5 comments about Jesus Christ Superstar: A Rock Opera.

1. This book contains the partitures of the songs mentioned in Uppercase in the Editorial's review and the lyrics for all the other songs of this great rock-opera by Andrew Lloyd Webber. The partitures are written for piano, with chords for guitar and lyrics, and are quite faithful to the original songs. They aren't difficult, so you can play them without too much troubles and remember with pleasure the voices of Yvonne Elliman, Carl Anderson, Ted Neeley and the other artists. This book doesn't give you a complete satisfaction if you are instead looking for a more "seriously" thing, with all the partitures including the instrumental songs.



2. The songs included in this book are Heaven on Their Minds, Everything's Alright, Hosanna, Pilate's Dream, Last Supper, Gethsemane, King Herod's Song, and Superstar. A few things should be noted: Firstly, Heaven on their Minds does not include the "all gone sour" last four verses that are used in live productions of jcs. Instead the song is written to fade away. That might present a problem to people performing or using that song for an audition. The last supper only includes the chorus that the apostles sing. Superstar is tuned to a C instead of the original E that is on all of the recordings and live productions. Other than that, all the other keys are the same as you might hear them on cd recordings, 1973 movie, and live productions. Chords are also included for guitar players.



3. For the most part, I was pretty impressed with this. There are some problems, most mentioned already. My biggest issue with this is that it doesn't include "Damned For All Time/Blood Money", my favorite song on JCS.



4. Although this score does not include all the intermittent recitatives and orchestral arrangemtnts, it does offer a good piano transcription of the major songs with words. For anyone wnating to use any of the songs of JCS, this publication is very good.



5. I was disappointed in the fact that music to all the songs were not included in the book. The nine songs that are in are good but to leave out the songs with Judas and the High Priests and Jesus and Pilate and Simon Zealots is not right.

5 comments about The King and I: The Uncensored Tale of Luciano Pavarotti's Rise to Fame by His Manager, Friend and Sometime Adversary.

1. I've never been a real Pavarotti fan, though I am the first to acknowledge the magnificence of his voice. He was a tenor who had the goods to build a truly monumental and great career, but who chose instead to become a grotesquely overweight media clown. He made a stunning musical effect on the recital and concert stage, but his complete lack of stage deportment and refusal or inability to sing in any language other than Italian (save for Tonio in "La Fille du Regiment") severely limited the scope of his musical sphere. The fatter he got, the more limited he became. His vocal endowment was superior to that of Placido Domingo, to be sure, but he couldn't come within miles of Domingo in terms of repertoire, language ability, study, and physical appearance. Accordingly, it is no wonder that Domingo's DVDs ----- not to mention repertoire output on CD, far exceeded Pavarotti's by miles. Jimmy Breslin marketed Pavarotti like a piece of prime beef ----- "king of the high C's", etc, and he made Pavarotti what he was. Unfortunately, what he WAS is nowhere near what he COULD have been had he chosen to be an artist instead of a media buffo. I read this book with a certain sadness ---- Pavarotti's extreme laziness, his egotism, his eating habits ---- with the knowledege that today he is indeed a very sick man. I treasure many of his recordings, and I certainly enjoy his voice, one of the greatest ever - but my appreciation of him has somewhat diminished even further after reading this book, much of which is probably and regretably true. Sadly, as I write this, I have just heard that Pavarotti's health has dramatically worsened, and that his passing is imminent. Whatever my reservations about him artistically, Luciano Pavarotti was a great tenor and his magnificent voice and personality made a lot of people happy. For the joy he gave so many, he deserves his place among the legends of opera.



