The first edition of this book published in 2001 followed the band from their inception in Des Moines, Iowa in the mid-1990s through to the release of their second album: an updated edition followed in 2003.
It’s now a decade since the first volume appeared, and in that time Slipknot have evolved into a completely different band from the one that first emerged into the limelight in 1999. Everyone knows their faces now.
The band’s music is darker, deeper and more adult after four studio albums, three DVDs and a live release.
Most strikingly, the sudden death of their bass player Paul Gray in 2010 has changed the face and the attitude of the group, although their commercial profile is, if anything, greater than it was before.
Slipknot: All Hope Is Gone explores this unlikely and tragic evolution, with new chapters covering the band’s career to date – and it also asks what their future will be.
Pugni later followed Perrot to St Petersburg and became official composer of the Imperial Theatres in St Petersburg. His most famous collaboration, with Marius Petipa, now followed, which lasted until Pugni’s death. Some of his ballets already well-known in Europe were transferred to St Petersburg, although he also composed new ballets in Russia. Pugni is known above all for his enormous output of musical works, including more than 300 ballets, a dozen operas, over 40 masses, other polyphonic works, and a few symphonies, among which was a Sinfonia a canone, highly praised by Meyerbeer. This extremely prolific composer was very popular with the public, as all his ballets are easy to to listen to and to understand. He also found no diffculty in adapting his music to suit all sorts of choreographic needs, and many different performers.
Doch’ Faraona, or La Fille du Pharaon is a ballet in 3 acts and 9 scenes with prologue and epilogue. The scenario was devised by Vernoy de Saint-Georges and Marius Petipa, with choreography by Petipa. It was first performed on 30 January 1862, in St Petersburg at the Bolshoi Theatre. The principal dancers were Carolina Rosati, Nicholas Golts, Marius Petipa, and Lev Ivanov.
The ballet was inspired by Théophile Gautier’s Le Roman de la Momie, and narrates the adventures of the English Lord Wilson and his servant John Bull,who seek shelter from a storm in an Ancient Egyptian tomb. They smoke opium and in their dreams are taken back to the times of the characters buried there: Lord Wilson meets the Pharaoh’s daughter Aspicia during a lion hunt, helps her to escape from the invidious attentions of the King of Nubia, and undergoes various adventures with her in the Egyptian countryside (including a visit to the watery underworld of the King of the Nile where all the great rivers of the world are represented in national dance). He is eventually saved from sacrifice and united with her in marriage, before waking to the cold light of reality.
The ballet was a resounding success. The spectacle lasted over 4 hours and featured a cast of 400, 80 of them dancers. The spectacle was prepared in only 6 weeks for Carolina Rosati’s farewell performance. This success secured Marius Petipa’s appointment as maître de ballet (assistant ballet master) in St Petersburg. It marked the last of Rosati’s appearances in Russia, but thereafter tempted other great ballerinas, including Marie Petipa, Yekaterina Vazem, Virginia Zucchi, Mathilda Kschessinskaya and Anna Pavlova, each of them contributing her own interpretation of the heroine’s part.
Marius Ivanovich Petipa (1818 -1910) was a hugely influential French balletmaster, teacher and choreographer who became Premier Maître de Ballet of the St. Petersburg Imperial Theatres from 1871 until 1903. Petipa created over fifty ballets, some of which have survived in versions either faithful to, inspired by, or reconstructed from the original, including Pharaoh's Daughter (1862); Don Quixote (1869); La Bayadère (1877); Le Talisman (1889); and Sleeping Beauty (1890) among others. Petipa also revived a substantial number of works created by other ballet masters. His productions became the definitive versions from which nearly all subsequent revivals would be based — Le Corsaire, Giselle, Coppélia, La Fille mal gardée (with Lev Ivanov), The Little Humpbacked Horse and Swan Lake (with Lev Ivanov). There are various dances from Petipa's original works and revivals that have survived in an independent form in versions either based on the original or choreographed anew by others.
Auber’s famous historical grand opera La Muette de Portici (also known by its hero’s name as Masaniello) is a key work in operatic history. Auber himself experienced four French Revolutions (1789, 1830, 1848, 1870). The latter (The Commune) hastened the end of his life. He died on 12 May 1871, at the advanced old age of 89, and in the pitiful conditions of civil strife, after a long and painful illness which worsened during the Siege of Paris. He had refused to leave the city he had always loved despite the dangers and privation, even after his house had been set on fire by the petroleurs et petroleuses. By some irony a mark had been placed against the house of the composer of Masaniello, the very voice of Romantic liberty!
