If you love the danger and sword-fighting of MERLIN, you'll like this! In a discontent kingdom, civil war is brewing. To unify the divided people, Conner, a nobleman of the court, devises a cunning plan to find an impersonator of the king's long-lost son and install him as a puppet prince. Four orphans are recruited to compete for the role, including a defiant boy named Sage. Sage knows that Conner's motives are more than questionable, yet his life balances on a sword's point - he must be chosen to play the prince or he will certainly be killed. As Sage's journey continues, layer upon layer of treachery and deceit unfold, until finally a truth is revealed that proves more dangerous than all of the lies put together.
Truth is the first casualty of war. Over a year has passed since the events that changed Helen's life forever. With Maxim and her other friends, she is fighting to uphold the legacy entrusted to her, but struggles with the weight of memory, the stress of trying to keep Trinity afloat, and the continuing manipulations of the company's enemies. Meanwhile, in a remote coastal settlement in southern Mexico, a young fisherman is made an offer he can't refuse. This triggers a chain of events which will completely transform the struggle for Helen's ownership of Trinity and the secrets of the Koldun code. The False Prince is the second book in the Trinity series by Sophie Masson, which began with The Koldun Code.
The Supernatural in Eighteenth-Century Musical Theater
Author: David J. Buch
Pubpsher: University of Chicago Press
Drawing on hundreds of operas, singspiels, ballets, and plays with supernatural themes, Magic Flutes and Enchanted Forests argues that the tension between fantasy and Enlightenment-era rationality shaped some of the most important works of eighteenth-century musical theater and profoundly influenced how audiences and critics responded to them. David J. Buch reveals that despite—and perhaps even because of—their fundamental irrationality, fantastic and exotic themes acquired extraordinary force and popularity during the period, pervading theatrical works with music in the French, German, and Italian mainstream. Considering prominent compositions by Gluck, Rameau, and Haydn, as well as many seminal contributions by lesser-known artists, Buch locates the origins of these magical elements in such historical sources as ancient mythology, European fairy tales, the Arabian Nights, and the occult. He concludes with a brilliant excavation of the supernatural roots of Mozart’s The Magic Flute and Don Giovanni, building a new foundation for our understanding of the magical themes that proliferated in Mozart’s wake.
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