Overzicht van leven en werk van gevierde operazangeressen uit de laatste driehonderd jaar.

Prima Donna: The Psychology of Maria Callas explores the psychological mechanisms underlying the hypnotic power of Callas's artistry and the unfolding of her tragic life story. Although precipitated by the trauma and shame that followed her abandonment by Aristotle Onassis and the rapid deterioration of her voice, Callas's midlife disintegration reflects deep psychological vulnerabilities. In this book, Wink utilizes cutting-edge advances in research on developmental psychology and narcissism to shed light on Callas's puzzling personal deterioration during the last nine years of her life. Lacking a cohesive and integrated sense of self, Callas sought affirmation and vitality from adoring audiences and older men including her husband Battista Meneghini and her long-term partner Onassis. The propensity to fuse her identity with stage roles contributed to her artistic greatness, but envy and the lack of an intrinsic sense of meaning and worth intensified her vulnerability to life's vicissitudes. Prima Donna is both a powerful study of Callas's life and a contribution to the greater body of work on the psychology of artists.

Female characters assumed increasing prominence in the narratives of nineteenth- and early twentieth-century opera. And for contemporary audiences, many of these characters--and the celebrated women who played them--still define opera at its finest and most searingly affective, even if storylines leave them swooning and faded by the end of the drama. The presence and representation of women in opera has been addressed in a range of recent studies that offer valuable insights into the operatic stage as cultural space, focusing a critical lens at the text and the position and signification of female characters. Moving that lens onto the historical, The Arts of the Prima Donna in the Long Nineteenth Century sheds light on the singers who created and inhabited these roles, the flesh-and-blood women who embodied these fabled "doomed women" onstage before an audience. Editors Rachel Cowgill and Hilary Poriss lead a cast of renowned contributors in an impressive display of current approaches to the lives, careers, and performances of female opera singers. Essential theoretical perspectives reflect several broad themes woven through the volume-cultures of celebrity surrounding the female singer; the emergence of the quasi-mythical figure of the diva; explorations of the intricate and sundry arts associated with the prima donna, and with her representation in other media; and the diversity and complexity of contemporary responses to her. The prima donna influenced compositional practices, determined musical and dramatic interpretation, and affected management decisions about the running of the opera house, content of the season, and employment of other artists--a clear demonstration that her position as "first woman" extended well beyond the boards of the operatic stage itself. The Arts of the Prima Donna in the Long Nineteenth Century is an important addition to the collections of students and researchers in opera studies, nineteenth-century music, performance and gender/sexuality studies, and cultural studies, as well as to the shelves of opera singers and enthusiasts.

An examination of the female opera singer during the nineteenth and twentieth centuries.

Interviews with fifty-six great operatic divas of the twentieth century illuminate their lives, their art, and the world of modern opera.

From the author of the hypnotic and alluring ("Historical Novels Review") novel "The Spiritualist" comes another addictively readable historical novel with a twist of dark mystery.

Prima Donna is an excitingly glamorous novel from Karen Swan, author of the bestselling Christmas at Tiffany's. Breaking the rules was what she liked best. That was her sport. Renegade, rebel, bad girl. Getting away with it. Pia Soto is the sexy and glamorous prima ballerina, the Brazilian bombshell who's shaking up the ballet world with her outrageous behaviour. She's wild and precocious, and she's a survivor. She's determined that no man will ever control her destiny. But ruthless financier Will Silk has Pia in his sights, and has other ideas . . . Sophie O'Farrell is Pia's hapless, gawky assistant, the girl-next-door to Pia's Prima Donna, always either falling in love with the wrong man or just falling over. Sophie sets her own dreams aside to pick up the debris in Pia's wake, but she's no angel. When a devastating accident threatens to cut short Pia's illustrious career, Sophie has to step out of the shadows and face up to the demons in her own life.