5 comments about The Twilight of Belcanto: Including an Interview with Virginia Zeani.

1. "The Twilight of Belcanto" is an informative and interesting blend of opera anecdotes, biographies, and critical assessments embedded by Mr. Ciampa with detailed research, wit, and an obvious passion for great singing.
   
   Today, with few exceptions, vocal talent and artistry have all but been abandoned as essential prerequisites for building a major opera career. In their stead, visual appeal and visual marketability have become the dominant factors - are true opera enthusiasts really all that concerned about whether Deborah Voight can fit into a slender black dress, or are they more interested in her ability to caress the beautiful lines of Strauss' Ariadne? Why is it that the exquisite soprano Luba Orgonasova (reference her recital disc for Naxos), is less known and less recorded than any of the leading divas of the last decade? Certainly not based on relative talent and beauty of singing! Mr. Ciampa is not detracted in his assessments by these red herrings of "PR" when discussing singers. His book is therefore appreciated for its honest and refreshing reflection on the underlying vocal technique and artistry of singers past and present, with some foreshadowing of the future. And amongst this cast of characters, he does not limit his focus to those artists whose reputations live on - he also shines light on those artists whom operatic history seems to have forgotten. How validating it was to read the author's assessment of the delightful coloratura soprano Gianna d'Angelo ("warmer in style than both Peters and Sutherland, and equally brilliant"). As if his journey through the great artists of the last century were not enough, Mr. Ciampa stops to include a fascinating interview with the enchanting Virginia Zeani, the definitive Violetta, rich in technique and beauty of the singing line.
   
   Like others who are passionate about opera, the author's journey through great singing has been influenced by recommendations of friends and colleagues. What opera lover cannot appreciate and sense the excitement generated by this type of sharing? Indeed, since reading "The Twilight of Belcanto", my own collection of recordings has been enhanced with an aria recital by Margherita Carosio, a soprano whom I had not heard of until I read Mr. Ciampa's praise of her singing.
   
   "The Twilight of Belcanto" is an excellent book that I continue to enjoy and reference and I would highly recommend it is a must read for those interested in great singing.



2. This is an essential coffee table book for any fan of great singing. Ciampa displays vast knowledge, remarkable insight, and a wealth of anecdotes that are insightful, interesting, and often extremely funny. His wisdom comes from having actually worked with great singers and teachers - he didn't glean a pseudo-understanding from reading a history book or taking an adult ed course. He has lived this.
   
   At the very beginning of the book, Ciampa demystifies and clearly defines "belcanto." No time is wasted: you don't have to read two or three hundred pages to find out what the "belcanto" actually is. His ability to explain the supposedly unexplainable aspects of vocal technique is impressive and incredibly rare among writers.
   
   For serious and intelligent readers, as well as those with a genuine passion, this is a welcome publication.



3. From the get-go, Mr. Ciampa removes the myth of "What IS the Belcanto technique?" He defines it, clearly and succinctly, in the Preface, before even embarking on Chapter 1. At the same time Mr. Ciampa shows that he is anything but a xenophobic Italian who likes only Italian singers. For whose is the first name he mentions among archetypes of Belcanto? Melchior! The choice took me aback at first, but then I thought about it and said, "Oh yeah, he's right."
   It's very obvious, as one proceeds into Chapter 1, that this is a partly autobiographical, partly historical journey. Anyone who is expecting one or the other might be bitterly disappointed, I suppose. However if you can get past what you think the book SHOULD be, you will appreciate what it IS: personal, intelligent, insightful, informative, entertaining. A grand and impressive achievement, shedding a light on the true Belcanto that is unique in the literature.
   And an unexpected and quite extraordinary bonus, Mr. Ciampa includes a whole chapter on technique. This I did not expect: for Mr. Ciampa is not only a historian/commentator/critic/whathaveyou of old time singers, but apparently he understands how they sang from a technical point of view. And through it all, through the sarcasm and disappointment towards the "canbelto" singers of today, Mr. Ciampa seems to imply that it is, indeed, still possible to sing in the Belcanto way. It is this that the author most passionately desires.
   Really an unexpected and quite extraordinary book, quite worthy of anyone's permanent coffee table collection.



