Overture Publishing

Overture Publishing

The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in association with English National Opera in 1980. It ran until 1994 and eventually included forty-eight titles, covering fifty-eight operas. The books in the series were intended to be companions to the works that make up the core of the operatic repertory. They contained articles, illustrations, musical examples and a complete libretto and singing translation of each opera in the series, as well as bibliographies and discographies.

The aim of the present relaunched series is to make available again the guides already published in a redesigned format with new illustrations, updated reference sections and a literal translation of the libretto that will enable the reader to get closer to the meaning of the original. New guides of operas not already covered will be published alongside the redesigned ones from the old series.

 
  • Traditions of the Classical Guitar
    First published in 1980, Traditions of the Classical Guitar has been described as the first book to examine in detail the many traditions of one of today’s most popular instruments. With its central focus on...
  • Lorenzo Da Ponte
    This is the revised edition of April FitzLyon’s celebrated biography of Mozart’s librettist, who provided the brilliant, witty texts for The Marriage of Figaro, Don Giovanni and Così fan tutte. Born a Jew in...
  • Schoenberg
    The first complete study of one of the most important and controversial musicians of our time, Stuckenschmidt’s book discusses all Schoenberg’s works, some of them in great detail; it demonstrates Schoenberg’s...
  • The Price of Genius
    Pauline García Viardot, the daughter of the famous singer and composer Manuel García and younger sister of the celebrated Malibran, was a singer of genius and a woman of outstanding intellect. The first...
  • Eugene Onegin
    Eugene Onegin is the most popular of Tchaikovsky’s operas. Entitled ‘Lyrical Scenes after Pushkin’ by the composer, the work takes as its basis the poem of the same name by the great Russian writer Alexander...
  • Le nozze di Figaro
    Le nozze di Figaro is one of Mozart’s best-loved and most enduring works. The first of the three operas he wrote with Lorenzo da Ponte and based on Beaumarchais’s play, it established the thirty-year-old...
  • Simon Boccanegra
    Verdi's Simon Boccanegra exists in two versions: that of the 1857 original and that of the 1881 revision. The texts of the libretto of both versions are included in this guide, with a number of essays which...
  • A Midsummer Night’s Dream
    A Midsummer Night’s Dream was Benjamin Britten’s seventh major opera and had its premiere in 1960. Britten and his partner Peter Pears adapted Shakespeare’s much-loved comedy, using (with the exception of only...
  • Otello
    Winton Dean relates how Otello came into being as much because of the persistence of Verdi’s publisher as of the composer’s lifelong passion for Shakespeare, and the collaboration of the brilliant poet...
  • Die Meistersinger von Nürnberg
    This opera has been described as “the longest single smile in the German language”. But Roland Matthews indicates that violence is not far beneath the surface of this portrait of medieval Nuremberg. Arnold...
  • Turandot
    “A Turandot filtered through a modern brain,” wrote Puccini, describing his plans to rework the eighteenth-century fable by Carlo Gozzi. According to Mosco Carner, Puccini’s last and supreme work is an...
  • Salome/Elektra
    Richard Strauss turned his genius to opera at the turn of the twentieth century, and this guide contains the texts and introductions to his first two masterpieces in what was, for him, a new genre. Despite...
 

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Rupert Christiansen - The Daily Telegraph

I'm always a little worried by opera guides - even though I've written one myself - because they can so easily feed the prejudice that opera is impossible to enjoy unless you have done some homework. It certainly bothers me when I see people in foyers anxiously staring at a synopsis, instead of trusting the performances (with the help of subtitles, for which many thanks) to do the job of telling the story on stage.

But I'd like to recommend warmly a new enterprise called Overture Opera Guides, published in association with ENO. Edited by Gary Kanh, it is a radical revamp of an excellent but long out-of-print series run in the 1980 by Nicholas John and Henrietta Bredin. These new volumes, each devoted to a single opera, are beautifully produced and designed, with colour photographs, critical essays, an original and translated libretto, plus an extensive apparatus of production history, Bibliography, discography and websites. At £12, they are terrific value.

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