Handel S Bestiary

The New York Times–bestselling author delivers “a real tour de force” celebrating the fauna in Handel’s operas—with original illustrations by Michael Sowa (News—Austria). When acclaimed novelist Donna Leon is not conjuring up tales of crime and corruption in Venice—or appreciating its delicious cuisine—she revels in music. And for Leon, that usually means the work of her favorite composer, George Frideric Handel. Over the years, Leon has noticed that the great musician filled his operas with arias that make reference to animals. Rich in symbolism, the perceived virtues and vices of the lion, bee, nightingale, snake, elephant, and tiger, among others, resonate in his works. Here, Leon draws on her love of Handel and her expertise in medieval bestiaries, illustrated collections of animal stories, to assemble a one of her own—twelve chapters that trace twelve animals through history, mythology, and the Handel arias they inhabit. Each exploration is joined by whimsical original illustrations by German painter Michael Sowa. A fascinating, utterly original book that is “as clever as it is entertaining,” Handel’s Bestiary springs to life with Leon’s knowledge, passion, and wit (Westdeutsche Allgemeine Zeitung—Germany).

"A Poetics of Handel's Operas investigates the rich representational fabric of Handel's stories, drawing upon musicology, narratology, drama, and film in offering a study with appeal to scholars, producers and performers, opera afficionados, and anyone fascinated by storytelling. In most storytelling genres, we often distinguish between the story, on the one hand, and the way that story is represented, on the other, without a second thought. We know that a character in a film hears neither her own voice-over nor the ambient music that accompanies it, and that she does not really build a house from the ground up in the three minutes spanned by the cinematic montage that depict its construction. In opera, however, many commentators to this day characterize the medium as "unrealistic," since we know, for example, that people in the real world do not sing to each other, nor does orchestral music accompany their utterances. This said, the vocal and orchestral music, while not literally present in the world of the story surely have a great deal to tell us about the opera's story and its characters, and if we distinguish the performance we see and hear on the stage and in the orchestra pit from the story represented, we enable ourselves to construct stories that are no less coherent than those conveyed by other media. By avoiding conflation of the story and its representation, we enable ourselves to engage more meaningfully with the significance of these and many other unique aspects of operatic storytelling"--

In this “powerful” novel in the New York Times–bestselling series, an Italian police detective delves into two deaths and a dark era of history (The Times, London). When Commissario Guido Brunetti first meets her, Claudia Leonardo is merely one of his wife’s students. Intelligent and serious, she asks for his help in obtaining a pardon for a crime once committed by her now-dead grandfather. Brunetti thinks little of it—until Claudia is found dead. Unable to find any living relatives, he visits the elderly Austrian woman who was once Claudia’s grandfather’s lover and with whom Claudia was close—and is stunned by the extraordinary art collection she keeps in her otherwise modest apartment. When she, too, is murdered, Brunetti’s investigation uncovers shocking skeletons in the closet of Nazi collaboration that few in Italy want revealed . . . “[A] widely admired series.” —Chicago Tribune “The appeal of Guido Brunetti, the hero of Donna Leon’s long-running Venetian crime series, comes not from his shrewdness, though he is plenty shrewd, nor from his quick wit. It comes, instead, from his role as an Everyman . . . [his life is] not so different from our own days at the office or nights around the dinner table. Crime fiction for those willing to grapple with, rather than escape, the uncertainties of daily life.” —Booklist

The New York Times–bestselling series continues with the murder of an American soldier in Venice: “This is definitely an author to watch (Kirkus Reviews). Early one morning, Commissario Guido Brunetti of the Venice police confronts a grisly sight when the body of a young man is fished out of a fetid canal. All clues point to a violent mugging, but for Brunetti the motive of robbery seems altogether too convenient. When something discovered in the victim’s apartment suggests the existence of a high-level conspiracy, Brunetti becomes convinced that somebody, somewhere, is taking great pains to provide a ready-made solution to the crime. Rich with atmosphere and marvelous plotting, Death in a Strange Country is a superb novel in Donna Leon’s chilling Venetian mystery series. Praise for Donna Leon and the Commissario Brunetti Mysteries “One of the best international crime writers is Donna Leon, and her Commissario Guido Brunetti tales set in Venice are at the apex of continental thrillers.” —Rocky Mountain News “Leon’s books shimmer in the grace of their setting and are warmed by the charm of her characters.” —The New York Times Book Review “Brunetti . . . long ago joined the ranks of the classic fictional detectives.” —Evening Standard “Commissario Brunetti, most charismatic current Euro-cop, uncovers deadly ants’ nest of corruption. A highly accomplished, scary read.” —The Guardian

