5 comments about La Nilsson: My Life in Opera.

1. This autobiography by Birgit Nilsson was originally published in Swedish in 1995 and in German two years later. This 2007 English translation of the German edition is by Doris Jung Popper, an American who was herself a former Wagnerian singer in Europe. It is for the most part in graceful, witty and seamless prose which catches the informal and down-to-earth way Nilsson spoke. We are taken from Nilsson's life as a farm girl in Sweden through her discovery locally, her schooling in Stockholm, her first breakthrough there and then internationally and her acclaim as the greatest Wagnerian soprano since Kirsten Flagstad. We get backstage stories about performances in New York, Milan, Stockholm, Vienna, London and, of course, Bayreuth. We read about her long happy marriage to Bertil Niklasson, a veterinarian. She shares funny and warm stories about her colleagues, not sparing those with whom she crossed swords -- most notably Rudolf Bing and, much more so, Herbert von Karajan, for whom she is particularly disdainful while admitting that he could draw magnificent music from his performers. She relates the details of her having to deal with her stalker, Miss N., a story well-known in opera circles but which may come as a surprise to some readers. One senses that Nilsson withholds some details in the interest of sparing the feelings of some opera world luminaries who are still with us. This reflects positively on her genuine concern for the feelings of others but might disappoint those who are looking for 'dirt.' There is a discography and a detailed chart outlining events in her life, as well as a compendious index. As well, there are over 60 black-and-white photographs from all periods of her life.
   
   Warmly recommended.
   
   Scott Morrison



2. At last an English translation of this wonderful biography. It is written by Mme Nilsson herself - no ghost writer here. It is translated from the German edition,not the Swedish one. In both the German and English translations some episodes are deleted. The original Swedish version also exists as a talking book, with Ms. Nilsson herself speaking. The book is filled with lots of interesting details from one of the most spectacular careers ever on the international opera scene. Behind every word you can feel the sympathy and warmth of a really great but also earthbound star with great intelligence and - a great hearth. When famous film director Ingmar Bergman red these memoirs he tells in an interview, that he had never laughed so much and so often when reading a memoir before. That says a lot. A must for all opera fans.



3. I was never privileged to meet or know Madame Nilsson personally, but her memoir, _La Nilsson: My Life in Opera_ makes me wish I could! She was a bright spot in the world and her death in late 2005 was a huge loss. I have certainly been an admirer of both her singing and of the woman herself for many years. I do own her earlier book, _My Memoirs In Picures_, which is largely a wonderful collection of photographs from her life and career, and whetted my appetite to know more about her. If you can find a copy, I recommend that book as strongly as I recommend this longer memoir.
   
   That appetite has been mostly--if not completely--satisfied by La Nilsson, an easy, accessible and "can't-put-it-down" fascinating account of her life. This book is just what I would expect of Birgit Nilsson, unpretentious, friendly and conversational in tone, but awe-inspiring in terms of her artistry and long career; her great accumulation of knowledge and experience, and about comic moments onstage and off that made me laugh out loud. Some of the funniest of these deal with language barriers, and the difficulties of correctly interpreting foreign musical terms that were misheard, or misunderstood. She is never mean in spirit, although she doesn't sugarcoat her personal difficulties with von Karajan, and sometimes with Karl Bohm, and Rudolf Bing. But in all cases, she writes in detail about what she admired about them, too. She gave as good as she got in the area of verbal self-defense.
   
   She writes warmly about all her many long-time friends and colleagues on the operatic stage, most notably Wolfgang Windgassen, Set Svanholm, Jon Vickers, Astrid Varnay, Leonie Rysanek, and Hans Hotter. She was a trouper through some harrowing experiences, and while she did not put up with a lack of professional consideration from anyone, she did not just wilfully indulge in "temperamental diva" behavior. No wonder so many of her colleagues loved and respected her!
   
   Madame Nilsson also writes about her parents and her beloved husband, Bertil Niklasson, with great warmth, although she doesn't gloss over some of her frustrations with both parents during her childhood and adolescence. The twelve years she had to deal with her stalker, Miss N. filled me with sympathetic dismay, as I had no idea Madame Nilsson had had to endure that persistent, threatening intrusion into her life.
   
