2011, ISBN: 9780809252565

Taschenbuch, Gebundene Ausgabe, Erstausgabe

Oxford University Press, 1989. Reprint. Trade Paperback. Used - Very Good. From the library of noted American poet William Matchett with his signature and date on front free end paper. … Mehr…

Oxford University Press, 1989. Reprint. Trade Paperback. Used - Very Good. From the library of noted American poet William Matchett with his signature and date on front free end paper. In Very Good condition, light edgewear, creasing to wraps, and tanning throughout., Oxford University Press, 1989, 3, London: William Heinemann, 1935. 1st. Hardcover. Good/None. 819 pages, b&w illustrations, folding family chart in front. Covers worn, light soil. Previous owner's signature on prelim page. Record # 800461, William Heinemann, 1935, 2.5, Farrar, Straus and Giroux. Very Good. 5.5 x 0.85 x 8.2 inches. Paperback. 1975. 176 pages. <br>A classic of reportage, Oranges was first conceive d as a short magazine article about oranges and orange juice, but the author kept encountering so much irresistible information th at he eventually found that he had in fact written a book. It con tains sketches of orange growers, orange botanists, orange picker s, orange packers, early settlers on Florida's Indian River, the first orange barons, modern concentrate makers, and a fascinating profile of Ben Hill Griffin of Frostproof, Florida who may be th e last of the individual orange barons. McPhee's astonishing book has an almost narrative progression, is immensely readable, and is frequently amusing. Louis XIV hung tapestries of oranges in th e halls of Versailles, because oranges and orange trees were the symbols of his nature and his reign. This book, in a sense, is a tapestry of oranges, too?with elements in it that range from the great orangeries of European monarchs to a custom of people in th e modern Caribbean who split oranges and clean floors with them, one half in each hand. Editorial Reviews Review Whil e many readers are familiar with John McPhee's masterful pieces o n a large scale (the geological history of North America, or the nature of Alaska), McPhee is equally remarkable when he considers the seemingly inconsequential. Oranges was conceived as a short magazine piece, but thanks to his unparalleled investigative skil ls, became a slim, fact-filled book. As McPhee chronicles orange farmers struggling with frost and horticulturists' new breeds of citrus, oranges come to seem a microcosm of man's relationship wi th nature. Like Flemish miniaturists who reveal the essence of humankind within the confines of a tiny frame, McPhee once again demonstrates that the smallest topic is replete with history, sig nificance, and consequence. Review Fascinating. A sterling exa mple of what a fresh point of view, a clear style, a sense of hum or and diligent investigation can do to reveal the inherent inter est in something as taken-for-granted as your morning orange juic e. ?Edmund Fuller, The Wall Street Journal It is a delicious boo k, in a word, and more absorbing than many a novel. ?Roderick Coo k, Harper's About the Author John McPhee was born in Princeton, New Jersey, and was educated at Princeton University and Cambrid ge University. His writing career began at Time magazine and led to his long association with The New Yorker, where he has been a staff writer since 1965. Also in 1965, he published his first boo k, A Sense of Where You Are, with Farrar, Straus and Giroux, and in the years since, he has written over 30 books, including Orang es (1967), Coming into the Country (1977), The Control of Nature (1989), The Founding Fish (2002), Uncommon Carriers (2007), and S ilk Parachute (2011). Encounters with the Archdruid (1972) and Th e Curve of Binding Energy (1974) were nominated for National Book Awards in the category of science. McPhee received the Award in Literature from the Academy of Arts and Letters in 1977. In 1999, he was awarded the Pulitzer Prize for Annals of the Former World . He lives in Princeton, New Jersey. Review Fascinating. A ster ling example of what a fresh point of view, a clear style, a sens e of humor and diligent investigation can do to reveal the inhere nt interest in something as taken-for-granted as your morning