Dan H Marek (37 results)

Condition: New.

Hardback or Cased Book. Condition: New. The Divine Claudia: The Life and Career of Claudia Muzio. Book.

Condition: As New. Unread book in perfect condition.

Hardback. Condition: New.

Condition: New.

Hardback. Condition: New.

Condition: New.

Condition: As New. Unread book in perfect condition.

Hardcover. Condition: Brand New. 196 pages. 8.50x0.50x11.00 inches. In Stock.

Hardback. Condition: New.

Condition: New.

Condition: New.

Hardback. Condition: New.

Condition: New. pp. 436.

Paperback. Condition: Brand New. 420 pages. 11.00x8.50x1.00 inches. In Stock.

Paperback. Condition: New. The Italian singing technique Bel Canto instructs, "He who knows how to breathe and how to pronounce, knows how to sing." Singing: The First Art incorporates the techniques of Bel Canto along with those of masters like Berton Coffin and Manuel Garcia to promote and facilitate vocal excellence. Many concepts are described, from correct posture and alignment to improving and maintaining proper breathing, from good pronunciation and diction to producing an even, pure tone, and from vocal ranges to singing within and smoothly shifting between vocal registers. Mannes Vocal Faculty member Dan H. Marek effectively breaks down these complicated concepts with clear exercises, helping the vocal student to achieve freedom and complete control over his or her instrument.A primary section on the history of singing stresses the importance of understanding vocal history while inspiring and motivating the student through the experiences of opera stars such as Enrico Caruso, Maria Callas, and Jussi Björling. The second section explains vocal techniques, including the use and proper pronunciation of the IPA (International Phonetic Alphabet), and provides 64 specific exercises with clearly defined goals designed to overcome faults and to develop vocal virtuosity. Complete instructions for transposing the exercises for both male and female voices are included, as well as drawings of the exercises, musical examples from vocal literature, excellent anatomical illustrations by Frank Netter, MD, and copious photographs of opera stars. Singing: The First Art is an invaluable text for students, professionals, singers, conductors, composers, and vocal medical professionals, or anyone interested in understanding and appreciating the vocal art.…

Condition: New. pp. 436.

Paperback. Condition: Brand New. 235 pages. 11.00x8.50x0.75 inches. In Stock.

Paperback. Condition: New. The Italian singing technique Bel Canto instructs, "He who knows how to breathe and how to pronounce, knows how to sing." Singing: The First Art incorporates the techniques of Bel Canto along with those of masters like Berton Coffin and Manuel Garcia to promote and facilitate vocal excellence. Many concepts are described, from correct posture and alignment to improving and maintaining proper breathing, from good pronunciation and diction to producing an even, pure tone, and from vocal ranges to singing within and smoothly shifting between vocal registers. Mannes Vocal Faculty member Dan H. Marek effectively breaks down these complicated concepts with clear exercises, helping the vocal student to achieve freedom and complete control over his or her instrument.A primary section on the history of singing stresses the importance of understanding vocal history while inspiring and motivating the student through the experiences of opera stars such as Enrico Caruso, Maria Callas, and Jussi Björling. The second section explains vocal techniques, including the use and proper pronunciation of the IPA (International Phonetic Alphabet), and provides 64 specific exercises with clearly defined goals designed to overcome faults and to develop vocal virtuosity. Complete instructions for transposing the exercises for both male and female voices are included, as well as drawings of the exercises, musical examples from vocal literature, excellent anatomical illustrations by Frank Netter, MD, and copious photographs of opera stars. Singing: The First Art is an invaluable text for students, professionals, singers, conductors, composers, and vocal medical professionals, or anyone interested in understanding and appreciating the vocal art.…

HRD. Condition: New. New Book. Shipped from UK. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

HRD. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Hardback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days 216.

Condition: New. Print on Demand pp. 196.

Condition: New. Print on Demand pp. 196.

Condition: New. PRINT ON DEMAND pp. 196.

Buch. Condition: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware -'Muzio was a case apart: you cannot classify her, for in the end you have been so emotionally destroyed by her performance, you did not even know anymore what kind of instrument she had'. So spoke Lucrezia Bori, the beloved soprano of the Metropolitan Opera. Bori was echoing the opinion of many of Claudia Muzio's contemporaries and successors such as Eva Turner, Rosa Ponselle, and Mafalda Favero who wrote:'Actually,' she [Favero] admitted with her total candor, 'it took me a long time to find my own interpretation [La traviata], for I was haunted by Claudia Muzio in this role. When she sang it at the Colö in Buenos Aires in 1933, I went to each rehearsal, worshiping her, and it took a superhuman effort for me to finally obtain my personal approach. . I recall a performance of Muzio's in Refice's Cecilia, an opera she created in Rome in 1934 which deals with the saint's martyrdom. She was so sublime in it that I went backstage to express my admiration at the end and impulsively dropped to my knees. 'Now, really, my child!' she said with those sad eyes which haunted me. 'What are you doing ' Her Norma was also an unforgettable creation. She had the quality I consider so essential in an artist: to make the public suffer along with her.'Sometimes we hear artists described as 'She was born a hundred years too late', but Claudia Muzio was born too soon. She was a great 'singing actress' whose stage portrayals produced the hysterical kinds of responses cited above. Most reviews mention her stage work first, not failing to praise her singing. It is from her late recordings from 1934-35, when she was ill, that she is remembered today. Muzio had a distinctive vocal timbre, and an unparalleled command of dynamics and phrasing that, once heard, is never forgotten. Indeed, she was called 'La Unica' in South America where she was the Teatro Colón's brightest star for fifteen years. Muzio made her debut as the first Italian Tosca at the Metropolitan Opera in 1916 at the age of 26 with Enrico Caruso and Antonio Scotti. She went on to sing with all the great artists of her time in a world-wide career of over twenty-five-years. Claudia Muzio sang over a thousand performances of major dramatic operatic repertory, including 131 Aidas, 146 Traviatas, 81 Trovatores, and 129 Toscas. This figure does not include concerts and by all accounts, Claudia Muzio was also a great recitalist. 196 pp. Englisch.…