“A brilliant writer . . . an immensely likable police detective who takes every murder to heart.” —Marilyn Stasio, The New York Times Book Review Late one night, Guido Brunetti is called away from dinner to investigate the death of a widow in her modest apartment. Though there are some signs of a struggle, the medical examiner rules that she died of a heart attack. It seems there is nothing for Brunetti to investigate. But he can’t shake the feeling that something or someone may have triggered her heart attack, that perhaps the woman was threatened. Conversations with the woman’s son, her upstairs neighbor, and the nun in charge of the old age home where she volunteered do little to satisfy Brunetti’s nagging curiosity. And with the help of Inspector Vianello and the ever-resourceful Signorina Elettra, he intends to get to the truth. “One of her best . . . She has become a must-read for all those who favor character-driven crime stories.” —Booklist, starred review “[A] wickedly entertaining series.” —Publishers Weekly

Venice’s Commissario Brunetti takes on his “most difficult and politically sensitive case to date” in the gripping New York Times–bestselling series (Booklist). In Death and Judgment, a truck crashes and spills its dangerous cargo on a treacherous road in the Italian Dolomite mountains. Meanwhile, in Santa Lucia, a prominent international lawyer is found dead aboard an intercity train. Suspecting a connection between the two tragedies, Brunetti digs deep for an answer, stumbling upon a seedy Venetian bar that holds the key to a crime network that reaches far beyond the laguna. But it will take another violent death in Venice before Brunetti and his colleagues begin to understand what is really going on. “No one is more graceful and accomplished than Leon.” —The Washington Post “The sophisticated but still moral Brunetti, with his love of food and his loving family, proves a worthy custodian of timeless values and verities.” —The Wall Street Journal “[Brunetti’s] humane police work is disarming, and his ambles through the city are a delight.” —The New York Times Book Review “The heady atmosphere of Venice and a galaxy of fully realized characters enrich this intriguing and finally horrifying tale.” —Publishers Weekly “The first of Leon’s books to knit together all her strengths: endearing detective, jaundiced social pathology, and a paranoid eye for plotting on a grand scale.” —Kirkus Reviews

Commissario Brunetti delves into the shadows of a Venetian family’s past in this “gripping intellectual mystery” in the New York Times–bestselling series (Publishers Weekly). In A Noble Radiance, a new landowner is summoned urgently to his house not far from Venice when workmen accidentally unearth a macabre grave. The human corpse is badly decomposed, but a ring found nearby proves to be a clue that reopens an infamous case of kidnapping involving one of Venice’s most aristocratic families. Only Commissario Brunetti can unravel the clues and find his way into both the hearts of patrician Venice and that of a family grieving for their abducted son. “Goes a long way to confirming Donna Leon’s claim to have taken literary possession of Venice . . . A Noble Radiance gives the reader a delightful foretaste of the summer holidays to come, but it also offers much more than that.” —The Independent on Sunday “The marvel of this book is that almost every detail on every page forms part of a succession of clues, planted with exquisite precision, to unraveling the mystery.” —The Sunday Times “Brunetti emerges as an intelligent, somewhat world-weary individual who believes in his cause if not the system itself. In short, he’s the ideal protagonist for this culturally rich mystery.” —Publishers Weekly “In her detective novels with Commissario Brunetti, Donna Leon can paralyze the reader with a joyful suspense, lost in the environs of Venice and hopelessly in love with her central character and his wife.” —Mail on Sunday

This book explores the relationship between the Bible and the world of music, an association that is recorded from ancient times in the Old Testament, and one that has continued to characterize the cultural self-expression of Western Civilization ever since. The study surveys the emergence of this close relationship in the era following the end of the Roman Empire and through the Middle Ages, taking particular note of the role of Gregorian chant, folk music and the popularity of mystery, morality and passion plays in reflection of the Sacred Scripture and its themes during those times. With the emergence of polyphony and the advent of the Reformation in the sixteenth century, the interaction between the Bible and music increased dramatically, culminating in the evolution of opera and oratorio as specific genres during the Renaissance and the Early Baroque period. Both these genres have proved essential to the interplay between sacred revelation and the various types of music that have come to determine cultural expression in the history of Europe. The book initially provides an overview of how the various themes and types of Biblical literature have been explored in the story of Western music. It then looks closely at the role of oratorio and opera over four centuries, considering the most famous and striking examples and considering how the music has responded in different ages to the sacred text and narrative. The last chapter examines how biblical theology has been used to dramatic purpose in a particular operatic genre – that of French Grand Opera. The academic apparatus includes an iconography, a detailed bibliography and an index of biblical and musical references, themes and subjects.