2. This would be a five-star review if it were not for a couple of revelations about the tenor which are the result of mean-spiritedness masquerading as honest intimacy. By contrast, Pavorotti's dignified response at the end of the book causes me to wonder if he read it thoroughly. Otherwise, the author is on solid ground in relating the basis for their mutually beneficial relationship and in his comparisons to Domingo who was also a client for a time.
   Breslin presents Pavarotti as having the sweetest sounding voice with a
   brightness of tone and an ability to phrase that were unmatched by anyone else in his time. Not surprisingly, his repetoire was full of Italian bel canto - the better to show off his attributes.
   By comparison, Domingo had a much larger repetoire and facility in more languages and was simply much more ambitious. He was limited by not having a high C and in general lacked Pavarotti's brightness in the upper register. The one was a essentially an instinctive lyric tenor and the other was an intellectual, dramatic one.
   What is most important is understanding that Breslin and Pavarotti could have such success because he could appeal to a much broader audience than Domingo due to the immediately assessible greatness of his voice. They could overlook his serious limitations as an actor.
   By contrast, a casual listener would have difficulty understanding that Domingo worked harder and did more to reveal the many dramatic tenor roles as a premier actor. Domingo would wonder why don't they rise to their feet? Pavarotti would say, I will make them rise to their feet!
   I found parellels in popular entertainment. Pavarotti's unique gift and lack of discipline remind me of Brando. At the same time, his singular tone reminds me of Sinatra who also produced sounds that no one else has ever replicated. Like Sinatra, his sound and phrasing were the perfect combination with which to express the emotional meaning of the lyric. This combination in turn triggered corresponding emotional responses in audiences longing for release in the way Brando altered an audiences' realization of how naked and real an actor's performance could be.
   But Domingo's pushing his talent and constantly learning, tackling new challenges is very much in the Sinatra mold.



3. I read this before his death, and even then it seemed like a low blow. The author is so busy touting his own importance and taking credit for everything, that he consciously and unconsciously makes Pavarotti the fool(not that he wasn't in some ways). A more accurate title would have been, ME and the king.



4. This book is mostly a list of complaints that Breslin had in reference to working for Pavarotti. He didn't complain about the money he made though in exploiting this mans talent. Pavarotti was human like the rest of us and of course had his faults. Others have described him as warm, loving and generous. This may be illustrated by the chapter that Pavarotti wrote at the end of this book. He was most generous to Breslin in his comments and never mentioned anything unflattering about his former manager. Maybe this illustrates the attitudes of the two men better than anything Breslin mentions in the book. Finally, Pavarotti will be defined most by his incomparable voice and great talent. He was truly the greatest tenor. Vinceroooooooo! Vinceroooooooooo! Mr. Pavarotti, you won!! You won!!!



5. Reading this book, I was impressed by Pavarotti's patience with Mr Breslin. It is clear that the man was driven by money and, notwithstanding his repeated claims of affection towards Pavarotti, his book shows little evidence of any true "friendship". So Pavarotti was not perfect! Big surprise! He was a typical tenor and behaved like one and he was the greatest. He ranks up there with Caruso and Gigli; he gave everything for his fans and his fans loved him, warts and all. I finished the book feeling a renewed sense of affection for Pavarotti and a gutsy dislike for Mr. Breslin.
   A work inspired by bitterness and best avoided.

3 comments about Prima Donna's Album: 42 Celebrated Arias from Famous Operas.

1. Love this compilation. There are so many arias in this book that would take tons of time (and money) to collect otherwise. Worth the investment.



2. This book is one of the most extensive compilations of the great, lighter soprano arias that I've seen either online or in music libraries. It has a variety of arias that makes this album very useful for nearly any lyric, coloratura and lighter soprano from intermediate to professional level. This book is definitely not suited for beginners in terms of performance; but thinking back to my early days as an aspiring singer I think I would have very much liked to own this book if not only to follow along with the songs I dreamed of singing as an adult.
   
   This book includes much in terms of grace notes that are typically sung, but does not include any optional melismatic passages at all. Usually there will be a smaller staff illustrating such options; but in the case of this book there is usually enough room in between systems to write in your favorite runs.
   
   All in all I would recommend this book to any soprano, teacher, or voice coach because it is a great addition to any home, school, or studio music library.



3. A fabulous compilation for an opera singer to have. I desperately need a new one but I have so many precious notes from coaches over the years I keep taping it together. I have both sung and taught out of it, for years!!
   
   Check out: Vocalize!

5 comments about Ring of the Nibelung.