Gebunden. Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Klappentextrnrn Muzio was a case apart: you cannot classify her, for in the end you have been so emotionally destroyed by her performance, you did not even know anymore what kind of instrument she had . So spoke Lucrezia Bori, the beloved sopran.…

Buch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - 'Muzio was a case apart: you cannot classify her, for in the end you have been so emotionally destroyed by her performance, you did not even know anymore what kind of instrument she had'. So spoke Lucrezia Bori, the beloved soprano of the Metropolitan Opera. Bori was echoing the opinion of many of Claudia Muzio's contemporaries and successors such as Eva Turner, Rosa Ponselle, and Mafalda Favero who wrote:'Actually,' she [Favero] admitted with her total candor, 'it took me a long time to find my own interpretation [La traviata], for I was haunted by Claudia Muzio in this role. When she sang it at the Colö in Buenos Aires in 1933, I went to each rehearsal, worshiping her, and it took a superhuman effort for me to finally obtain my personal approach. . I recall a performance of Muzio's in Refice's Cecilia, an opera she created in Rome in 1934 which deals with the saint's martyrdom. She was so sublime in it that I went backstage to express my admiration at the end and impulsively dropped to my knees. 'Now, really, my child!' she said with those sad eyes which haunted me. 'What are you doing ' Her Norma was also an unforgettable creation. She had the quality I consider so essential in an artist: to make the public suffer along with her.'Sometimes we hear artists described as 'She was born a hundred years too late', but Claudia Muzio was born too soon. She was a great 'singing actress' whose stage portrayals produced the hysterical kinds of responses cited above. Most reviews mention her stage work first, not failing to praise her singing. It is from her late recordings from 1934-35, when she was ill, that she is remembered today. Muzio had a distinctive vocal timbre, and an unparalleled command of dynamics and phrasing that, once heard, is never forgotten. Indeed, she was called 'La Unica' in South America where she was the Teatro Colón's brightest star for fifteen years. Muzio made her debut as the first Italian Tosca at the Metropolitan Opera in 1916 at the age of 26 with Enrico Caruso and Antonio Scotti. She went on to sing with all the great artists of her time in a world-wide career of over twenty-five-years. Claudia Muzio sang over a thousand performances of major dramatic operatic repertory, including 131 Aidas, 146 Traviatas, 81 Trovatores, and 129 Toscas. This figure does not include concerts and by all accounts, Claudia Muzio was also a great recitalist. …

PAP. Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000.

Buch. Condition: Neu. This item is printed on demand - Print on Demand Titel. Neuware -'Muzio was a case apart: you cannot classify her, for in the end you have been so emotionally destroyed by her performance, you did not even know anymore what kind of instrument she had'. So spoke Lucrezia Bori, the beloved soprano of the Metropolitan Opera. Bori was echoing the opinion of many of Claudia Muzio's contemporaries and successors such as Eva Turner, Rosa Ponselle, and Mafalda Favero who wrote:'Actually,' she [Favero] admitted with her total candor, 'it took me a long time to find my own interpretation [La traviata], for I was haunted by Claudia Muzio in this role. When she sang it at the Colö in Buenos Aires in 1933, I went to each rehearsal, worshiping her, and it took a superhuman effort for me to finally obtain my personal approach. . I recall a performance of Muzio's in Refice's Cecilia, an opera she created in Rome in 1934 which deals with the saint's martyrdom. She was so sublime in it that I went backstage to express my admiration at the end and impulsively dropped to my knees. 'Now, really, my child!' she said with those sad eyes which haunted me. 'What are you doing ' Her Norma was also an unforgettable creation. She had the quality I consider so essential in an artist: to make the public suffer along with her.'Sometimes we hear artists described as 'She was born a hundred years too late', but Claudia Muzio was born too soon. She was a great 'singing actress' whose stage portrayals produced the hysterical kinds of responses cited above. Most reviews mention her stage work first, not failing to praise her singing. It is from her late recordings from 1934-35, when she was ill, that she is remembered today. Muzio had a distinctive vocal timbre, and an unparalleled command of dynamics and phrasing that, once heard, is never forgotten. Indeed, she was called 'La Unica' in South America where she was the Teatro Colón's brightest star for fifteen years. Muzio made her debut as the first Italian Tosca at the Metropolitan Opera in 1916 at the age of 26 with Enrico Caruso and Antonio Scotti. She went on to sing with all the great artists of her time in a world-wide career of over twenty-five-years. Claudia Muzio sang over a thousand performances of major dramatic operatic repertory, including 131 Aidas, 146 Traviatas, 81 Trovatores, and 129 Toscas. This figure does not include concerts and by all accounts, Claudia Muzio was also a great recitalist.Libri GmbH, Europaallee 1, 36244 Bad Hersfeld 196 pp. Englisch. …