Dr. Charles Margerison – Meet Elvis Presley

Everyone has heard of Elvis Presley! Elvis is a cultural icon all over the world and one of the most famous singers of the 20th century. You may know and love many of his songs and movies, but how much do you know about his real life?

In this unique and inspirational story, gain new insight into the real life of the “The King” and follow him from the two-room shotgun house in Tupelo where he was born, to the time he first walked into Sun Records in Memphis, which changed his life. Gain an inspirational insight on Elvis’ life and better understand the man behind the legend.

Be inspired by this amazing story as it comes alive through BioViews, a short biographical story similar to an interview. These inspirational audiobooks from Amazing People Worldwide provide a new way of learning about amazing people who made major contributions and changed our world.

Author: Dr. Charles Margerison
Narrator: full cast
Duration: 25 minutes
Released: 19 Feb 2004
Publisher: Amazing People Worldwide
Language: English

User Review:

behaviour armed

Why is this opera called “The Bat?” In a nutshell, two gentlemen, Eisenstein and Falke, in the costumes of a butterfly and a bat, respectively, attend a winter masquerade. On the way back, Eisenstein, taking advantage of Falke’s inebriated state, abandons him far from his home. When he wakes up, he has to walk through the town in his bat costume, to his undying embarrassment and the amusement of his fellow citizens. Naturally, he wants to get his own back, and it is for this reason the opera is called, “The Bat.”

From this simple premise, the plot becomes “maddeningly complex,” as the author rightly says. There are “multilayered and omnipresent infidelities,” disguises, deceptions, drinking, dancing, and entirely too much carrying on. An opera featuring “Adele’s Laughing Song” should be fun!

As with so many things that seem effortless, back-breaking work goes before. While Johann Strauss II hadn’t much experience writing for the theatre before he composed this, you’d never know it. He has more than a few operatic tricks up his sleeve, including the masterful use of crescendo and accelerando. The author brings attention to Strauss’ use of rubato, which he refers to as “stealing time to avoid schmaltz.” Some of the roles require nothing less than a virtuoso performer. But the result is accessible, light-hearted, and fun.

A bottle of champagne to David Timson for his narration, and to you should you tackle “Die Fledermaus” during this, its rightful season!