1. I had the pleasure to acquire a copy of this book in the summer of 1981 in Seattle during the annual Ring festival. Almost 20 years later it remains a treasured part of my library. This large and heavy coffee table book is devoted to reproductions of Ul de Rico's numerous paintings of various scenes from the Ring. The original paintings were rendered in oil on solid wooden panels, and were rendered in a highly realistic manner with very bold and dramatic color saturation. Compared to the works of Arthur Rackham, Ul de Rico in my view is the more effective and powerful illustrator. These images come as close as one could imagine to ideal, producing visual effects one is never likely to see in Bayreuth or anywhere else. The photographs are printed on high gloss paper, and are accompanied simply by a few lines each, in English, of the applicable libretti. Interestingly, all of the images from the first three operas have the Three Norns exchanging the thread of fate around the perimeter, which is a very interesting effect. This continues early in Gotterdammerung until the moment in the Prologue where the thread breaks, upon which the Norns have a dramatic descent. This very image was used as the cover of the Ring highlights recording that Solti made with the VPO in 1983, just prior to his conducting in Bayreuth of the centenary Ring. Incidentally, the book also includes a very high compliment, in the Preface, by George Solti himself.

   This book is well worth seeking out and will provide years of lasting enjoyment. I can't speak highly enough for it.




2. I am an avid reader of the Nibelung legend and will acquire it in any form I can find. Whether it be Wagner's opera, Lang's motion picture, illustrated books, novelized accounts, or various translations of the epic, I seek them with much vigor. This work of art escaped my attention until now, and it is with great fervor and joy that I heartedly recommend it to you. The reproductions of the paintings are exceptional in quality. The coffee table size book allows you to clearly see all the details that Ul De Rico invested in each painting. The paintings represent key moments in Richard Wagner's Der Ring Des Nibelungen and there are multiple images presented in each painting which presents a vivid progression of a scene. Whether it's Alberich's theft of the ring or Fafnir's slaying of Fasolt, you will be transported to the time of myth by the fabulous artistry of Ul De Rico. His paintings display the passion and sensual nature of the Ring that so eludes current opera directors and designers. Since this book is now out of print, you should not hesitate to purchase it now, at an incredibaly reasonable price... I guarantee you will not be disappointed, but you may become so if the few editions that are available vanish before you decide.



3. I bought this book hoping to better understand the text that appears poorly translated in CD librettos. I found that not only the poem (as Wagner called it) is more readable and understandable, but also perfectly matches the music sung in German, so one can read it in English following every syllable along with the music. And that is an important feature for the ring operas, or for all Wagner operas for that matter, mainly because the orchestra contributes so much to the meaning of what the characters are saying. I highly recommend this book to whoever is in the pursuit to better understand the ring operas. I only wish from this book that it had a Spanish translation as well, but I guess that would be asking way too much.



4. The Ring cycle by Wagner is a big, popular, and important work. Yet, the story is not as well known as you might assume. It is one thing to hear the music and some idea of the broad strokes of the story, but it is another to dig into it. Here is a way for English speakers to get to know the story. It provides the original German for comparison and checking the translation, if you wish. But the story reads very well in the English.
   
   Andrew Porter provides an opening essay explaining his goals in this translation and what problems and compromises had to be made. He made this translation in order to be SUNG with the music. It is practical in that sense. Some of the literalness of the translation had to be sacrificed, but the meaning of the passages has been preserved.
   
   This translation was never meant to be a poetic translation, although there are some very nicely done passages. Wagner's German isn't all that lyric, for that matter.
   
   What is the story? This is Wagner's attempt to reuse some ideas from the Norse myths into a modern (for the 19th century) Germanic myth. It revolves around some gold stolen from the Rhinemaidens and fashioned into a Ring by a miserable dwarf. This Ring gives its bearer the power to enslave the world, but brings with it a great curse. The Ring brings its power and curse to its maker, to Wotan, to Fafner, to Seigfried, and even Brunhilde. These are stories of hatred, love, betrayal, promises made and broken, heroism, cowardice, and death. So, it makes for great dramatic opportunities for a great cycle of operas.
   