   I highly recommend this memoir to any admirer of Madame Nilsson's in particular and of any interested opera fan in general for the insight into the career of one of the great singers of the 20th century in her own, very witty words.
   
   Melissa Houle



4. This is a wonderfully entertaining read about a thoroughly gracious and unexpectedly humorous lady. I knew that she reportedly had a lively sense of humor, and this book chronicles that fact. It is especially nice to know that this book was not "ghost written," but was just translated from the Swedish.



5. If you are an opera fan, you will probably enjoy a lot of the behind the scenes anecdotes in this book. Most interesting for me were the parts that discuss working with high-maintenance divas and conductors (especially Karajan). There is also a very disturbing section about a stalker who followed Nilsson around the world for 9 years.
   
   There are also many paragraphs of the form "In 19xx I performed such-and-such opera in such-and-such theatre alongside so-and-so who was a wonderful singer and so-and-so who was really good on stage etc etc." These get kind of boring --- except in those cases when the performers played practical jokes on each other. Because of the boring parts, I found it a little hard to motivate myself to read through the whole book, but there are a lot of good stories in there.
   
   Nilsson fans will also appreciate the discography. She was an awesome singer.

5 comments about The Librettist of Venice: The Remarkable Life of Lorenzo Da Ponte--Mozart's Poet, Casanova's Friend, and Italian Opera's Impre.

1. I got this for my parents, who are opera fans and know classical music, and they really enjoyed this book.



2. My initial interest in this book was to learn more about the person who wrote those exquisite librettos for Mozart's Don Giovanni, Le Nozze di Figaro, and Cosi Fan Tutte. I was initially somewhat disappointed that the author did not dedicate more space to his relationship with Mozart, but this disappointment dissipated after reading about the rest of DaPonte's life and how he reinvented himself over and over again, in Venice, in Vienna, in London, and finally in New York City. He was a man born way before his time and certainly someone we should read about in admiration, despite his many flaws. The book is very well written and holds your interest from beginning to end.



3. 
   Lorenzo da Ponte defied his time, and later, his age. In his era, most people stayed put, and if they moved, they stayed in the new place. People generally had one career- that of their father(s). Having relocated and reinvented himself, several times, da Ponte lived two generations beyond his contemporaries. At his death he was more than twice Mozart's final age. He outlived his wife by a generation, and he was a generation her senior!
   
   He was busy every moment with optimistic plans and schemes. When things worked out he had high highs. He had low lows when they didn't. Nothing deterred him - ever. He died a risk taking octogenarian. Something about his personality garnered great friends and stirred up enemies.
   
   Bolt is wonderful in describing places da Ponte lived in their time. In Vienna, through the largesse of the Emperor Joseph, a theater could operate independent of the crown, a privilege easily rescinded. I read and re-read the different parts about how the words of Thomas Jefferson resounded in Europe. Like the descriptions of late 18th century Vienna, Prague, the Italian cities and London, the descriptions of early 19th century Philadelphia and NYC are marvelous.
   
   Don Giovani played here in Hawaii to a sold out crowd last week. I wonder how many of those in attendance knew the librettists' name? How many this wonderful story of his life?



4. This is a wonderful book about the fascinating and sexy late 1700s & early 1800s music world. Who new that Father Da Ponte came to the US in 1805 and jump started opera in America (after running a grocery store in Sunbury, PA)? Well researched and amusingly written, The Librettist of Venice is great fun from start to finish.



5. Lorenzo Da Ponte was a courageous, adventurous and passionate man--
   and a brilliant poet and librettist. Reading about his life and travels,
   his trials and failures, is exciting and inspiring!
   This is one of the most riveting biographies I have read.
   I recommend it highly to anyone---even if you are not an opera lover.
   This is the story of a man who had to reinvent himself again and again.
   A man who took risks, which sometimes brought him acclaim and money,
   and sometimes left him having to start again. He never gave up.
   Beautifully written, and so evocative, it is as if you are there for it all. Enjoy this book!

5 comments about Opera (Eyewitness Companions).