4. This book appears to be self-published. I applaud such efforts, but I think that it's a shame when an author presents himself as poorly as does Mr. Ciampa. This book is nothing more than a disorganized collection of anecdotes (mostly other people's), received wisdom, lists of famous singers, paeans to favorite singers, catty remarks about disliked singers (as well as certain conductors, producers, and other critics), and a few not very helpful, informative, or specific remarks about "technique". Despite the title, I still have no real idea what the author means by "belcanto". There are bits and snatches of insight (for example, an interesting discussion of the various "e" vowels, and a bit about "bocca rotonda"), but these are poorly organized and Mr. Ciampa usually fails to provide singer-specific examples of such matters. If there is another edition, it would be helpful if, for example, Pertile (a favorite singer) and others were used to illustrate the more general points that Mr. Ciampa tries (and fails) to make.
   
   Mr. Ciampa would appear to have a pretty good idea of what constitutes good singing - at least, his opinion and mine coincide well over 90% of the time. His choices for "essential listening", sprinkled throughout the book, are generally sound. The problem, among others, is that he does a very poor job of explaining those opinions. If he likes a singer, then that singer is good, AND is an exemplar of "belcanto". If he dislikes a singer, then that singers is bad, AND is not an exemplar of belcanto. For example, he is a great admirer of Heppner (as am I), but Mr. Ciampa does little to explain what there is about Heppner's singing that he likes. Instead, the opinion would appear to be based upon Heppner's repertoire choices, which include a lot of Tosti, one of Mr. Ciampa's favorites.
   
   Other material simply doesn't belong here. There's a retelling of the Bjoerling/Solti/Culshaw/Ballo story with a very obvious bias. Eight or so pages are devoted to Roald Reitan's version of Warren's onstage death. Does anyone really care exactly which line was Warren's last before he collapsed, particularly when Mr. Ciampa repeats the old conclusion that Warren died of a cerebrovascular accident (this is absolute conjecture, since no one actually knows whether it was a CVA or a sudden cardiac death, and most opinions favor the latter)? I'm always happy to see such matters discussed on an Internet opera forum, but what are they doing in a book entitled "The Twilight of Belcanto".
   
   Among the other egregious problems with this book is Mr. Ciampa's choice of "experts", and his method of research. It would appear that Mr. Ciampa waits around for people (but only people he considers trustworthy) to tell him which singers he should hear, rather than seek them out for himself and form his own opinions.
   
   "The Twilight of Belcanto" is not entirely without its moments; there are occasional good lines, such as (about Mario del Monaco) "Everything he sang was like a hungry stray dog ripping apart a slab of raw meat." And some of the stories about little-known divos and divas are entertaining. But such moments are poor compensation for the endless pages of tedium.



5. This is easily the best opera book to have come out in 2005. Honestly, you need to have this book. It is everything: scholarly, conversational, serious, funny, autobiographical, fact-filled. REALLY fact-filled -- 500+ pages worth of facts! Really, a
   classic of a book. For the price ... go out and buy this one. Yours, Tobia.

No comments about Pygmalion (New Mermaids).

No comments about Tooth of Crime: Second Dance.

1 comments about Honour (Nick Hern Book).

1. Australia's foremost theatre company, Melbourne Theatre Company (MTC) is currently presenting Joanna Murray-Smith's most successful play "Honour" at the Fairfax Studio, Victorian Arts Centre. The production, directed by visionary Australian director Kate Cherry (Associate Director of MTC), and starring acclaimed Australian actor Janet Andrewartha as Honor is one of the most talked about productions of late. William Zappa appears as Gus, Amanda Douge as Claudia and Kellie Jones as Sophie. Previews began 26th April 2004. www.mtc.com.au

5 comments about Bad Seed..

