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Article

Anne Shelley

Christie , the group is named after an opera by Marc-Antoine Charpentier. The versatile ensemble, whose performances include secular chamber works, sacred choral works, oratorios, and opera, is dedicated to the advancement of early music and incorporates Baroque instruments into all their recordings and performances. At first, the group specialized in the music of Charpentier, but they quickly incorporated into their repertory works by other early composers. Beginning with their groundbreaking 1987 production of Lully’s Atys at the Opéra Comique in Paris (a production

Article

Andrew Clark

and has since appeared with all the leading US companies, including the Metropolitan Opera, where she made her début as Cherubino in 1989 , and Los Angeles Opera, where her début role was Octavian ( 1994 ). Mentzer has been particularly successful in the Strauss and Mozart travesty roles, but is also an accomplished Zerlina (the role of her La Scala début in 1987 ), Dorabella, Adalgisa, Giovanna Seymour ( Anna Bolena ), Marguerite ( La damnation de Faust ), Romeo ( I Capuletti e i Montecchi ), Mélisande, which she first sang at the Opéra Bastille in Paris, and Nicklausse

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thought too long to be performed complete. Pergolesi’s La serva padrona , originally composed as a pair of intermezzos for performance in a serious opera, is also a favourite for inclusion in double bills. A historic example is the performance of Mozart’s Der Schauspieldirektor and Salieri’s Prima la musica, dopo le parole in 1786 at opposite ends of the orangery at Schönbrunn Palace, Vienna; in the interval all the chairs were turned round.

Article

James May

( Il barbiere ), Don Pasquale and Figaro ( Il barbiere and Figaro ); he was awarded the first Nederburg Prize for opera in 1971 for his portrayal of Papageno. He was resident producer at the Nico Malan Opera House in Cape Town, 1976–81 , and head of the opera school of the University of Cape Town, 1982–8 . In 1989 he was appointed director of opera for the Cape Performing Arts Board. He has directed – mainly from the Italian repertory – for all the arts councils in South Africa.

Article

Olive Baldwin and Thelma Wilson

was in England to sign each year for the livery payment due to him on 30 November. On 28 October 1704 the Diverting Post reported that two operas, one of them by Clayton, were being prepared for the opening of John Vanbrugh’s new playhouse in the Haymarket. However, Clayton’s opera, Arsinoe, Queen of Cyprus , was put on by Christopher Rich’s company at Drury Lane on 16 January 1705 . It was the first all-sung opera in the Italian style to be performed on the English stage and was a considerable success for two seasons. The libretto by Stanzani had originally

Article

Caroline Mears and James May

1977 . The Opera School offers all possible aspects of training. Its associated opera company was responsible (with the Eoan Group) for virtually all opera productions before the formation of the Cape Performing Arts Board (CAPAB) in 1963 ; it has played a primary role in fostering opera in South Africa through extensive tours and enterprising repertory and frequently collaborates with CAPAB in opera productions. Large-scale productions were accompanied by the Cape Town Municipal Orchestra (later the Cape Town SO) until 1970 , while shorter operas, sometimes student

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Theatres, thereafter playing an all-important part in their development and improvement until his retirement in 1860 . The dramatist Ostrovsky testified to Verstovsky's friendly relations with the actors and actresses, who greatly valued his opinion. In 1828 his first more ambitious work for stage, an opera with spoken dialogue entitled Pan Tvardovskiy (‘Twardowski’), was produced; in 1830 he gave up writing or contributing to opera-vaudevilles and concentrated on operas. Out of the five that followed Twardowski only one, his third opera Askol′dova mogila (‘Askold's

Article

Julian Rushton

Beaurepaire (opéra, 1, [?J.-J.] Leboeuf), Opéra, 3 Feb 1793, Po Unperf. Les fêtes lupercales (pastorale-héroïque), 1777 L’Amour et Psyché, Bacchus et Erigone (opéra) [rev. of Acts 2–3 of Mondonville: Fêtes de Paphos], 1780 Thémire (opéra), c 1781 Lausus et Lydie (opéra), 1786 Les jeux olympiques (opéra), 1788 Ladislas et Adélaide (opéra), 1791 Roxane et Statira, ou Les veuves d’Alexandre (tragédie lyrique), c 1792 Brutus (opéra), 1793 Danaé (opéra), c

Article

John Rosselli, Neal Zaslaw, Thomas Bauman, Nigel Burton, Katherine K. Preston and Adrienne Simpson

of the ENO (from London), Opera North (Leeds), the WNO (Cardiff), Scottish Opera (Glasgow) and Glyndebourne Touring Opera. See also Carl Rosa Opera Company ; Carte, Richard D’Oyly ; Denhof Opera Company ; English Opera Group ; Intimate Opera Company ; Kent Opera ; London, §II, 1 ; Moody-Manners Company ; Opera for All ; and Phoenix Opera . 5. The USA. Katherine K. Preston The history of opera performance in the USA during the 19th century is for the most part a history of itinerant opera companies. Except for works mounted by theatrical stock companies

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operating within the United States. By 1941 the group had merged with the Grand Opera Artists Association and the Grand Opera Choral Alliance. They then began negotiating bargaining agreements with all major companies including the Metropolitan Opera. The guild also organized the previously un-represented ballet artists and members of independent choral organizations. During this time instrumental performers were subsumed into the American federation of musicians . Throughout its history the guild has served its members not only through its negotiations, but also through