   Enjoy reading the story so when you listen to it in German you have a much better understanding of what is going on.



5. I came to this book, because I heard 'The Ring of the Nibelung' was the basis for the 'Lord of the Rings'. Halfway through the first scene, I found it was true.
   
   Written in a poetic rhythm, it was easy to fall into a cadence in my mind as I read. The story is absorbing.
   
   Nibelung is a race of dwarfs in this Opera from Wagner. (pronounced Vagner) A Nibelung steals the gold of the Rhine maidens and has it made into a magic ring. A ring to rule them all (just kidding). Only one ring, but it has the power to enslave the world. The gold is also made into a chaimail (no not mythril), giving the wearer the power to change into any shape.
   
   The ring changes several hands through the story.
   
   Enter in a loose interpretation of Norse Mythology. The character 'Wotan' resembles Odin. The hammer wielding god is called 'Donner'.
   
   And, it wouldn't be an Opera without a tragic love story and a Hero. An incestuous relationship upsets the Goddess Fricka and puts Wotan into an emotional decision, keeping the reader guessing as to how the God will handle his wife's nagging demands. Gods, have it rough, too, eh?
   
   The book itself is dual lingual. One side of the page is German, the English translation is side by side with the German. It was fun to compare the two languages and it shows how true to the translation was the English.
   
   This novel is copyright dated 1976, coming after Tolkien's LOTR.
   
   The story is fantastically imaginative.

4 comments about The Wagner Operas.

1. Nobody ever wrote more insighfully, brilliantly and accessibly about the titanic contribution of Richard Wagner to western culture than did E. Newman. This is a classic that should be read by all and anyone interested in what all the fuss is about. It's an old book but it's not dated. Take his translations seriously. Even though there are a lot of anachronisms (thou sayest...etc), they were anachronisms that RW intended when he wrote the poem. May I also recommend the Solti Recording of the Ring; the Furtwangler studio recording of Tristan; the Jochum Meistersinger and (gasp) the Levine Parsifal (the Knappertsbusch is sublime in so many special ways you may have to buy both. May I also recommend the Ring Interactive CD Rom. It is a blast.



2. Ernest Newman's book remains the best introduction to Wagner's operas. He is astonishingly good on Wagner's sources, and on the draft processes Wagner went through as he transformed source material into his final forms. Other books deal with different aspects of individual operas in more depth, but this is still one of the books to start with. Everybody interested in Wagner should - well, the first thing to do might be to listen to excerpts from "Die Walku:re", "Tristan" or "Parsifal", say, and be awed by the music - but once you've heard the music, if you're still interested, you should get this book.

   Laon




3. Scholars and critics say that Herr Wagner's talent was in synthesis. The negative critics, e.g., specialists in a field from which they feel Wagner has stolen, tend to discredit Wagner for that. The grail was not, alas, the cup used at the last supper, prior to the opera "Parsifal" anyway. What's more the Grail theme was plagiarized from Mendelssohn. The plot of the Ring was not, alas, the same plot as the German novel "The Nibelungenlied." Wagnerians like myself, rather, see that synthesis as a symptom of Wagner's genius. He was able to take a series of sources, stories, novels, epics, songs, and cement them into a supreme art form, Gesamptkunstwerk, better than the sum of all the parts.

   Newman comments intellegently on all aspects of the operas. He includes musical themes--surely a necessity in the work of that expert user of the leitmotif!--and even the psychological dimensions of the music. (Before I saw "Tristan und Isolde," I attended a presentation of a musicologist who nearly broke into tears as to the depth of the music in that opera. His comments reminded me of those of Newman regarding the same piece, which reminds me of Jung, one, whom you might say, was a product of some of the same Germanic trends of the late 19th century. But, enough on that...)

   I read each review before I see the opera to which it applies. I read them again periodically. They are magnificent, allow for reasonable criticism. But they also give the devil his due.

   I cannot recommend the book more strongly for anyone interested in Wagner, especially if you plan to hear or see the operas. Then leave the volume next to your bed. It's well worth re-reading, learning all dimensions of the music of perhaps the best composer who ever lived.