1. 'The Bad Seed' is certainly a great horror story, made even more remarkable since it was written in the early 1950s when the world was thought to be a kinder, gentler place. In it we have a young mother at the end of her tether in dealing with her adolescent daughter. Her daughter is not all peaches and cream. She is a cold, emotionless psychopath. She doesn't recognize good from bad. All she knows is that when she wants something ... SHE GETS IT. Poor mother eventually comes to grips as to why her daughter is the way she is, and arrives at a decision on what to do about it.
   
   
   Bottom line: although it created a sensation when first published, 'The Bad Seed' has stood the test of time and is worthy of new readership. Strongly recommended.



2. FOR ALL OF US "OLDER" PEOPLE OUT THERE WHO REMEMBER THE MOVIE, THIS IS A GREAT COMPANION TO THE MOVIE. OF COURSE LIKE ALL BOOKS AND MOVIES MADE FROM BOOKS YOU HAVE YOUR OWN MENTAL INTRERPATATION OF EACH. ALL IN ALL, GREAT BOOK WORTH READING, BUT A BETTER MOVIE.



3. I imagine "The Bad Seed" was a truly shocking story back in the fifties when it first came out and it remains a chilling little tale that is well written and quite believable. The sad thing is that you can pick up a newspaper today and read more shocking stories about real childhood psychopaths.
   
   I thought the characters were well developed and the story moved well. I watched the movie (1950's version) last night for the first time and though the movie got all the attention and is what most people remember, the book is much better and though the film was well-acted, Rhoda just seemed colder and more menacing in the book. The book also does a better job at developing the story of Christine's mother and her forgotten past. The ending of the book was much better as well!
   
   Overall, a quick, entertaining read!



4. i got this book at noon the other day and finished it by eight that evening - - a page turner, gripping, gothic, yet campy and with a sense of irony about that campiness that endeared the book to me.
   eloquently written, his language is engaging yet elegant, revealing and graphic, yet dark and mysterious, like sinister housewife gossip and whispered rumours.
   if you root for the anti-hero (and believe me this book has one HELL of a little anti-hero to offer), this is definitely the book for you. i found myself time and again reading it, eyes wide, mouth open... "oh my god. she's the devil... she's FABULOUS!!" Rhoda is an utterly timeless character, and you can tell the author cares about her a lot; she's a little machine, a robot with no soul, she plays back what you want to hear like a broken record and kills without a second thought, but somehow you admire her, even begin to be taken in by her.
   this book captures the feeling of the time it takes place, i see some incredibly caucasian small southern/east-coast town, a nightmare of whitewash, green grass, sunshine and trees and bushes bursting with flowers.
   
   i would like to say how mortified that i am that Eli Roth is helming the (surprise!) REMAKE of this story... hollywood. rotters. yech.
   
   so before the whole franchise becomes tainted with modern horror dreck of the ilk of hostel and saw, READ THIS BOOK and fall in love with it.



5. As with many authors and artists William March's work was rejected and he died a broken man. Publishers told him that The Bad Seed lacked verisimilitude. The truth is there have always been sociopathic children among us, but today the headline is all too common. I was inspired to read this classic after reading Dr. Robert D. Hares Without Conscience: The disturbing world of the psychopaths among us. Even though The Bad Seed is a work of fiction March had some really good insights that Dr. Hare quoted.
   
   The only thing I found slightly corny about the book was that March tried to incorporate a fictional encounter with the real psychoanalyst, Sigmund Freud. Also the book is much better than the original movie version. [...]

5 comments about A Guide to the Star Wars Universe.

