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Article

Isabelle Henrion-Dourcy

was apparently so amazing that people preferred not to be near him when he sang. He was an expert in all the repertory and modified the style by adding ornamental mgrin-khug at the beginning of the operatic songs. He also devised a teaching method for this art of singing. He is said to have lacked humility; his behaviour attracted both fame and trouble to the troupe, which was fined for his eccentricities. He married in southern Tibet and founded a famous local opera troupe there, in which the father of Nor-bu Tshe-ring was trained and identified as a future sKyor-mo-lung

Article

Isabelle Henrion-Dourcy

for the reconstitution of lha-mo in India, where he has taught the song texts for six plays from memory and has performed in all the lha-mo recordings made in exile. His brother, Tseten Dorje, remained in the Lhasa official troupe and became a stage director. Bibliography D. Schuh : ‘Der Schauspieler des tibetischen Lha-mo Theaters’, Zentralasiatische Studien , 10 (1976), 339–84 ‘Profile: Norbu Tsering, Opera Master’, Tibetan Institute of the Performing Arts Newsletter (1995), 12–13 N. Tsering : Ache Lhamo is my Life (Turin, 1999)

Article

Curtis Price and Margaret Laurie

proved impossible John Dryden was commissioned to provide a libretto for setting by Luis Grabu. Originally this was to have been a semi-opera, King Arthur , with a sung prologue, but the latter was expanded into a full-length, all-sung opera, Albion and Albanius . After this failed, no new musical work was attempted until 1690 , when Betterton turned Philip Massinger and John Fletcher's The Prophetess (or Dioclesian ) into a semi-opera; with music by Henry Purcell this proved a great success. He was probably also responsible for the adaptation of The Fairy Queen

Article

Hugh Canning

turning his back on the fashionable modernism of his German contemporaries. His romantic production of Der Ring des Nibelungen at the Metropolitan Opera ( 1986–9 ) can be seen as a reaction against the political interpretations of Götz Friedrich, Patrice Chéreau and Harry Kupfer. Schenk is at his most assured in comedy, and his productions of Viennese operetta, above all of Die Fledermaus , which he has directed all over the world, have a charm and taste which few can rival. His interpretation of the spoken role of the gaoler Frosch in Die Fledermaus is justly

Article

Robert D. Hume

Early in his long reign at Drury Lane he staged Boyce’s all-sung afterpiece The Chaplet ( 1749 ), Arne’s Don Saverio , an innovatory opera set in the present ( 1750 ), and Burney’s burletta Robin Hood ( 1750 ). He extended the boundaries of pantomime in both music and ballet in a series of important ventures with Henry Woodward, the best-known of which is Queen Mab ( 1750 ). His importation of Noverre’s Les fêtes chinoises ( 1755 ) was wrecked by anti-French riots. Garrick staged J.C. Smith’s operas, notably The Fairies ( 1755 ). The success of Arne’s

Article

Olive Baldwin and Thelma Wilson

1758–62 ) he remained at Drury Lane until a few months before his death. He was much admired in Shakespearean roles requiring singing, such as Amiens, Balthasar, Feste and Autolycus. He had leading roles in the all-sung English operas Almena by Arne and Battishill ( 1764 ) and Pharnaces by William Bates ( 1765 ), and took part in most of Dibdin’s Drury Lane operas ( 1768–76 ). C.H. Wilson remembered him as ‘the best acting singer we ever had, if he may have been allowed the name of singer, for it was little more than speaking musically’, and Boaden wrote that ‘his look

Article

Roger Fiske and Irena Cholij

recent Italian operas given in London. Dibdin’s contribution is galant and italianate in style; at this period he never wrote strophic ballads for his operas. The Padlock ( 1768 ) was the first of many ‘dialogue’ operas for which he composed all the music. Dibdin first showed his unfortunate capacity for irritation when he suddenly left Covent Garden in summer 1768 and signed on for a seven-year spell at Drury Lane. He was free to write trifles for other theatres in the summer, and to make what he could from publishing his operas. The only Dibdin opera to survive

Article

James R. Anthony

Pellegrin and Molière ( Le bourgeois gentilhomme , 1716 , and La princesse d'Elide , 1722 ). His divertissements for Roy's comedy Les captifs ( 1714 ) were described as ‘extraordinary, beautiful and well characterized’ ( Mercure galant , October 1714 ). His only work for the Paris Opéra is the ballet héroîque Les amours des déesses (libretto by Fuzelier). At its first performance it consisted of a prologue and three entrées (‘Vénus et Adonis’, ‘Diane et Endimion’ and ‘Melpomène et Linus’); a fourth entrée, ‘L'Aurore et Céphale’, was added for the performance on

Article

Peter Branscombe

g witty allusions and quotations in his quodlibets and often referring in more or less disparaging terms to the world of opera. Music played a very important part in Nestroy’s plays. Until Das Mädl aus der Vorstadt of 1841 , his 43rd play, the average number of songs, ensembles and choruses is ten or 11, plus instrumental numbers. His next, Posse , Einen Jux will er sich machen of less than four months later, has a mere three songs, all intended for Nestroy himself. With the exception of the later operatic parodies and his very last stage work, Häuptling Abendwind

Article

Elizabeth Forbes

Girardi, Alexander (opera) ( b Graz , Dec 5, 1850 ; d Vienna , April 20, 1918 ). Austrian comic singer and actor . For over 40 years the favourite of the Vienna theatre, he created roles in more than 50 musical plays, chiefly at the Theater an der Wien, where he was engaged from 1874 to 1896 and again from 1902 to 1905 . He inspired many characters in Johann Strauss operettas, including Blasoni ( Cagliostro in Wien ), Don Sancho ( Das Spitzentuch der Königin ), Marchese Sebastiani ( Der lustige Krieg ), Zsupán ( Der Zigeunerbaron ), Kassim