ora nge juice. ?Edmund Fuller, The Wall Street Journal It is a delic ious book, in a word, and more absorbing than many a novel. ?Rode rick Cook, Harper's About the Author John McPhee was born in Pr inceton, New Jersey, and was educated at Princeton University and Cambridge University. His writing career began at Time magazine and led to his long association with The New Yorker, where he has been a staff writer since 1965. Also in 1965, he published his f irst book, A Sense of Where You Are, with Farrar, Straus and Giro ux, and in the years since, he has written over 30 books, includi ng Oranges (1967), Coming into the Country (1977), The Control of Nature (1989), The Founding Fish (2002), Uncommon Carriers (2007 ), and Silk Parachute (2011). Encounters with the Archdruid (1972 ) and The Curve of Binding Energy (1974) were nominated for Natio nal Book Awards in the category of science. McPhee received the A ward in Literature from the Academy of Arts and Letters in 1977. In 1999, he was awarded the Pulitzer Prize for Annals of the Form er World. He lives in Princeton, New Jersey. About the Author Jo hn McPhee was born in Princeton, New Jersey, and was educated at Princeton University and Cambridge University. His writing career began at Time magazine and led to his long association with The New Yorker, where he has been a staff writer since 1965. Also in 1965, he published his first book, A Sense of Where You Are, with Farrar, Straus and Giroux, and in the years since, he has writte n over 30 books, including Oranges (1967), Coming into the Countr y (1977), The Control of Nature (1989), The Founding Fish (2002), Uncommon Carriers (2007), and Silk Parachute (2011). Encounters with the Archdruid (1972) and The Curve of Binding Energy (1974) were nominated for National Book Awards in the category of scienc e. McPhee received the Award in Literature from the Academy of Ar ts and Letters in 1977. In 1999, he was awarded the Pulitzer Priz e for Annals of the Former World. He lives in Princeton, New Jers ey. Excerpt. ® Reprinted by permission. All rights reserved. Or anges By John McPhee Farrar, Straus and Giroux Copyright © 1975 John McPhee All right reserved. ISBN: 9780374512972 Oranges ONEO RANGES THE custom of drinking orange juice with breakfast is no t very widespread, taking the world as a whole, and it is thought by many peoples to be a distinctly American habit. But many Dane s drink it regularly with breakfast, and so do Hondurans, Filipin os, Jamaicans, and the wealthier citizens of Trinidad and Tobago. The day is started with orange juice in the Colombian Andes, and , to some extent, in Kuwait. Bolivians don't touch it at breakfas t time, but they drink it steadily for the rest of the day. The p lay lunch, or morning tea, that Australian children carry with th em to school is usually an orange, peeled spirally halfway down, with the peel replaced around the fruit. The child unwinds the pe el and holds the orange as if it were an ice-cream cone. People i n Nepal almost never peel oranges, preferring to eat them in cut quarters, the way American athletes do. The sour oranges of Afgha nistan customarily appearas seasoning agents on Afghan dinner tab les. Squeezed over Afghan food, they cut the grease. The Shamouti Orange, of Israel, is seedless and sweet, has a thick skin, and grows in Hadera, Gaza, Tiberias, Jericho, the Jordan Valley, and Jaffa; it is exported from Jaffa, and for that reason is known un iversally beyond Israel as the Jaffa Orange. The Jaffa Orange is the variety that British people consider superior to all others, possibly because Richard the Lionhearted spent the winter of 1191 -92 in the citrus groves of Jaffa. Citrus trees are spread across the North African coast from Alexandria to Tangier, the city who se name was given to tangerines. Oranges tend to become less tart the closer they are grown to the equator, and in Brazil there is one kind of orange that has virtually no acid in it at all. In t he principal towns of Trinidad and Tobago, oranges are sold on st reet corners. The vender cuts them in half and sprinkles salt on them. In Jamaica, people halve oranges, get down on their hands a nd knees, and clean floors with one half in each hand. Jamaican m echanics