Haydn’s Great Escape

Haydn Goes on Tour

Starting Wednesday, Haydn and I will be on tour with Dolly Caswell’s Great Escapes Virtual Book Tour Company. Join us to read a selection of excerpts from the book and win a print copy of Aria to Death.

Click on the banner for more details or see the itinerary below:

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Opera in the Time of Haydn

Haydn Conducting an Opera at Eszterhaza

“The comely Grilletta would never roar out her lines in a lusty fortissimo. It is entirely out of character.” (Aria to Death, Chapter One)

How did eighteenth-century audiences regard opera? We’re so used to prioritizing the music of an opera, that its other aspects—the plot, the ability, in particular the thespian ability, of the singers, and the scenery—sometimes pale into insignificance. The composer’s name is so inextricably intertwined with an opera that we forget there would be no opera without the plot and characters furnished by the librettist.

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Haydn and the Holiday Feast

How did Haydn, a devout Catholic, mark feast days? None of his early biographers make much mention of what he did. Feast Days of the diverse saints in the Roman Catholic calendar were, of course, marked in Vienna. Processions were common and the imperial couple frequently attended the many convents that dotted the inner city to celebrate the day.

But was there any that was marked as a holiday, celebrated by all?

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When Murder Strikes. . .

The Kapellmeister must don the role of Kapell-detective yet again

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