Burton D. Fisher's extremely popular Mini Guides feature Principal Characters in the Opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary and Analysis of the opera.

The story of the Carignan-Salières Regiment which Louis XIV sent to Canada in 1665 to secure the colony from Mohawk Iroquois attacks.

Children will be delighted by this newest addition to the highly-acclaimed Anholt's Artists Books for Children series. This time, award-winning author and illustrator Laurence Anholt tells the charming story of Frida Kahlo and the Bravest Girl in the World. When a little girl named Mariana is sent to have her portrait painted by Frida, she is scared. "Well, that's okay," Frida tells her. "Everyone feels scared sometimes. Now take my hand and let's go inside." Soon, Mariana meets all of Frida's pets, from a handsome parrot and funny spider monkey to a little dog, baby deer, and beautiful eagle. Frida's home is full of wonders, and her studio is brimming with strange but beautiful paintings. As Mariana sits for her portrait, she learns all about Frida's life, and begins to think of her as the bravest woman in the world. Frida thinks Mariana is very special too--and she's got a wonderful surprise in store for her Once again, Laurence Anholt inspires children with this much-loved art history series, which has sold more than one million copies around the world. The story, enhanced with Anholt's illustrations on every page, include several that are reproductions of Kahlo's famous paintings.

"When the world comes to an end," Viennese writer Karl Kraus lamented in 1908, "all the big city orchestras will still be playing The Merry Widow." Viennese operettas like Franz Lehár's The Merry Widow were preeminent cultural texts during the Austro-Hungarian Empire's final years. Alternately hopeful and nihilistic, operetta staged contemporary debates about gender, nationality, and labor. The Operetta Empire delves into this vibrant theatrical culture, whose creators simultaneously sought the respectability of high art and the popularity of low entertainment. Case studies examine works by Lehár, Emmerich Kálmán, Oscar Straus, and Leo Fall in light of current musicological conversations about hybridity and middlebrow culture. Demonstrating a thorough mastery of the complex early twentieth‐century Viennese cultural scene, and a sympathetic and redemptive critique of a neglected popular genre, Micaela Baranello establishes operetta as an important element of Viennese cultural life—one whose transgressions helped define the musical hierarchies of its day.

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