use oranges to clear away grease and oil. The blood oran ge of Spain, its flesh streaked with red, is prized throughout Eu rope. Blood oranges grow well in Florida, but they frighten Ameri can women. Spain has about thirty-five million orange trees, grow s six billion oranges a year, and exports more oranges than any o ther country, including the United States. In the Campania region of Italy, land is scarce; on a typical small patch, set on a ste ep slope, orange trees are interspersed witholive and walnut tree s, grapes are trained to cover trellises overhead, and as many as five different vegetables are grown on the ground below. The ove r-all effect is that a greengrocer's shop is springing out of the hillside. Italy produces more than four billion oranges a year, but most of its citrus industry is scattered in gardens of one or two acres. A Frenchman sits at the dinner table, and, as the fin ishing flourish of the meal, slowly and gently disrobes an orange . In France, peeling the fruit is not yet considered an inconveni ence. French preferences run to the blood oranges and the Thomson Navels of Spain, and to the thick-skinned, bland Maltaises, whic h the French import not from Malta but from Tunisia. France itsel f only grows about four hundred thousand oranges each year, almos t wholly in the Department of the Alpes Maritimes. Sometimes, Eur opeans eat oranges with knives and forks. On occasion, they serve a dessert orange that has previously been peeled with such extra ordinary care that strips of the peel arc outward like the petals of a flower from the separated and reassembled segments in the c enter. The Swiss sometimes serve oranges under a smothering of su gar and whipped cream; on a hot day in a Swiss garden, orange jui ce with ice is a luxurious drink. Norwegian children like to remo ve the top of an orange, make a little hole, push a lump of sugar into it, and then suck out the juice. English children make oran ge-peel teeth and wedge them over their gums on Halloween. Irish children take oranges to the movies, where they eat them while th ey watch the show, tossing thepeels at each other and at the peop le on the screen. In Reykjavik, Iceland, in greenhouses that are heated by volcanic springs, orange trees yearly bear fruit. In th e New York Botanical Garden, six mature orange trees are growing in the soil of the Bronx. Their trunks are six inches in diameter , and they bear well every year. The oranges are for viewing and are not supposed to be picked. When people walk past them, howeve r, they sometimes find them irresistible. The first known refer ence to oranges occurs in the second book of the Five Classics, w hich appeared in China around 500 B.C. and is generally regarded as having been edited by Confucius. The main course of the migrat ion of the fruit--from its origins near the South China Sea, down into the Malay Archipelago, then on four thousand miles of ocean current to the east coast of Africa, across the desert by carava n and into the Mediterranean basin, then over the Atlantic to the American continents--closely and sometimes exactly kept pace wit h the major journeys of civilization. There were no oranges in th e Western Hemisphere before Columbus himself introduced them. It was Pizarro who took them to Peru. The seeds the Spaniards carrie d came from trees that had entered Spain as a result of the rise of Islam. The development of orange botany owes something to Vasc o da Gama and even more to Alexander the Great; oranges had symbo lic importance in the paintings ofRenaissance masters; in other t imes, at least two overwhelming invasions of the Italian peninsul a were inspired by the visions of paradise that oranges engendere d in northern minds. Oranges were once the fruit of the gods, to whom they were the golden apples of the Hesperides, which were st olen by Hercules. Then, in successive declensions, oranges became the fruit of emperors and kings, of the upper prelacy, of the ar istocracy, and, by the eighteenth century, of the rich bourgeoisi e. Another hundred years went by before they came within reach of the middle classes, and not until early in this century did they at last become a fruit of the community.Just after the Second Wo rld