Article

Virginia Saya

castrato (and whose affair with Casanova is borne out in the memoirs). The opera has a narrative plot, clear character development and many surprising turns, all in keeping with the work’s opera buffa inspiration. Here Argento turned completely from 12-note writing, favouring a rich, post-romantic harmonic idiom and arching, expressive vocal lines. Written into the score are large-scale scene changes, often accomplished with little mechanical assistance. Act 1 scene ii, set at an opera house during a performance, has been cited as a musical and dramatic tour de

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Casting  

Harewood

with members of the wartime Sadler’s Wells company in mind and a year after its première founded the English Opera Group, whose hand-picked personnel, mutatis mutandis , provided basic casting for his operas over the next 30 years. In all this time, in every one of his 13 operas after Peter Grimes , the prodigious and individual talents of Peter Pears governed Britten’s writing for tenor voice, something which has presented problems to anyone casting the operas and to many later interpreters unable to cope either with the low-lying tessitura which came easily to Pears

Article

J. Merrill Knapp

through the ‘different Tones of the Voice … without approaching to what we call a Tune or Air ’. In the preface to Calypso and Telemachus (his only opera, set by J. E. Galliard, 1712 ), he emphasized how ‘Dramatical Entertainments … shou’d be perform’d in a Language understood by the Audience’, and how an opera ‘is to be consider’d as a Species of Poetry, compounded out of Lyrick and Dramatick Kinds, admitting of all the Beauty of the first, united with part of the latter’. Hughes wrote essays for the Tatler , the Spectator and the Guardian , and was closely

Article

Richard Macnutt

business was advertised for sale for 250,000 francs. Schonenberger is interesting for his enterprise in publishing full scores and orchestral parts of four Donizetti operas, including La fille du régiment ( 1840 ). He put out full scores of some 27 other operas, all but a handful of which were reissues from the plates of other publishers (including Pleyel, Dufaut & Dubois and Bochsa). He published about 50 operas in vocal scores, including several little-known works by Rossini and Donizetti. Among his other publications should be noted Berlioz’s Grand traité d’instrumentation

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Lisbon  

Manuel Carlos De Brito

London. From 1733 the Teatro do Bairro Alto competed with the Italians, presenting puppet operas with spoken dialogues. The enthusiasm of the Portuguese aristocracy for opera, which led some of its members to try to involve themselves in the opera business or promote private opera productions, does not seem to have been shared by João V (ruled 1707–50 ), who created difficulties over the opening of the Italian opera house. During his reign only half a dozen operas, all of them comic, were performed at court during Carnival, notably by F. A. de Almeida, who had

Article

William Ashbrook

L’assedio di Calais had no more than a single run of performances at the S Carlo between 1836 and 1840 . An enterprising recording by Opera Rara in 1989 opened the public’s eyes to the work’s many merits. Originally designed by Donizetti as a passport to the Paris Opéra, it contains an integral divertissement (in which however only two of the four dances are Donizetti’s). This was then an unusual feature as almost all Italian operas of the period were performed as double bills along with full-length ballets. The first two acts of L’assedio contain some excellent

Article

James L. Jackman

narrow. The orchestral flute concertos each contain five movements, the ‘concerto’ for two flutes and bass only three. In the latter all three movements are in binary form without repeats, and a movement’s second section returns to start again in the tonic: the two sections differ in their developmental material and in the keys emphasized; brief dynamic contrasts are a constant feature. Works Operas All comic; all for Naples Lo secretista (P. Trinchera), Nuovo, spr. 1738 La tavernola abentorosa (Trinchera), monastery

Article

Olive Baldwin and Thelma Wilson

Camilla for harpsichord and for two flutes and bass appeared in 1706 and opera tune arrangements by him were printed in The Lady’s Entertainment (London, 1708 ). The tune of his song ‘All you that must take a leap in the dark’ (on the execution of two criminals in May 1712 ) was used in The Beggar’s Opera . Bibliography BurneyH Day-MurrieESB HawkinsH LS J. Milhous and R.D. Hume : Vice Chamberlain Coke’s Theatrical Papers 1706–1715 (Carbondale, IL, 1982) D.C. Hunter : English Opera and Song Books 1703–1726 (Ann Arbor, 1990)

Article

Frances Donaldson

Harris at the Royal Opera House, Covent Garden, securing the patronage of the aristocracy and a system of regular subscriptions. On Harris’s death in 1896 , he became chairman of the Grand Opera Syndicate, which kept Covent Garden financially viable for 30 years and provided money for improvements to the theatre. The syndicate gave regular summer seasons, bringing to London all the greatest singers, and let the theatre or acted in association with other companies for autumn seasons. Higgins incurred some displeasure by his insistence on giving opera in its original language

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Baser, Schweizelsperg's operatic style is similar to that of Reinhard Keiser and reminiscent of other Hamburg opera composers at the turn of the 18th century. Works Operas all performed in Durlach and lost unless otherwise stated Artemisia und Cleomedes, 1716 Die romanische Lucretia, 1716, revived Nuremberg, 1719 some arias in D-KA ; Die unglückselige Liebe zwischen der egyptischen Königin Cleopatra und die romischen Trium-Vir Antonio, 1716 Diomedes, 1717 Der verstellte Dorindo, 1712, revived Nuremberg, 1719, authorship not established; Die in ihrem