exactly what Carousel was trying to achieve.

Monteverdi's Voices: A Poetics of the Madrigal

Monteverdi's Voices

New York, NY : Oxford University Press

In The Forgiveness of Sins, Tim Carter examines the significance of forgiveness in a New Testament context, delving deep into second-century Christian literature on sin and the role of the early church in mitigating it. This crucial spiritual issue is at the core of what it means to be Christian, and Carter’s thorough and erudite examination of this theme is a necessity for any professional or amateur scholar of the early church. Carter’s far-reaching analysis begins with St Luke, who is often accused of weakness on the subject of atonement, but who in fact uses the phrase “forgiveness of sins” more frequently than any other New Testament author. Carter explores patristic writers both heterodox and orthodox, such as Marcion, Justin Martyr and Origen. He also deepens our understanding of Second Temple Judaism and the theological context in which Christian ideas about atonement developed. Useful to both the academic and the pastoral theologian, The Forgiveness of Sins is a painstaking, clear-eyed exploration of what forgiveness meant not only to early Christians such as Tertullian, Irenaeus and Luke, but to Jesus himself, and what it means to Christians today.Table of ContentsAbbreviationsOne: IntroductionTwo: God Alone ForgivesThree: The Subject of AtonementFour: Prayer and SacrificeFive: Interceding for ForgivenessSix: Exile and the Forgiveness of SinsSeven: Labelling Sinners in LukeEight: ‘No Forgiveness Without Bloodshed’Nine: Three Layers of ForgivenessTen: No Longer Dying to Forgive UsEleven: Too Hard to Forgive?Twelve: The Forgiveness of Sins and BaptismThirteen: A Baptism of RepentanceFourteen: Who Can Forgive Sins But God Alone?ConclusionBibliographyIndex of Ancient SourcesIndex of Subjects

The Forgiveness of Sins

Religion & Spirituality

Christian Books & Bibles

James Clarke & Co.

Claudio Monteverdi (1567-1643) is well known as the composer of the earliest operas still performed today. His Orfeo, Il retorno d’Ulisse in patria, and L’incoronazione di Poppea are internationally popular nearly four centuries after their creation. These seminal works represent only a part of Monteverdi’s music for the stage, however. He also wrote numerous works that, while not operas, are no less theatrical in their fusion of music, drama, and dance. This impressive book is the first to survey Monteverdi’s entire output of music for the theater – his surviving operas, lost operas, and other dramatic musical compositions. Tim Carter, a leading Monteverdi expert, begins by charting the progress of early opera from the north Italian courts to the "public" theaters of Venice. He places Monteverdi’s stage works in the broader context of early seventeenth-century theatrical endeavor and explores crucial questions of genre, interpretation, and performance practices both then and now. Taking a pragmatic view of how the works were brought to life in the theater and how they were seen in their own time, Carter discusses the complex modes of production that involved a range of artists, artisans, creators, and performers. With insightful commentary on the composer’s individual works and on the cultural and theatrical contexts in which they were performed, Carter casts new light on Monteverdi’s remarkable achievement as a man of the theater.

Monteverdi's Musical Theatre

Carter, Professor Tim

Yale University Press

A complete behind-the-scenes look at the landmark show that launched Rodgers and Hammerstein’s creative partnership Oklahoma! premiered on Broadway in 1943 under the auspices of the Theatre Guild, and today it is performed more frequently than any other Rodgers and Hammerstein musical. In this book Tim Carter offers the first fully documented history of the making of this celebrated American musical. Drawing on research from rare theater archives, manuscripts, journalism, and other sources, Carter records every step in the development of Oklahoma! The book is filled with rich and fascinating details about how Rodgers and Hammerstein first came together, the casting process, how Agnes de Mille became the show’s choreographer, and the drafts and revisions that ultimately gave the musical its final shape. Carter also shows the lofty aspirations of both the creators and producers and the mythmaking that surrounded Oklahoma! from its very inception, and demonstrates just what made it part of its times.

Oklahoma!: The Making of an American Musical

Humor & Entertainment

See the best price to sell, buy, or rent books by Carter, Tim. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Carter, Tim

See the best price to sell, buy, or rent books by Carter, Tim. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Understanding Italian Opera

Oklahoma!: The Making of an American Musical, Revised and Expanded Edition (Broadway Legacies)

Oklahoma!: The Making of an American Musical, Revised and Expanded Edition (Broadway Legacies)

Rodgers and Hammerstein's Carousel (Oxford Keynotes)

Rodgers and Hammerstein's Carousel (Oxford Keynotes)

Monteverdi's Voices: A Poetics of the Madrigal

Monteverdi's Voices

The Forgiveness of Sins

Monteverdi's Musical Theatre

Oklahoma!: The Making of an American Musical