1. Their guide to Shakespeare is amazing and so is their book on opera. I can hold my own in any conversation, as long as I have forty minutes advance warning so I can turn to the relevant chapter. It is all there. The explanations are clear and the insights original. The illustrations make it all make sense----even to the noviates like myself. The layout seems familiar.....but what is it like, besides the teams Shakespeare book. It doesnt intimidate. It is easy to plunge in. The perfect book for the expert and the name dropper or the person who wants to be prepared for every allusion. A great great gift. elsa dorfman



2. Excellent overview for new comers to opera or as a resource for those who have seen many operas.



3. A great find!! The book is full of information and has great pictures. I truly love this book.



4. It appears that I have become addicted to two book series--"The American Presidents" and "Eyewitness Companions." This work, "Opera," by Alan Ridings and Leslie Dunton-Downer, provides a solid introduction to the world of opera.
   
   This volume begins by asking what an opera actually is. Simply put (Page 15): "Accompanied by an orchestra, with scenery, costumes, and light adding drama, singers tell a story." Not a bad definition! Further (Page 15), ". . .opera's special appeal lies in the voice, arguably the most affecting of all instruments."
   
   The book progresses as follows: librettos and librettists, staging, opera houses and festivals. The great opera houses include La Scala in Italy, the Paris Opera in France [at Palais Garnier], Staatsoper Wien in Austria, the Metropolitan Opera in New York, and so on. Then follows a discussion of the sometimes larger than life singers themselves. Here, one can always wonder why some singers were singled out for mention and others not, but that is something that comes with the territory of such books.
   
   Then, perhaps the heart of the book. A brief discussion of well known operas organized both geographically and by time period (a bit awkward)takes up the largest amount of space in this book. Italian opera? "Il Trovatore," one of Verdi's best works, is summarized on pages 172 and 173. German opera? Richard Wagner's "Das Rheingold" is highlighted on pages 230 and 231. Not much detail nor much evaluation of the operas described, but there is a brief summary of many operas. This is, I think, an advantage to those who are on a learning curve with opera. Contemporary opera? John Adams' "Nixon in China" on pages 418 and 419.
   
   So, there are some questions one can raise about the book (see above). Nonetheless, for those who want to begin learning more about opera, this is one solid starting point.



5. A Well written book. It had more prose about opera history and theory (well written) than I expected and shorter synopses (almost too brief) than I had hoped,

5 comments about A Time to Be Born (Star Trek The Next Generation).

1. The first in the "A Time To..." series, "Be Born" recounts events that took place between the TNG movies "Insurrection" and "Nemesis." It starts out pretty good; the Enterprise has been dispatched to one of the battle sites from the Dominion War to help keep looters away and recover bodies, only to find something dangerous lurking inside. So, we start off with a good premise, but John Vornholt's writing just doesn't stand up to other Trek authors such as David Mack or Keith R.A. DeCandido. And that was my major problem with the book: the writing. After seven seasons and four movies, you get a certain feel for how the TNG crew acts and talks, and I thought that Vornholt could have done a much better job nailing that. That aside, it is enjoyable to be back with the Next Generation crew, and it's nice to have the blanks between the ninth and tenth films filled in. If you plan on reading other books in the "A Time To..." series, I would read this one as well. That way you're not lost when references are made in later books.



2. Let me start by saying John Vornholt is one of my favorite authors. I've read several of the Trek books he's written, and he's definitely one of the better Trek authors.
   
   A few people said there were boring parts in the book, and that's true, but you have to remember the "A Time to..." series spans 9 books, so you can't have everything happen all in the first book. I don't think I've ever read a book that didn't have at least some boring parts to it (save maybe the Babylon 5 Technomage trilogy, and some of the Harry Potter books).
   
   In all, I'd say this was a good beginning to this series and sets up what could be a great storyline.



3. I'm sorry, but this book is, simply put, not good. The writing level is extremely elementary and the dialogue is robotic and completely unrealistic. The plot line contained potential that was never explored and the entire time the story spends in Rashanar is a garbled mess of ridiculous occurrences. I rarely give books less than three stars but I was very disappointed with A Time to be Born. The only reason why I spent time finishing it was because I had paid for it and continued to hope that it would get better. It didn't. I have been a Star Trek fanatic since I was 5 and this ranks as my least favorite Star Trek book I have read.