War, three scientists working in central Florida surprised th emselves with a simple idea that resulted in the development of c ommercial orange-juice concentrate. A couple of dozen enormous fa ctories sprang out of the hammocks, and Florida, which can be cou nted on in most seasons to produce about a quarter of all the ora nges grown in the world, was soon putting most of them through th e process that results in small, trim cans, about two inches in d iameter and four inches high, containing orange juice that has be en boiled to high viscosity in a vacuum, separated into several c omponent parts, reassembled, flavored, and then frozen solid. Peo ple in the United States used to consume more fresh oranges than all other fresh fruits combined, but in less than twenty years th e per-capita consumption has gone down seventy-five per cent, as appearances of actual oranges in most of the UnitedStates have be come steadily less frequent. Fresh, whole, round, orange oranges are hardly extinct, of course, but they have seen better days sin ce they left the garden of the Hesperides.Fresh oranges have beco me, in a way, old-fashioned. The frozen product made from them is pure and sweet, with a laboratory-controlled balance between its acids and its sugars; its color and its flavor components are as uniform as science can make them, and a consumer opening the six -ounce can is confident that the drink he is about to reconstitut e will taste almost exactly like the juice that he took out of th e last can he bought. Fresh orange juice, on the other hand, is p robably less consistent in flavor than any other natural or ferme nted drink, with the possible exception of wine.The taste and aro ma of oranges differ by type, season, county, state, and country, and even as a result of the position of the individual orange in the framework of the tree on which it grew. Ground fruit--the or ange that one can reach and pick from the ground--is not as sweet as fruit that grows high on the tree. Outside fruit is sweeter t han inside fruit. Oranges grown on the south side of a tree are s weeter than oranges grown on the east or west sides, and oranges grown on the north side are the least sweet of the lot. The quant ity of juice in an orange, and even the amount of Vitamin C it co ntains, will follow the same pattern of variation. Beyond this, t here are differentiations of quality inside a single orange. Indi vidual segments vary from one another in their contentof acid and sugar. But that is cutting it pretty fine. Orange men, the ones who actually work in the groves, don't discriminate to that exten t. When they eat an orange, they snap out the long, thin blades o f their fruit knives and peel it down, halfway, from the blossom end, which is always sweeter and juicier than the stem, Farrar, Straus and Giroux, 1975, 3, Knopf. Very Good. 6.5 x 1 x 9.75 inches. Hardcover. 1998. 259 pages. dj has small rip. Price clipped.<br>A wickedly funny l ook at opera today--the feuds and deals, maestros and managers, d ivine voices and outsized egos--and a portrait of the opera world 's newest superstar at a formative point in her life and career. In Cinderella & Company, Pulitzer Prize-winning journalist Manuel a Hoelterhoff takes us on a two-year trip on the circuit with Cec ilia Bartoli, the young mezzo-soprano who has captured an adoring public around the world. Rossini's Cenerentola is Bartoli's sign ature role, and Cinderella & Company tells the fairy-tale story o f her life, which started on a modest street in Rome where the Fi at was the coach of choice. The lucky break, the meteoric rise, t he starlit nights and nail-chewing days are all part of a narrati ve that shows Bartoli rehearsing, playing, traveling, eating, and charming us with her vivacity and dazzling virtuosity. Along th e way, Hoelterhoff gives us an unusually vivid, behind-the-scenes look at the opera world. The first stop is Houston, where Bartol i brightens a droopy Cenerentola production; later scenes follow her to Disney World and to the Metropolitan Opera, where a fidget y cast awaits the flight-phobic mezzo's arrival for Mozart's Cosi fan tutte. Traveling to Santa Fe, Paris, Rome, Venice, and Londo n, Hoelterhoff drops in on opening nights and