Opera

(Marvins-Underground-K-12) #1
style.” His music shows “pre-Neapolitan traits” in the late period: fewer but
more elaborate arias and alternation between secco recitative and aria.

Nicola Antonio Porpora (1686–1768)



  1. Robinson, Michael F. “Porpora’s Operas for London, 1733–1736.” Soundings
    2 (1971–1972): 57–87.
    Sources, libretti, analysis, and comparisons with Handel. Porpora wrote
    “opera of the nobility.”

  2. Walker, Frank. “Chronicle of the Life and Works of Nicola Porpora.” Italian
    Studies6 (1951): 29–62.
    A well-documented summary of Porpora’s life, then a critique of the sources
    and earlier secondary literature (much of it is unreliable). Despite the title, this
    article is a narrative, not a chronology. List of operas and librettists, including
    premiere information.


Giovanni Porta (1690?–1755)


Numitoreis in HS,v.4.


Francis Poulenc (1899–1963)



  1. Keck, George Russell. Francis Poulenc: A Bio-Bibliography.Bio-Bibliogra-
    phies in Music, 28. New York: Greenwood, 1990. xi, 304 p. ISBN 0-313-
    25562-8. ML134 .P87 K3.
    Among the entries in this bibliography are about 50 citations to reviews and
    brief notices on the operas. Index.

  2. Daniel, Keith W. Francis Poulenc: His Artistic Development and Musical Style.
    Studies in Musicology, 52. Ann Arbor, Mich.: UMI Research, 1982. 390p.
    ISBN 0-8357-1284-2. ML410 .P787 D3.
    A valuable life and works, with technical analysis of the compositions. One
    chapter (p.282–312) is about the stage works. Poorly reproduced musical
    examples are a problem. Chapter endnotes, important bibliography of some
    800 titles, worklist, expansive general index.

  3. Kipling, Diane Yvonne. “Harmonic Organization in Les mamelles de Tirésias
    by Francis Poulenc.” Ph.D. diss., McGill U., 1995. 239p.


Sergei Sergeevich Prokofiev (1891–1953)


Biographies



  1. Robinson, Harlow. Sergei Prokofiev: A Biography. New York: Viking, 1987.
    xiv, 573p. ISBN 0-670-80419-3. ML410 .P865 R55.
    A useful life and works, well documented, with a worklist (titles in English
    only) and chronology. Program notes and reception for the operas, but there is
    not much about music here. Good bibliography of about 125 entries, expan-
    sive index of names, titles, and topics.


272 Opera


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