4. This book is a pretty good start to a great series of ST TNG books. The plot is interesting enough to make you want to read the entire series, and made a great Summer read for me. Personally, I would have lead the series off with either David Mack or Christopher Bennett, but John Vornholt does a pretty good job of taking you into the Star Trek Realm and keeping the reader entertained and wanting more.
   
   In 2007, I would suggest ordering the entire series, or at least the next three books at a time if you like this series. It seems the books are getting somewhat rare, and it takes a month to get the middle of this series. If you want to read one after the other, I would suggest biting the bullet here and ordering at least the first seven (Be Born, Die, Sew, Harvest, Love, Hate, Kill)books so that you can read one right after the other. I had to wait for the middle books (that I could only find on Amazon) for about a month, and I was really watching my mailbox after reading the first three. Great series of books for the ST TNG fan.



5. I must admit, that for some reason I have always been a Wesley Crusher hater. Wil Wheaton is fine, but I hate Wesley. I never liked the character. OK. I'm OK now, just had to get that off my chest.
   
   So when I realized that this is another frickin' Wesley-the-genius-screwup-comes-to-the rescue story I turned green and was very quiet for a long time. I'm OK now, again.
   
   Anyway, it turned out that A Time To Be Born is a pretty good story - concluded in A Time To Die. Picard is locked away in a psych ward due to a political move by the Federation and Riker is commanding the Enterprise.
   
   The major plot lines involve the situation in a `haunted' space graveyard that lands Picard under the control of a counselor who seems to be a control freak. (One plot device common to the Star Trek universe is that everyone in Star Fleet not on the Enterprise is either a power hungry maniac or a total idiot.) Riker commands the Enterprise.
   
   The second plotline is of Wesley's initiation into the Travelers, a group of beings who, through mental powers can move through time and space at will. Crusher notices the plight of Picard and the Enterprise and at the risk of losing his place with the Travelers, decides to help out. Somehow he and Riker and the crew must clear Picard's name and solve the riddle of the spaceship graveyard.
   
   The story moves along pretty well and Wesley is fairly tolerable - maybe he is growing up. Maybe I am mellowing.
   
   You'll need to read A Time To Die for the conclusion.

2 comments about Die Fledermaus: Vocal Score (G. Schirmer Opera Score Editions).

1. The score arrived in perfect condition and securely wrapped. I am extremely appreciative for finding such a great deal on a stellar product.



2. This book was in great condition, brand new, reasonably priced, and arrived exactly when they said it would. The music has been so fun to learn and having this version in English has been very helpful.

5 comments about Bel Canto.

1. Bel Canto is a lyrical book about relationships and power and language and opera.
   
   Set in an unknown South American country, a Japanese industrialist is there to celebrate his birthday, lured by the chance to hear a world renown opera singer sing just for his gathering. When terrorists break in to kidnap the President, and learn that the President did not attend the event, the story commences.
   
   It's not strong on plot, but it does have beautiful descriptions and it was a lovely world to spend time in. I particularly liked the priest and his insights, and also how the various leaders were stymied by not having a common language, which made the one translator Gen, a man who would not otherwise put himself forward, a central character. My only quibble is that the ending, after such meandering, is too abrupt. I would have liked a different epilogue - either one with more detail or with a different resolution, but I did like the book very much. It's a keeper.



2. WOW. I loved this book, and I think you will, too.
   
   In an unnamed South American country, government officials are throwing an elaborate birthday party for Mr. Hosokawa, the CEO of a vast Japanese electronics company. The officials are hoping to dazzle him into locating a factory within their borders, bringing jobs and prosperity to the nation. To lure Mr. Hosokawa to the party, an exclusive live performance by famed opera singer Roxana Coss has been scheduled. (Hosokawa is a huge opera fan, and Coss is his favorite soprano.)
   
   The evening is on its way to a successful conclusion when a group of armed terrorists storm the party, looking for the country's president as a high-profile hostage. Unable to find him in the raid (he unexpectedly did not attend the evening's festivities), the terrorists are forced to concoct Plan B, which involves taking everyone hostage. This plan is eventually amended to trading the most valuable hostages (re: top government officials, diplomats from other countries, leading businessmen) in return for the satisfaction of the terrorists' demands.
   