   Is that extreme? Perhaps. Was Wagner's genius extreme? Off the scale.

   Read and enjoy it.




4. I won't repeat the praise that other reviewers have expressed for this volume. This book is a classic by a Wagner scholar who really knows what he is talking about. It is an indispensable reference for any Wagner enthusiast.

No comments about 28 Italian Songs and Arias of the 17th and 18th Centuries Medium High With Cd.

5 comments about The Phantom of the Opera (Puffin Classics).

1. Often times mentioning "The Phantom of the Opera" ellicits snickers from theatre purists who see the musical as a somewhat ridiculously overblown slightly stupid story which all seems too far fetched to be taken seriously. I confess, I first fell in love with the story when I saw Andrew Lloyd Webber's rendition of the show (which I've seen about five times now) - a show which I now realize that if taken by itself, tends to be a somewhat ridiculously overblown slightly stupid story which seems too far fetched to be taken seriously. The original book changes everything.
   
   Not only does the book contain the story of Erik, the Opera Ghost, but it also includes some of Leroux's own research into the story which he claims as true. Not only does he make this somewhat extrodinary claim to the truth of the story, but he in rather fine detail shows how there was really nothing supernatural at all about the story: even the seeming supernatural elements all have simple solutions: many of which Leroux himself found the 'keys' to while doing research for the book.
   
   The book blows the musical away. Like sand-blasting a soup craker. But before I say more I will say that the musical picks up on many of the important parts of the book: that is to say, I would recommend reading the book and getting to know the story well, because then even though the musical only picks up on many of the important parts and not all, you'll know the rest of the story: and suddenly the musical won't be a somewhat ridiculously overblown slightly stupid story which seems too far fetched to be taken seriously - it's actually very believable.
   
   Admittedly, it would have been far too difficult to make the entire story into a musical: but let me whet your appetite for the fuller details of this incredible love story by touching on a few of the most important difference between the book and the musical.
   
   1. One of the most important characters from the book is gone from the musical. The very mysterious character called simply "The Persian" is not only Erik's one confidant in the book, but he also serves as a link between Erik and other people involved in the Opera. In the musical, Madam Giry represents both her role in the book, and The Persian. (I.e., in the musical, Madam Giry leads Raoul down to Erik's home under the Opera House: in the book, it's actually The Persian who does).
   
   2. There is yet another character, simply called "A Shade" who also appears breifly in the book...a brief part, but actually quite dark.
   
   3. Erik's brilliance as a ventriloquist is lost in the musical but fully explained and examined in the book
   
   4. The most intriging part of the book, Erik's six-mirrored 'tourture chamber' - a major part of the story and a powerful demonstration of Erik's brilliance as a fearsome foe is completely missing from the musical.
   
   This is easily my favourite book that I've ever read, and I recommend it to people all the time. Read it and enjoy it!



2. This book, I thought was just a "monster" book. I remember the old shows and hearing people talk about the story. And not to mention the actual Operas that have been made of it.
   
   It is actualy a very good story, not hokey, or cheesy as most of the movies would leed you to believe.
   
   It simply is a love story, not only about a man a woman ...and another man. But about a man who just wants to be loved, to feel wanted, to feel needed and to be remembered.
   
   It flows very smooth and is an easy read. Gaston did a great job.



3. This is a wonderful piece of gothic fiction that is as romantic and fantastical as it is original, deeply moving and complex. It makes me cry everytime I read it. It just touches wonderfully on the true depth and mystery of the fragile human psyche and all the confusing emotional situations that can arise from it. Although the story, in and of itself, is very creative and entertaining, it is really the gritty and "real" humanity of the characters, particularly Erik: "The Phantom" (how ironic), and Christine Daae, and the way we seem them deal as best they can, in their own unique ways, with a broad spectrum of universal human issues including love, hate, jealousy, loneliness, isolation, despair, fear, morality, indecision, heartache etc. throughout this story world that really takes the novel to a much higher level than being just another disposable gothic love story and sucks the reader into a much more genuine and powerful tale about the complexities of humans and their resulting emotional experiences. Also, I love the journalistic style Leroux uses to tell much of the story. It is very effective and unique, especially for it's time. Great classic to own!