boardroom meetings, talks to managers and agents, describes where the money comes fr om, and survives one of the longest galas in history. Here too a re tantalizing glimpses of divinities large and small: Kathleen B attle's famously chilly limousine ride; Plácido Domingo flying th rough three time zones to step into the boots of an ailing Otello ; Luciano Pavarotti aiming for high C in his twilight years. And we meet the present players in Bartoli's world: Roberto Alagna an d Angela Gheorghiu, a.k.a. the Love Couple; Jane Eaglen, the Wagn erian web potato monitoring her cyberspace fan mail; the appealin g soprano Renée Fleming, finally on the brink of stardom. At onc e informed and accessible, Cinderella & Company brings the world of grand opera into sharp focus--right up to the last glimpse of Cecilia Bartoli waving triumphantly from Cinderella's wedding cak e. Editorial Reviews The author defines her style at the begin ning of this bright, gossipy book about one of opera's youngest s uperstars. Manuela Hoelterhoff starts off by discussing Rossini's Cinderella opera, La Cenerentola, which she then uses as a recur ring metaphor throughout the book. Her description is accurate wh en she calls it music that dances, whispers, charms and dazzles f rom beginning to end. But if one substitutes prose for music in t hat quote, she might well be writing about Cinderella & Company. Hoelterhoff's style is deliciously appropriate for her chosen su bject, the world of mezzo-soprano Cecilia Bartoli. It is even mor e suited to the story's background: the larger-than-life style of the world's great opera houses and the colorful personalities of many people found there--onstage, backstage, and even in the aud ience. In terms of eccentricity, Bartoli does not stand out; she has a fair share of phobias (flying, computers, microphones), and she cancels performances more frequently than her fans would lik e, but her primary interest is musical: a voice, not very powerfu l but beautiful, which she uses with a fine sense of bel canto st yle, considerable acting skill, and a careful choice of the right music. Much of the book's appeal lies in its descriptions of pe ople, which tend to be short, pungent, and devastatingly on targe t: Maria Callas, the queen of whatever opera company she wasn't f euding with; conductor Herbert von Karajan, who had a reputation, entirely deserved, as a voice killer; baritone Bryn Terfel, a gu y with the body of Meat Loaf and an exuberant performing style; a gent-publicist Herbert Breslin, a motor-mouthed, bullet-headed .. . egomaniac ... I used to go through the obituary section of the Times looking for his; Luciano Pavarotti, a crumbling monument; a nd lots more. --Joe McLellan From Publishers Weekly There aren' t many books about opera?or anything else, for that matter?that m ake you laugh out loud, but this is one of them. In her first boo k, Hoelterhoff, who won a Pulitzer for her cultural criticism at the Wall Street Journal, had the bright idea of following superst ar Bartoli around for a time to take the temperature of the conte mporary opera world. Bartoli herself isn't all that interesting?s he's pretty and charming, has a superb coloratura mezzo but a tin y repertoire, and has made her reputation mostly by showy recordi ngs?but it really doesn't matter. She is just a box-office name o n which to hang as witty and bitchy a picture of this rarefied wo rld as the gossipiest opera lover could ask for. Divas struggling with their weight and declining reputations; grasping managers; brutally cynical opera officials; Pavarotti fighting for his lost top notes and the adrenaline of ovations; and excuses for missin g performances that make the dog ate my homework seem inspired?al l are recurring elements in Hoelterhoff's delicious portrait. She seems, in the two years she followed Bartoli, to have been every where and talked to everyone who counts in the opera world; but e verything she is told gets filtered through her scintillating sen se of the ridiculous. Only one quibble: It may be her WSJ backgro und, but she seems never to have encountered a musicians' union s he didn't hate, whereas the ludicrous sums paid to some stars see m to warrant only a dismissive shrug. 