   As negotiations between the authorities and the terrorists drag on, the hostages (all type A personalities) begin to learn how to do, well, nothing. They form bonds with one another and get to know their captors. They look out windows. They leaf through magazines. They learn new languages, play and listen to music, and cook. The hostage situation becomes a rather unique vacation from their normal lives, and the characters begin to adapt to the situation.
   
   A Japanese businessman surprises everyone with his talent for piano. One of the terrorists can sing, and the opera singer sets about teaching him proper technique. A French diplomat relishes his time in the kitchen, chopping up onions and roasting chickens for the assemblage. Some of the characters find love in one another's arms. Their time together becomes the beautiful song of the book's title. A time for reflection, beauty, love, and friendship. But it is also a time of forgetting. Everyone avoids thinking about how the situation must end and what the government will eventually do to force the hands of the terrorists and get the hostages released. Because, as both the characters and the readers know, all songs must come to a close.
   
   I know it sounds like a far-fetched premise for a book, but you will love every minute of this story. The characters are wonderfully drawn, and Patchett's soaring passages about music and careful sketches of human relationships will leave you refreshed and inspired. Don't miss this one.



3. Beautifully written, this book reminded me of reading Gabriel Garcia Marquez. The "unreality" of it all. Not meant to be taken literally. Loved the way the narrator was upfront about what happened later in the story because then our concentration is on how it all unfolds. Great use of the omniscient point of view. The narrator puts his spin and interpretation of events as they are unfolding. People coming together and crossing the artificial boundaries that we put up to separate ourselves. The characters are able to find themselves as they are being held hostage. Their needs and wants, and also those of the hostage takers, are reduced yet intensified with their limitations as hostages. (I'm sure there is a better word for hostage takers, but I can't think of one now. Captors?)
   
   It was interesting to hear another friend's perspective on this book. I had heard before reading it that it was either hated or loved. After talking with my friend who hated it, I better understand the polarization. Suspension of disbelief is necessary to enjoy this book. Her main reason for not being able to enjoy the book was predicated on her belief that that people in a hostage situation wouldn't behave in this way, and she has a point, they wouldn't. However for me, it wasn't so far from the realms of possibility. In horrific situations people do amazing things to adapt, and will often identify with their captors. I was willing to suspend disbelief because I was caught up in the greater beauty of the connections the characters starting making with themselves and with each other.
   
   I would recommend this book to anyone who enjoys beautiful and lyrical prose in a tale that leans heavily on the fantastical.



4. This book sat on my shelf for years before I finally picked it up. Once I started I couldn't stop. The story is beautifully written and despite the entire book taking place in one house it is engaging and entertaining. It takes some stretch of the imagination to think this story could be real but I don't think it was ever intended that way, being in a small country in South America that's never actually named.
   
   When I finished the book I was taken by how Patchett had been able to match my emotions to those in the book - I felt nervous in the beginning for the hostages, then took up the fantasy of terrorist and hostage living together after the whole ordeal was over. I couldn't wait for a happy epilogue checking into Gen and Carmen, Mr. Hokosawa and Roxane, Cesar, Beatriz... Now I'm reeling and dejected.



5. Technically, I LISTENED to this book, narrated by Anna Fields, who did an amazing, amazing job. It got so that I could tell which character was speking before she finished a sentance; she was that good.
   The story itself was moving -- happy, sad, terrifying, ridiculous -- the way any period of your life is; it isn't all one thing or the other. Patchett did a wonderful job developing the characters. I am going to miss Mr. Hosakawa.

1 comments about Mozart's Don Giovanni (Dover Opera Libretto Series).

1. Don Giovanni is a simply wonderful opera, but for this single-language speaking gal I was at a loss for understanding. I looked high and low for a good translation, finally deciding on this which has side-by-side readings of the opera in itallian and english.
   
   It's easy to read. It has a good introduction and great footnotes that give you a little extra information to take with you as you read. Unlike other companions, it includes every word spoken, so you don't get lost when they repeat themselves!
   
   There's really not much to say about it -- simple, straightfoward, and worth the money.

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

No comments about The Pirates of Penzance in Full Score.

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.