4. The mask, the music, the dark mysteries, and the tortured, deformed genius who just wants love. "The Phantom of the Opera" is so well known that its story needs no explanation.
   
   But Gaston Leroux's novel is still a spellbinding experience, full of atmospheric horror, a sense of gothic mystery, and lushly evocative language. But its crown jewel is Erik: a magnificently tortured anti-hero who inspires more horror, pity and sympathy than the rather flat hero and heroine.
   
   The Paris opera house is said to be haunted by a ghost with a "death's head," who demands a small salary and a reserved box. Despite the sightings and fears of ballerinas and stagehands, the new managers are determined to stamp out this ridiculous story -- despite threatening letters and increasing accidents that happen around them.
   
   Meanwhile, budding diva Christine Daae is taking Paris by storm, although nobody quite knows who taught her how to sing. And when her childhood friend Viscount Raoul de Chagny pays her a visit, he hears a passionate exchange between her and a man -- but there's no man there. She credits her new vocal abilities to the Angel of Music, but of course, that self-same Angel is the opera ghost.
   
   As the Phantom becomes even more attached to Christine, Raoul soon finds that the ghost is actually a half-mad, horribly deformed musical genius named Erik -- and that after Christine saw his true face, he made her become engaged to him. The young lovers plan to run away together, but the "Angel of Music" isn't about to allow his beloved Christine to leave him...
   
   Apparently there actually were some odd events -- including rumours of an opera ghost -- happening when Gaston Leroux began writing "The Phantom of the Opera." And it's a credit to his imgination that he was able to spin a some odd facts into a harrowing, heartbreaking love triangle that's based on music, obsession, adoration, and a bit of pity. And, of course, a frighteningly sympathetic "villain."
   
   Admittedly the style is very "penny dreadful": melodramatic and overloaded on prose. But Leroux's talent shines through -- he drapes the book in a haunted atmosphere, full of snowy graveyards, dark opera backstages and underground labyrinths, all with Erik's presence hovering over it. The plot is mostly a slow, satiny procession toward the inevitable blowup, but Leroux does tinge it with scenes of romantic drama, a feeling of dread, one shocking action scene, and even some quirky humour at times.
   
   And Leroux's writing is simply astounding as he describes the corpselike appearance of Erik ("... tore his terrible dead flesh with my nails") and his "death's" head appearance at the party. But he also excels at the more poignant moments -- Erik's final, rambling monologue to Christine after she kisses him is heartbreakingly clumsy and saddening.
   
   Though Christine and Raoul are the hero and heroine of the book, they're actually kind of flat. Erik is the real star -- an arrogant genius who is also pitifully lonely. And insane. Despite his crazed behavior -- which results in at least two deaths -- it's hard not to feel sympathy for someone cursed with such a ghastly appearance, and so starved for human contact that a single kiss changes his life ("... he tried to catch my eye, like a dog sitting by its master").
   
   Despite being a bit overblown in the style of its time, "The Phantom of the Opera" is a triumph of atmosphere, horror, and one of the most memorably sympathetic "villains" that you can find on the shelves. Magnificent.



5. love the musical, after reading the book got more background info on the whole story

1 comments about Sarah Caldwell: The First Woman of Opera.

1. incredible story of a woman who brought Opera to Boston in a big
   way. Must read for serious Opera Buffs and admirers of ambitious
   women who make great things happen despite daunting obstacles. Want to
   shift to third and fourth gears in your Opera knowledge? include this.
   WOW!!!! truly truly excellent.

5 comments about The Magic Flute.

1. I'm usually dismissive of most Die Zauberflotes because I find the overall quality of the singers and recording lacking. Then I came upon this recording...I have to say that it is simply the most amazing Die Zauberflote I've ever heard! The orchestrations to the singers to the conductor himself...everything is mind-blowing! I'm not a Mozart person, but if I really like a recording of his I will buy it. This is an excellent way to introduce yourself to the Flute, especially since there is such a wonderful introduction accompanying this extremely famous opera. And the Queen of the Night-Edda Moser!!! Amazing! Simply amazing! No other Queen has conveyed that much drama into her singing. This is the Flute. I would suggest Marriner's version if I hadn't seen this one, but then here is a Flute with all the greats in it! Get it now!