Article

Ferenc Bónis

went on foot to Milan to study singing. About 1840 he returned to Hungary and continued his work in the National Theatre in Pest. He wrote the libretto for Ferenc Erkel's first opera Bátori Mária ( 1840 ) and also for Erkel's chief works Hunyadi László ( 1844 ) and Bánk bán ( 1861 ); while working for the theatre, he translated more than 50 French plays and 19 Italian and French opera librettos into Hungarian. As a composer Egressy was self-taught, learning the rules of musical notation and harmony through practice. From 1842 to 1851 he wrote comedies and

Article

Tamar Barzel

Anthony Coleman, Christian Marclay, David Weinstein, and John Zorn. Works ( selective list ) Radio plays (all collab. D. Weinstein) #39 (War of Dreams) (Angela Carter), 1991 The Vidzer Family , 1992–93 Interactive multimedia installations The Passions of Natasha, Nokiko, Nina, Nicole and Norma , 1993, collab. B. Bloom; For Jerry, 1999 My Father Piece , 2000; All the Way with Jim + Shel , 2002, collab. J. Hodges Selected recordings As leader

Article

Richard G. King

Cardon survives at the British Museum and the Harvard Theatre Collection. Lacy published numerous arrangements of arias by Handel, Rossini and others, and no doubt arranged more operas than are known at present. His greatest theatrical success was his adaptation of Rossini's La Cenerentola , which held the stage in both England and America for a considerable time. Works MS librettos, all by Lacy, in GB-Lbl LDL Drury Lane Theatre LCG Covent Garden Theatre Stage The Turkish Lovers (comic op, after Rossini: Il turco in Italia), LDL, 1 May 1827 Love in

Article

Stephen Ruppenthal and Joanna R. Smolko

University of Arizona. Works ( all texts by Pomeroy ) Sound sculptures 3 Music Boxes, watches, clocks, metronomes, 1974–5 Fear Elites, music boxes, 1975 Mozart’s Moog, 49 amp music boxes, 1978 Hat Dance, amp hard hat, slides, 1979 Mechanical Music, combination wrenches, 1979 Back on the Ladder …, vacuum cleaners, pipes, 1979–83 Whillikers in G, 5-gallon cans, 1980 Others A Byte at the Opera (collab. P. DeMarinis), cptr, visual effects, 1977

Article

Peter Branscombe

and singer . He was engaged at Brünn (now Brno) in 1770 , from the autumn of that year as director of the troupe. For long periods he toured in Austria, southern Germany and the Rhineland. In early summer 1776 he directed an opera season at the Kärntnertortheater, Vienna, in collaboration with Noverre: 14 works were given, almost all of them Singspiel adaptations of French operettas, many of which later became standard fare in Vienna. He was Joseph II’s original choice as producer for the new National Singspiel company, but his appointment was frustrated. However

Article

Douglas B. Green

father of well-known actor John Ritter ( 1948–2003 ). Bibliography J. Bond : The Tex Ritter Story (New York, 1976) L. Adams and B. Rainey : Shoot-em-ups: the Complete Guide to Westerns of the Sound Era (New Rochelle, NY, 1978) P. Stanfield : Horse Opera: the Strange History of the 1930s Singing Cowboy (Urbana, IL, 2002)

Article

Gerard Béhague

ion with directors such as Aderbal Freire Filho, Amir Haddad and Alvaro Apocalypse, all from, and for television, mainly as music producer of TV Globo ( 1988–97 ). He has also written for the Orquestra Brasileira de Sapateado (Brazilian Tap Dance Orchestra) and for film. His music theatre piece for children Pianíssimo ( 1993 , published as a book in 1995 ) earned him the Mambembe prize for a second time. In 1995 he was awarded a grant by Rio-Arte to write the children's opera A Orquestra dos sonhos , produced with great success in 1997 . His second children's

Article

William A. Everett and Lee Snook

programme from 1942 to 1946 . It is as Tony, the lead role in Loesser's Broadway musical The Most Happy Fella ( 1956 ), that Weede is best remembered; he regarded the vocal technique that it required to be equal to that of any opera. He subsequently appeared on Broadway in Milk and Honey ( 1961 ) and Cry for Us All ( 1970 ). One of the finest American baritones of the century, Weede had the ability and flexibility to adapt his voice successfully to both operatic and musical theatre roles without surrendering to the potential trappings of either style and the high standards

Article

Bertil H. van Boer

original opera librettos, mostly written for Carl Stenborg’s comic opera. In 1790 he became an administrator at the Royal Dramatic Theatre, a position he held until after Gustavus III’s assassination in 1792 . In 1794 he turned to publishing in the provincial town of Linköping. During his career he supplied the texts for more than 65 one-act comedies with music, including the Singspiels Födelsedagen (‘The Birthday’, 1790 ), Fricorpsen eller Dalkarlarne (‘The Free Corps or Men from Dalacarlia’, 1788 ) and Marknaden (‘The Market Place’, 1792 ), all with music

Article

Irmlind Capelle and John Warrack

develop the more ambitious manner which shows intermittently in the works of his last five years. He remained essentially outside the development of Romantic opera, despite the Romantic elements which, together with much else, he absorbed into his operas, especially Undine and Rolands Knappen . Dittersdorf and Hiller, Weber, Marschner and Spohr, and above all Mozart provided him with examples; he drew on opéra comique and French dramatic style, which he knew from his mother and from the contemporary theatre, as much as on German Singspiel; like other German composers