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A captivating novel that follows the story of a talented young singer, Paula, as she navigates the complex and competitive world of opera. Through Crawford's vivid storytelling, readers are transported to the grand stages of Europe and get a behind-the-scenes look at the drama, romance, and intrigue that unfolds. This is a must-read for fans of historical fiction and music lovers alike. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and…mehr

Produktbeschreibung
A captivating novel that follows the story of a talented young singer, Paula, as she navigates the complex and competitive world of opera. Through Crawford's vivid storytelling, readers are transported to the grand stages of Europe and get a behind-the-scenes look at the drama, romance, and intrigue that unfolds. This is a must-read for fans of historical fiction and music lovers alike. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Autorenporträt
Francis Marion Crawford (1854 - 1909) was an American writer noted for his many novels, especially those set in Italy and for his classic weird and fantastic stories. H. Russell Wakefield, in an essay on ghost stories, called Crawford's "The Upper Berth" "the very best one" of such stories. Norman Douglas credits Crawford's financial success as instrumental in encouraging himself to write (though he remained critical of Crawford's habit of inserting first-person editorial comments into his fiction).