8 pages of photos not seen by PW. 50,000 first printing. Copyright 1998 Reed Business Infor mation, Inc. From Publishers Weekly There aren't many books abou t opera?or anything else, for that matter?that make you laugh out loud, but this is one of them. In her first book, Hoelterhoff, w ho won a Pulitzer for her cultural criticism at the Wall Street J ournal, had the bright idea of following superstar Bartoli around for a time to take the temperature of the contemporary opera wor ld. Bartoli herself isn't all that interesting?she's pretty and c harming, has a superb coloratura mezzo but a tiny repertoire, and has made her reputation mostly by showy recordings?but it really doesn't matter. She is just a box-office name on which to hang a s witty and bitchy a picture of this rarefied world as the gossip iest opera lover could ask for. Divas struggling with their weigh t and declining reputations; grasping managers; brutally cynical opera officials; Pavarotti fighting for his lost top notes and th e adrenaline of ovations; and excuses for missing performances th at make the dog ate my homework seem inspired?all are recurring e lements in Hoelterhoff's delicious portrait. She seems, in the tw o years she followed Bartoli, to have been everywhere and talked to everyone who counts in the opera world; but everything she is told gets filtered through her scintillating sense of the ridicul ous. Only one quibble: It may be her WSJ background, but she seem s never to have encountered a musicians' union she didn't hate, w hereas the ludicrous sums paid to some stars seem to warrant only a dismissive shrug. 8 pages of photos not seen by PW. 50,000 fir st printing. Copyright 1998 Reed Business Information, Inc. Fro m Library Journal Several years ago, mezzo soprano Cecilia Bartol i was the hottest young opera singer around. Hoelterhoff, a membe r of the editorial board of the Wall Street Journal, where she re ceived a Pulitzer Prize for cultural criticism, follows Bartoli's career over a two-year period (October 1995 through October 1997 ), talking with the singer and her family, manager, colleagues, a nd rivals. The result is an affectionate if not always flattering look at a charmingly eccentric artist. The title, however, is so mewhat misleading; the Bartoli story in fact functions as a frame work for the author's cynical and witty observations. (Her accoun t of the recent eight-hour gala celebrating James Levine's 25th a nniversary at the Metropolitan Opera is not to be missed.) A grea t deal of attention is paid to other singers, including Renee Fle ming, Luciano Pavarotti (Mr. P.), and Roberto Alagna and Angela G heorghiu (The Love Couple). We learn about singers' fees, the rol e of record companies, and the harrowing life of a manager. The a uthor knows her subject well; hers is a delicious mix of gossip a nd insightful commentary. Highly recommended for public libraries .AKate McCaffrey, Onondaga Cty. P.L., Syracuse, NY Copyright 1998 Reed Business Information, Inc. From Booklist Wall Street Journ al music critic Hoelterhoff spent two years tracking the career o f Cecilia Bartoli, the Roman mezzo-soprano whose way with bel can to repertoire, Rossini's Cenerentola (i.e., Cinderella) in partic ular, had made her America's favorite younger singer. Because thi s wasn't a matter of journalistic stalking and because Hoelterhof f cultivates friendly relations with the subjects of her critique s, she also dropped in on the careers of such other singers as up -and-comers soprano Angela Gheorghiu and tenor Roberto Alagna, th e late-blooming Rene e Fleming, the judiciously long-lasting Mire lla Freni, and the fabulous, faltering, fading Fat Man (Pavarotti --who else?). Her reporting on them makes utterly delicious readi ng--and not just for opera mavens--because she is wry and funny, because she loves singing and opera and describes their effects o n good listeners well, and because she is fascinated by these eno rmously temperamental people, whom she sees as justified in their egocentricities by the fact that they do regularly what is flat- out impossible for the rest of us. Ray Olson Review ...a hilario us, revealing, and sometimes malicious book about operatic intrig ue on and off the stage. -- The Boston Globe, Richard