Auber’s overtures were once known everywhere, a staple of the light Classical repertoire. The influence of his gracious melodies and dance rhythms on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany, was overwhelming. The operas themselves, apart from Fra Diavolo (1830), have virtually passed out of the repertoire, since Auber’s elegant and restrained art now has little appeal for the world of music, attuned as it is to the meatier substance of verismo, Wagnerian transcendentalism, and 20th-century experimentalism.
La Muette de Portici, an opera in five acts, with libretto by Eugène Scribe and Germain Delavigne, was premiered at the Académie Royale de Musique (Salle de la rue Le Peletier) on 29 February 1828. The setting is Naples in 1647, against the historical background of the revolt led by the fisherman Tommaso Aniello (Masaniello) against Spanish rule.
This work, of crucial importance for the genre of grand-opéra, or grandiose historical music drama, was one of the most successful of the 19th century, and became enveloped in a revolutionary mystique. This reputation took fire following a performance in Brussels on 25 August 1830 which sparked the uprising for Belgian independence from the Netherlands, and was further sustained by the events of 1848 when stagings of the opera caused tumult and demonstrations in several opera houses.
La Muette de Portici is the first grand-opéra with all the typical characteristics of the genre: five short acts, most of which culminate in a dramatic and decorative tableau; ballets loosely connected with the action (in acts 1 and 3); stage sensation and mass groupings, with lavish use of décor, costumes and machinery (the wedding procession, the busy marketplace and popular uprising, the eruption of Vesuvius), characteristic situations and their appropriate type of aria. There is a group of important leading roles, powerful and functional choruses, and a much expanded reliance on the orchestra.
The music responds to, and reflects, the vivid and imposing scenic effects (based on historical and pictorial research by the great stage designers and painters Pierre-Luc-Charles Cicéri and Louis-Jacques-Mandé Daguerre). The music is also remarkable for its melodic abundance, the excitement of its ensembles, the verve of its dances, and the power and variety of the choruses.
The contrast between the two heroines—Fenella, a mute peasant who expresses herself in gesture and dance in free-form balletic sequence; and Elvire, a glamorous princess who uses the full range of Italianate vocal genres and styles—makes a series of innate dramatic and symbolic points about power and powerlessness, authenticity of emotion, and the nature of commitment. The two tenor roles have a similarly strong, if less vivid, contrast. The prince, Alphonse, comes across as weak and vacillating, whereas Masaniello, the fisherman, is a natural leader, a man among men, whose devotion to his people, to freedom, as well as to his pathetic broken sister, mark him out as hero.
The roles were created by Adolphe Nourrit (Masaniello); Alexis Dupont (Alphonse); Laure Cinti-Damoreau (Elvire); Henri-Bernard Dabadie (Pietro) and Prévot (Borella); with Pouilley, Jean-Etienne-Auguste Massol, Ferdinand Prévot and Mlle Lorotte. The dancer Lise Noblet realized the role of Fenella. The opera was one of the greatest successes at the Paris Opéra, the 100th performance taking place on the 23 April 1840, the 500th on 14 June 1880. It was also successful in other countries, especially Germany. The work was translated into German, Hungarian, English, Italian, Czech, Dutch, Danish, Polish, Norwegian, Swedish, Croatian and Russian.
This edition reproduces the vocal score published by E. Troupenas (c. 1828).
Auber’s overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, high Wagnerian ideology, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber’s elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was.
Les Diamants de la couronne (1841) is a piece of really refined, almost surreal, fantasy. In many respects, it represents something of a distillation of the art of Scribe and Auber, a synthesis in some ways of the more earthy comedy of Fra Diavolo and the almost spiritual sophistication of Le Domino noir. Both plot and music carry the natural instincts of both creators to their extreme attainment. Berlioz singled out its musical beauty in his critique of the work. The narrative, with its story of royal counterfeiting, romance fulfilment and social restitution, combines several recurrent motifs that preoccupied Scribe, with the exotic Iberian setting opening up the Mediterranean sphere so stimulating to the artistic imagination of both librettist and composer. Catarina, heiress to the crown of Portugal, has a copy of the crown jewels made so that she can sell off the originals to pay off the national debt. The young queen's ploy works, the nation is saved. The music is very brilliant for the principal character who, by turns queen, brigand, and prima donna, sings variations of the greatest virtuosity and in the best of vocal styles.
This edition reproduces the vocal score published in London by Boosey and Co. (c. 1880), the Royal Edition, edited by Arthur Sullivan and Josiah Pittman (with Italian and English words).