The Magic of Beverly Sills (Music in American Life), by Nancy Guy
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The Magic of Beverly Sills (Music in American Life), by Nancy Guy
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With her superb coloratura soprano, passion for the world of opera, and down-to-earth personality, Beverly Sills made high art accessible to millions from the time of her meteoric rise to stardom in 1966 until her death in 2007. An unlikely pop culture phenomenon, Sills was equally at ease on talk shows, on the stage, and in the role of arts advocate and administrator. Merging archival research with her own love of Sills's music, Nancy Guy examines the singer-actress's artistry alongside the ineffable aspects of performance that earned Sills a passionate fandom. Guy mines the memories of colleagues, critics, and aficionados to recover something of the spell Sills wove for people on both sides of the footlights during the hot moments of onstage performance. At the same time, she analyzes essential questions raised by Sills's art and celebrity. How did Sills challenge the divide between elite and mass culture and build a fan base that crossed generations and socio-economic lines? Above all, how did Sills capture the unnameable magic that joins the members of an audience to a performer--and to one-another? Intimate and revealing, The Magic of Beverly Sills explores the alchemy of art, magnetism, community, and emotion that produced an American icon.
The Magic of Beverly Sills (Music in American Life), by Nancy Guy- Amazon Sales Rank: #194123 in Books
- Published on: 2015-10-15
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.10" w x 6.13" l, .0 pounds
- Binding: Hardcover
- 272 pages
Review "Beverly Sills came along at the perfect moment, quenching the public's thirst for a bona fide STAR. Now this book comes along at the perfect moment to quench this generation's thirst for insight into what made her shine so radiantly."--Joyce DiDonato "What says with one most about Guy's study is the passion behind it, and the way it evokes a time in which an opera could be that relevant to so many."--Opera News Frequently, biographies of opera singers are basically gushing with enthusiasm and overstated personal opinions. This book avoids those pitfalls and adds important scholarly information about how to think about an opera singer, her roles, and her fans.--Naomi André, coeditor of Blackness in Opera "Guy's elegant biography gets to the heart of Sills's magnetic stage presence and parses the performer's power to mesmerize audiences with ineffable and poignant cultural magic."--Jill Dolan, author of The Feminist Spectator in Action: Feminist Criticism for the Stage and Screen "An exhaustively researched, thoughtful, well-written treatment of one of the most important and beloved musicians the U.S. has ever produced."--Timothy D. Taylor, author of The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture
About the Author Nancy Guy is an associate professor of music at University of California, San Diego. She is the author of Peking Opera and Politics in Taiwan .
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6 of 6 people found the following review helpful. The Finest Treatise of Any Singer I Have Ever Read By Kindle Customer Scrupulously researched and written in clear and expressive style, Professor Guy's seminal study of the performance art, vocal technique and stagecraft of the late soprano Beverly Sills will be appreciated not only by fans of the coloratura soprano but by all those interested in late 20th Century performance practices and opera lovers everywhere.
6 of 7 people found the following review helpful. Someone else gets it By xo When I was a kid, my record store was practically giving away LPs when the era of CDs started to move in. All of the Sills Westminster recordings were priced at $1 each. She was that nice lady on TV and I was interested in learning about opera so I bought every one. My parents, both from Europe and both opera snobs, took one look at my haul and sniffed, “Yes she’s good, but when you save up more money you’ll be able to afford some better recordings.”I listened to the Sills recordings – the Lucia, the Three Queens, Puritani, Norma, Hoffmann – and fell in love with opera then and there. Head over heels. I even gave away all my Patti Smith and Elvis Costello LPs. When I saved some more money I bought some “better recordings.” Callas, Sutherland, Caballe’, even Gruberova. I wish I had been a fly on the wall watching my face as I listened to these “better” recordings, because I was utterly confused. It was as though I was listening to some strange new works.Ok, Callas was by far the best. She’s in her own league. But I loved bel canto and her voice seemed better suited to spinto roles. And the fact that all her good recordings were in bad mono and there were so many cuts in the score was a huge turn off.Sutherland. Help. The Sutherland/Bonynge sense of drama was non-existent. Joan’s mush-mouthed way with words was nearly unlistenable. She had all the notes in spades, but they were machine-like and cold. How anyone could enjoy her droopy, stilted way with this great music is beyond me. For what, the thrill of a few foghorn E flats? Sorry, I know this is heresy, but this isn’t great opera, it’s just great technique.Caballe’. She was disappointing in a different way. After Sills’ quickfire way with coloratura, Caballe’s was labored and oafish. And, even sight unseen, Caballe’ had the dowdy, blowsy sound of a fat fishwife. Sure, she managed a few lovely tones and great pianissimi, but you can’t build a role around those. To my ear, her voice wasn’t a good fit for bel canto either.Gruberova. She may have come close to Sills. Unlike Sutherland and Caballe’, she can sound womanly and even girlish. But her bizarre vocal mannerisms and scooping totally blows it for me. I really don’t know what she hopes to accomplish with all that weirdness when it only serves to take your focus off the music and onto the strange sounds the singer is making. A true diva does not try to upstage her composer.In none of these “better recordings” did I find anything that achieved the total unity of drama and music that the Sills’ recordings had in spades. Decades later, I still feel the same. Sills may have been the most well known opera singer in America, but I think she was the most underrated. Serious opera lovers love to turn up their nose at her, saying the voice is too colorless, too small, too shrill. But I think she of all singers had the perfect voice for bel canto, the main reason being that she could sing all the notes – gracefully, naturally, dramatically and gloriously. She sang Bellini and Donizetti as though born to it, as though it were her primary language. These roles fit her like a glove. I don’t understand why some people think bel canto demands big she-ox voices. These roles weren't written with massive orchestras and massive opera houses in mind. Huge voices make the coloratura sound like a chore the soprano has to get through instead of the joy it should be.Magic? Is that an overstatement? I don’t think so, when speaking of Sills. Why? Sills was magic because she sang this magical bel canto music to perfection. That’s my take. Simple as that. No, not with a lush voice. Not with the biggest voice. But the appropriate voice. A perfect blend of singer and song. Add to this her warmth, humanity and intelligence, and the end result was – well - magic.I’m so happy to finally see that someone has written a book about her. It’s long overdue. And it’s a book she deserves – fascinating, fun and exhaustive. The writer really gets her and she gets what makes people who love Sills love Sills. Great work, a tremendously fun read, and obviously a labor of love. Because there’s a lot to love. Thank you!
3 of 3 people found the following review helpful. On the face it may look like a biography By B from Maryland On the face it may look like a biography, but it isn't. While it does chronicle phases of her career, this book's unique perspective is to examine what gave Sills her appeal as an artist, an object of fandom, and beloved public personality. I haven't seen an examination of "star quality" in quite this way before. Kudos to Nancy Guy for a very interesting work.
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