Dyer ...a naughtily witty tell-almost-all book (there is, thank God, no sex ) that has the further advantage of being true. -- The New York T imes Book Review, Terry Teachout ...the most perceptive and hila riously honest book on the making and marketing of opera to come along in some time. -- The New York Times, Anthony Tommasini Fro m the Publisher The most perceptive and hilariously honest book o n the making and marketing of opera to come along in some time... .For two years, Ms. Hoelterhoff had enviable access to Cecilia Ba rtoli and her circle: her mother, a former chorus soprano and sti ll Ms. Bartoli's most trusted vocal coach; her worldly Italian bo yfriend; her savvy manager, and a whole cast of recording executi ves and attendant conductors who pass through the story like comp rimario characters in an opera buffa....Happily for readers, Ms. Hoelterhoff introduces us to just about everyone operatic she met during those two years, interspersed with collected bits of wisd om and gossip....Ms. Hoelterhoff is such an interesting observer and beguiling writer that you eagerly follow her anywhere.....Kno wing of Ms. Hoelterhoff's reputation as an unsparing cirtic and r eporter, it's amazing that so many people in the business talked with her so freely, most notably the powerful manager and public relations maestro Herbert Breslin. [His] soliloquy on how he and his prime client, Luciano Pavarotti, showed everyone how real mon ey could be made in opera is breathtaking in its honesty and sham elessness.... The sections on Bartoli are the heart of the book. There is ample evidence of her superb musicianship, determination and unconventionally interesting career choices.....Ms. Bartoli' s career is a juggernaut, and one can only hope she keeps her bal ance. Ms. Hoelterhoff makes few predictions, but it is immensely fun an informative to read her account of the problems. -- Antho ny Tommasini, The New York Times Manuela Hoelterhoff has written a delightful and savvy book about the opera world and Cecilia B artoli--all world-class. It's a wonderful book! --Beverly Sills A naughtily witty tell-almost-all book that has the further advan tage of being true...Cinderella & Company is very good on the cir cuslike aspects of real-life opera: the near psychotic egomania a nd secret insecurity, the cruel inside jokes ('How many divas doe s it take to screw in a light bulb? Just one. She holds the bulb and the world revolves around her.')...No less important is Hoelt erhoff's cold-eyed grasp of the effects big money has on grand op era...Her fang marks can be spotted on nearly every page. ...But what makes Cinderella & Company more than just a book-length bloo dletting is Hoelterhoff's unexpected sympathy for most of the sin gers about whom she writes. --Terry Teachout, The New York Times Hilarious...Opera buffs will munch happily [on] these nuggets. - -Jesse Birnbaum, Time As witty a picture as the gossipiest opera lover could ask for --Publishers Weekly I couldn't put the book down...At its center is a sympathetic, warm-hearted portrait of one of the most gifted singers of today...But Cecilia Bartoli is seen in gossipy context: every big name in the mad world of oper a is here--Pavarotti, Tebaldi, Domingo, Levine, The Alagnas--and few escape Hoelterhoff's eagle eye or her wit, as dry and sparkli ng as the best champagne. --Rodney Milnes, editor of Opera Magazi ne and chief opera critic of the London Times Vastly entertainin g...enormously readable, often hilarious...Hoelterhoff puts her f ormidable critical abilities to work in combination with an unspa ring eye for foibles, a sharp ear for first-rate gossip, and a ra conteur's gift. --John Berendt, author of Midnight in the Garden From the Inside Flap A wickedly funny look at opera today--the f euds and deals, maestros and managers, divine voices and outsized egos--and a portrait of the opera world's newest superstar at a formative point in her life and career. In Cinderella & Company, Pulitzer Prize-winning journalist Manuela Hoelterhoff takes us on a two-year trip on the circuit with Cecilia Bartoli, the young m ezzo-soprano who has captured an adoring public around the world. Rossini's Cenerentola is Bartoli's signature role, and Cinderell a & Company tells the fairy-tale story of her life, which started on a modest street in Rome where the Fiat was the coach of choic e. The lucky break, the meteoric rise, the starlit nights and nai l-chewing days are all part of a narrative that shows Bartoli reh earsing, playing, traveling, eating, and charming us with her viv acity and dazzling virtuosity. Along the way, Hoelterhoff gives, Knopf, 1998, 2.75, SOFTBACK SHIPPED FROM THE UK.