1. This book is only good if you wish to increase your knowledge of the expanded universe, however if I were you I think I would wait on a new edition to come out, because it isn't fully updated from episodes 2 or 3. I do like it but, I Would rather rcomend the Essential guides to you for they are far more updated and have better detailed information



2. Because the "Star Wars Universe" this guide covers is as vast and populated as George Lucas' "galaxy far, far away," it's impossible for even the most prolific researcher/writer to keep up with all the new additions as books, games, collectibles and even animated episodes appear almost on a monthly basis. For even though the Star Wars canon (read, "official version") only includes the six filmed Episodes, their novelizations, and their direct off-shoots (such as the National Public Radio dramatizations and the Cartoon Network's Clone Wars miniseries), there are also tons of Lucasfilm-authorized Expanded Universe novels, comic books, and games (roleplaying and computer games) that have added planets, political entities, droids, weapons, spacecraft, alien and human characters that go beyond Lucas' filmed works.

   In some ways, Bill Slavicsek's 596 page A (as in A-3DO, a droid once owned by the Jedi Knight Andur Sunrider) to Z (ZZ-4Z, yet another droid, this time once Han Solo's mechanical housekeeper, last seen recovering from an attack by Boba Fett) book serves as a "poor man's Star Wars Encyclopedia," since the format is very similar and essentially covers the same territory -- down to the style of the entries -- as Steven J. Sansweet's more expensive and even more outdated (circa 1998) reference book.

   The Guide is, obviously, a must-have reference work, and Slavicsek has done an excellent job at compiling all the data from not only the first four filmed Episodes (the cutoff point in this edition for the movies is Episode I: The Phantom Menace) but also every licensed media release, including young reader books (The Glove of Darth Vader), comic books (Tales of the Jedi Knights, the Dark Empire series), and such forgotten (and forgetable) TV offerings as the Droids animated series.

   I don't know if there will be an interim Guide published by Ballantine Books before the release of Episode III next year; I had hoped to see a fourth edition this year that would cover Episode II and the New Jedi Order series after Vector Prime. Then again, Sansweet's more expensive Star Wars Encyclopedia has not been updated yet, so I am guessing the next editions of these two wonderful references will be released in a few years.




3. I got this book around the time it came out, and 3 years later it is still the first book I go to for Star Wars look ups. Its biggest problem is that it is dated and cuts off right after Vector Prime, so it is not much help for looking up things in the New Jedi Order. That being said, it is still very valid and apart from the NJO and various newer comic book series, it covers pretty much everything. This book is a must for any serious Star Wars reader, and I highly recommend it as such. I would like to see a new edition with up-to-date material released after Episode III comes out.



4. This book is a very nice work in the Star Wars universe, since it encompass not only the classic Trilogy, but also the new Trilogy and the New Republic facts. The only problems that I see in it are that the entries are very shor in some cases, missing some information and the illustrations are very poor in most of the cases. However, it is a good book for a Star Wars fan.



5. The Guide to the Star Wars Galaxy is a handy reference for any fan of the books and movies. Because it was published in the year 2000, it came after a wave of new books and a new movie, thus making it up to date up until that time.
   While not as complete as the Star Wars Encyclopedia, it has information that SWE did not cover. However, it does not contain the wealth of information that SWE has, and the illistrations are black and white, whereas the Encyclopeida's are color.
   The Guide covers new information in the Han Solo Trilogy, the X-Wing series, Episode I: The Phantom Menace, the New Jedi Order (Just Vector Prime) and several other novels.
   So, this is just right if you are a fan that likes up to date information.
   However,it is already out of date and does not contain everything that is new. There is nothing about the second and third parts of the X-Wing series, nothing beyond Vector Prime and several other books that are already out. Hopefully there'll be a new editon in the near future.

1 comments about Castle Walls.

1. As a teen, I was completely enamored with King Author and the Knights of the Round Table. `Castle Walls' took me back in time, invoking the same fantasies and imagery I used to have about the adventures Queen Guinevere. This book is fairly simplistic in its presentation and is not even closely related to Redhawk's other works, but the story is wonderfully engaging.
   