2. This was a wonderful story well written for a young audience. We bought it for our six-year-old son who began studying violin a year ago, and this was his one-year anniversary present. Mozart's Eine Kleine Nacht Musik was his inspiration to learn the violin, and he has since taken interest in other Mozart music. The illustrations are also very beautiful.



3. This is a great opera introduction for kids. The story is really easy to follow and the CD is a great addition. I highly recommend this for anyone.



4. I bought this book because recently I recorded The Magic Flute opera from PBS (TV station), performed by The Metropolitan Opera New York (MET) in English. The channel was in high-definition. I'm dissapointed with the book because there was no English translation at all in the book but it didn't mean I could not enjoy the book. Because I have the book, I notice the English opera version (perform by MET) contains removed parts. For example, the overture was cut by half. Maybe it is to shorted the performance.



5. When I tell people I'm reading a graphic novel adaptation of a Mozart opera, they tend to think I'm nuts. However, this was a really cool book. I was unfamiliar with the opera upon which this book was based when I started reading it, but the story is a wonderful work of fantasy with fun characters and a great message. The artwork is fantastic as well, and it really drew me into the story. I highly recommend this book to lovers of fantasy graphic novels with an open mind.

3 comments about The Complete Plays of Gilbert and Sullivan.

1. This book is full of musical plays and the scripts are worded well for possible performance. The only problem is that the sheet music is missing and from experience it is a headache to find but other than that it is a good book that stimulates the imagination.



2. Back in prehistoric times when records were brittle things and only came in one speed, 78 RPM's, one of my mother's favorite albums was "H.M.S. Pinafore." She played it frequently. Too young to understand the satire, I was attracted by the catchy music. I loved to hear the captain sing "I am the Captain of the Pinafore," immediately followed by the response of the chorus. This plus "Poor Little Buttercup" and "The Ruler of the Queen's Navee" made a fan of me for life.

   Several years later, and after having attended performances of several of these comic operas, I began to read Gilbert's lyrics. I must confess that I got much greater enjoyment out of reading lyrics that were from Gilbert and Sullivan performances that I had attended. I think that must be because neither the words nor the music are nearly as enjoyable in the absence of the other.

   I have read that Gilbert and Sullivan had a very stormy relationship. I'm glad that they managed to work together as often as they did because they really complemented one another. What they accomplished as a team speaks for itself in the continued performance of so many of their works over a hundred years after they were first performed.

   I have an older hardback of THE COMPLETE PLAYS and I found some humor in the following which may have been corrected in later copies. The book starts off with Chronological Biographies of each man. In Gilbert's it states< "first meeting with Arthur Sullivan autumn of 1870." In Sullivan's we find the following. "Met W. S. Gilbert 1871." Something metaphysical afoot perhaps.

   In summary, in my opinion, the works in this book, while certainly enjoyable reading, were really meant to be performed in order to give maximum enjoyment. Others may very well disagree with this opinion and I see nothing wrong with that.




3. I invested in this book intending to listen to and memorize all fourteen of the Savoy operas...I now know ten of them practically from heart, which scares my friends terribly. The funny thing is that, although I intended to buy it solely so that I could sing the words to Sullivan's wonderful hummable tunes, I found myself reading the plays just for the pleasure of Gilbert's clever rymes and horribly improbable plotlines. His "Bab" illustrations are also included beside the text, which opens up another side of Gilbert's genius. But be forewarned: There are several mistakes in the text - mostly words such as "is" being replaced with "it," but also some words that are different. Perhaps the words have changed over time from the origonal texts, but once in a while you'll find a word sung differently than what's written. I treat the book like I'd treat an edition of Shakespeare - dramatic work is always bent and changed slightly. In spite of the minor textual mistakes, it is a very useful book and it's nice to have the libretto laid out without any commentary or annotations.