* Edn: 1st. Thus.* Impression: 1st.* Date of Publication: 1974(1960)* Publisher: William Collins & Son.* Binding and cover condition: Colour-illustrated soft card covers showing submarine and sailing vessel wreck with buoy in forground. No bumps or rubs. Minimal shelf wear to edges & corners. No creases to spine or hinge but some slight spine lean. VG* Contents condition: PRIVATE COPY NOT EX-LIBRARY. Owners signature to ffep. Clean, crisp, & tight. No annotations or marks to text, slight colouration to page margins and edges. VG* Illustrations: None.* Pages: 188 pp. text. ii pp. advertisements at rear.* Product Description:- It is John Barrow who persuades Ian Ogilvie to leave a research unit in Pretoria and work day and night to build an electric shark barrier on the lonely Mozambique coast. But only when Ogilvie gets there and starts work for his strange employer does he realise the significance of his presence at Aguada do Boa Paz.* This is a VG copy of the 1st./1st. thus with minimal age & shelf wear.*, HarperTrophy, 1990-11-01, 3, SOFTBACK SHIPPED FROM THE UK.* Edn: 1st. Thus.* Impression: 1st.* Date of Publication: 1974(1960)* Publisher: William Collins & Son.* Binding and cover condition: Colour-illustrated soft card covers showing submarine and sailing vessel wreck with buoy in forground. No bumps or rubs. Minimal shelf wear to edges & corners. No creases to spine or hinge but some slight spine lean. VG* Contents condition: PRIVATE COPY NOT EX-LIBRARY. Owners signature to ffep. Clean, crisp, & tight. No annotations or marks to text, slight colouration to page margins and edges. VG* Illustrations: None.* Pages: 188 pp. text. ii pp. advertisements at rear.* Product Description:- It is John Barrow who persuades Ian Ogilvie to leave a research unit in Pretoria and work day and night to build an electric shark barrier on the lonely Mozambique coast. But only when Ogilvie gets there and starts work for his strange employer does he realise the significance of his presence at Aguada do Boa Paz.* This is a VG copy of the 1st./1st. thus with minimal age & shelf wear.*, HarperCollins Distribution Services, 1974-11-01, 3, London, U.K: Batsford, 1971. Tight, crisp and clean; crisp d/w. neat front sig're.. First Edition. Cloth. Very Good/Very Good. 8vo - over 7¾" - 9¾" tall. Hardback., Batsford, 1971, 3, Chicago: Contemporary Books, 1985. 1st Edition 1st Printing. Paperback. Very Good. 8vo - over 7¾ - 9¾" tall. First edition first printing thus paperback 208 pages Illustrated Very good condition Signed by the author (Olympic Gold medal Winner) on title page (flat signature dated 1985), Contemporary Books, 1985, 3<

1985, ISBN: 0809252562

Taschenbuch, Erstausgabe

[EAN: 9780809252565], Gebraucht, sehr guter Zustand, [PU: Contemporary Books, Chicago], ARCHERY FOR BEGINNERS UPDATED AND REVISED; WILLIAMS, JOHN C.; HELGELAND, GLENN, First edition first… Mehr…

[EAN: 9780809252565], Gebraucht, sehr guter Zustand, [PU: Contemporary Books, Chicago], ARCHERY FOR BEGINNERS UPDATED AND REVISED; WILLIAMS, JOHN C.; HELGELAND, GLENN, First edition first printing thus paperback 208 pages Illustrated Very good condition Signed by the author (Olympic Gold medal Winner) on title page (flat signature dated 1985), Books<

ISBN: 9780809252565

Contemporary Books. Paperback. GOOD. Spine creases, wear to binding and pages from reading. May contain limited notes, underlining or highlighting that does affect the text. Possible ex… Mehr…

Contemporary Books. Paperback. GOOD. Spine creases, wear to binding and pages from reading. May contain limited notes, underlining or highlighting that does affect the text. Possible ex library copy, will have the markings and stickers associated from the library. Accessories such as CD, codes, toys, may not be included., Contemporary Books, 2.5<