   Katerin is a princess whose family is killed by the Invader - a power-hungry man who has already taken over several kingdoms in his reign of terror. Barely escaping with her life, Katerin and her handmaiden find themselves adopted into a band of traveling performers. This circus is led by Ros Adamsson, a self-proclaimed Sapphist with a roguish reputation. Having no other skills, Katerin finds herself acting as Ros' personal assistant... and sharing the other woman's bed. Not to worry, though, because Ros has nothing but honorable intentions toward the younger woman.
   
   Redhawk delivers a colorful cast of characters... from the midget who won't be belittled to the elderly woman who knows all. Katerin is the only character with any depth, but this book is about medieval fantasy and would require a lot of reader imagination regardless of character development. There is a little distraction in the form of Katerin's brother, Liam, who actually survived the Invader's attack, but this does not detract from the story at all. In fact, it helps tie up some loose ends and close the book with style.
   
   This book is a great departure into fantasy and is an enjoyable read. It's not very graphic in the bedroom scenes, but it's racy nonetheless. Recommended accompaniments are a cold mug of ale and a box of rye crackers.

5 comments about The Art of Chicago Improv: Short Cuts to Long-Form Improvisation.

1. A great read that both explains what's going on on all those little storefront stages in Chicago (improv)and gives you the history of the last 40, but especially the last 10 years of this world. Lots of names of real people, descriptions of rehearsal strategies, what groups closed and what groups survived, who went to Second City and then to Saturday Night Live, the difference between The Movie and The Bat. This book credibly conveys the intense respect felt by practitioners of this art form for originators like Del Close (of The Harold -- the "long form" improv).



2. ...and Rob Kozlowski does a great job of showing how improv spread outside of these two venerable institutions during the late 80's throughout the 90's. Granted, it's an easier read for people who either live in Chicago or are familiar with the Chicago scene, but I have heard several improvisors who've recently moved here reference this book as a great guide to help them figure out where they want to study and where they want to perform.



3. This is a theatre by theatre, person by person account of long form improv productions in Chicago. We're talking date by date, address by address, show by show, location by location, director by director, actor by actor, ticket price by ticket price, lease by lease!

   There are an ENORMOUS number of personal pronouns in this thing. I mean, every page has seven or eight names of actors or directors associated with a particular theatre or show. I kept reading it, thinking, "Who? Who? WHO? I guess the name doesn't matter, it's the gist of the thing... Who? Who? Who? Where? A basement theatre? An angry landlord? Who? Where?"

   To me, the murky throughline is what's important: the growth of the improv community, the innovations, the development of the art form.

   I think this book would have benefitted readers if it had *synthesized* the changes in the art form over time, rather than miring itself in the "description of the crack in the wall" detail. I mean, hasn't videotape been invented yet?

   When a chapter featurs an interview, or some kind of summary or encapsulation, it's wonderful. It overcomes its inferiority complex about Chicago theatre for a brief insightful moment, abandoning its chip-on-the-shoulder need for name-dropping minutiae.




4. Rob's book covers the history of Chicago improv rather well. The only other book that does it is "Whose Improv Is It Anyway?: Beyond Second City" by Amy Seham. Her book is more historical/sociological than this one. His book is rather brief, and it almost assumes that you've read other books on improv before you picked it up. It has brief descriptions of several different long form structures, which makes it and "Truth in Comedy" by Close, Halpern, and Johnson the only two books that discuss long form. While it does offer some good advice on performance, it should be a supplement to your library and not your only source of information.



5. This is a very well written history of Chicago Improv. Having just jmped into the improv waters a few years ago it was pretty interesting to leanr about the origin and growth of what we perform today.

   True it can be a little bewildering to keep track of all the names and places, especially if you live outsode of Chicago. However the creation and growth of the form make for a nice read.

   A great book for people new to long form who want more history than Del Close & Charna Halpern.

   Now if I could only get my copy back from Erik with a K.

5 comments about Houdini on Magic.

1. I would reccomend this buy for any magic enthusiast because it's history. No, it's not gone, but it contains the writings of Erich Weiss. I wouldn't say that I got a lot of trick ideas for my own act out of this book. However, it is just fascinating to read and to imagine Houdini as he created this compilation.



2. It's well-known among Houdini buffs that much of Houdini's writing was ghostwritten for him. So what? This was part of his role as a master publicist. Nevertheless, this book is a great insight into Houdini's mind and methods, because it's certain that he had at least a hand in the production of all of the material in this book. There is no single book that gives a greater insight into the scope of Houdini's interests than this one.



3. I was disapointed in this book because there is only a few pages written by Harry Houdini. There was also added material that had nothing to do with Houdini.
   Not Recomended



4. It is commonly said that you should never read a book on magic tricks unless you are willing to learn a trick and show it to your friends and not tell the secret. Disclaimers aside, this book has material useful for beginners, and for those who wish to make complex apparatus and only a few of the tricks might pose a risk to your life. The material on fraud commit by mediums is very interesting. It can further be said that Houdini was a very good writer.



5. This book is simply fantastic. It contains a large amount of Houdini's writings from articles, books, etc. It contains Houdini's famous "Margery the Medium" pamplet where he exposes her false methods, explains in Houdini's words how he escapes from a straitjacket, and also tells about an illusion that Houdini was thinking about performing, but never did. A wonderful book with many pictures and illustrations.

5 comments about Class-29: The Making of U.S. Navy SEALs.

1. Far better written than most, Class 29 transcends military memoire to become an emotinally authentic, engagingly human account that will interest even readers who are not SEAL afficiandos.
   
   I'm a sucker for a story, and John Carl Roat knows how to tell one. He has one of the most incredible writer's voices I've ever encountered. It's like sitting with him over coffee and listening to him spin yarn after yarn about the earliest days of SEAL training.
   
   Roat's dry and often wry sense of humor had me laughing out loud on every page. Endearingly willing to admit to his own human shortcomings, Roat sees the humanity in others. In a few strokes he captures those essential elements of character that make a reader care. Over and over I cheered, and sometimes, I cried.
   
   In one memorable scene, in which another trainee reaches back to give Raot a hand over an obstactle course, Roat talks about how the trainees themselves in subtle ways played a part in who made the grade and who didn't.
   
   Other books about SEAL training will give you detail, endless detail, about SEAL training today, but no other will make you understand so well what makes a man become a SEAL, and what becoming a SEAL makes of a man.
   
   Mary Margret Daughtridge, Romance Author, SEALed With A Kiss
   SEALed with a Kiss: Even a hero needs help sometimes...



2. This book is real!! It's a fast easy read with no dull moments. It is a testament to the tough nature of seals past and present.



3. John Roat's book demonstrates the toughness and determination that was required in the early days of SEAL training.
   
   I enjoyed the way that he describes in great detail the training that he went through. It's like you are right there with him.
   
   Also, there are many stories about their "interactions" with their instructors.
   
   I especially appreciated the last chapter in the book where the author describes, by observing the training the candidates currently go through, the differences in training between then and now. The training now has causes less long-term damage to the body, especially to the knees (the duck-walk was a favorite of the instructors back then).
   
   Above all as you read the book you can see his loyalty, after all these years, to his team members.



4. This was written for my Classmates and like them it has brought me nothing but joy. The book comes from the heart, theirs and mine. I've been pleased to hear how much help the book was for some in getting through BUD/S. I do love the questions from young men who aspire to become Team Members so feel free to ask. I will do my best to answer.
   realnavyseal@yahoo.com
   
   John Carl Roat
   Class-29, UDT-21, UDT-11, SEAL Team 1



5. To the point, easy to read and like a couple reviewers said " It makes me proud and it made me laugh" Who thought SEALs would be such down to earth enjoyable guys.