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Article

Rosemary Williamson

1984 and elected Fellow of the Society of Antiquaries in 1989 . He has also held visiting fellowships at All Souls College, Oxford ( 1991–2 ), and New College, Oxford ( 1992 ), and is Honorary Keeper of the Music at the Fitzwilliam Museum, Cambridge. He is editor of Cambridge Studies in Medieval and Renaissance Music ( 1992 –) and on the editorial boards of Early Music History (founding editor, 1981 ), Opera Omnia di Andrea Gabrieli ( 1987 ) and Opera Omnia di Luca Marenzio ( 1997 ). Fenlon's principal area of study is the history of music from about 1450

Article

Jack Westrup

departamento de música de la Biblioteca de Catalunya (Barcelona): i. Els madrigals i la missa de difunts d’en Brudieu (with F. Pedrell , 1921) ii. Catàleg dels manuscrits musicals de la Collecció Pedrell (1921) iii, vii. J. Pujol: Opera omnia (1927–32) iv, viii, xiii, xvii. Musici organici Iohannis Cabanilles: Opera omnia (1927–56) vi. El còdex musical de Las Huelgas (1931/ R ) ix. A. Soler: Sis quintets per a instruments d’arc i orgue o clave obligat (with R. Gerhard , 1933) x. La música a Catalunya fins al segle XIII (1935/ R ) xv, xviii

Article

James W. McKinnon

chant of his time, both Roman and Frankish. His own antiphoner is lost but has been reconstructed by Hanssens (iii, 110–224); curiously it appears to be closer to the usage of Lyons than that of Metz (see Hesbert). Bibliography J.M. Hanssens , ed.: Amalarii episcopi opera liturgica omnia , Studi e testi, 138–140 (Rome, 1948–50) A. Cabaniss : Amalarius of Metz (Amsterdam, 1954) W. Lipphardt , ed.: Der karolingische Tonar von Metz (Münster, 1965) R. Evans : Amalarius of Metz and the Singing of the Carolingian Offices (diss., CUNY, 1977)

Article

Claude V. Palisca and Dolores Pesce

Both the Prologus and Regulae rhythmicae describe the new notation, of which, on the other hand, there is no trace in the Micrologus . The Epistola , written immediately after the trip to Rome, mentions all of these previous works. The date of the trip to Rome, which must have taken place before Pope John XIX’s death in 1033 , is thus the key to dating all Guido’s works. The Micrologus must have been written after 1026 , because in the letter dedicating it to Bishop Theodaldus, Guido praised him for having ‘created by an exceedingly marvellous plan the church

Article

Michel Huglo

le nom de Sylvestre II (Clermont-Ferrand and Paris, 1867) J. Havet : ‘L'écriture secrète de Gerbert’, Comptes-rendus de l'Académie des inscriptions et belles-lettres , 4th ser., 15 (1887), 94–112 J. Havet , ed.: Lettres de Gerbert (Paris, 1889) N. Bubnov , ed.: Gerberti … opera mathematica, 972–1003 (Berlin, 1899/ R ) B. Lefèvre : Notes d'histoire des mathématiques dans l'antiquité et au Moyen-Age (Leuver, 1920), 37, 83–90 M. Manitius : Geschichte der lateinischen Literatur des Mittelalters , 2 (Munich, 1923/ R ), 729–42 J. Leflon : Gerbert, humanisme

Article

Walter Aaron Clark

resumed with Eda ( 1887 ), Little Carmen ( 1888 ), and Mara ( 1889 ), all commissioned by a friend in New York. In 1890 he began work on his monumental Els Pirineus ( Los Pirineos ), an operatic trilogy with prologue, which blended the quotation of medieval and Renaissance music with modern harmony and Wagnerian leitmotif. In conjunction with its completion a year later he published the book Por nuestra música , in which he set forth his views regarding Spanish national opera. Pedrell moved to Madrid in 1894 and was appointed professor of choral singing

Article

Alcuin  

Jane Bellingham

including for instruction in ‘cantilenae’. This advice reflects the practice at the Frankish court where, according to one of Alcuin's poems, boys were taught ‘modulamine sacro’ by the cantor (MGH, Poetae latini , i, Berlin, 1881 / R , p.246). Bibliography Alcuin : Opera omnia , PL , c–ci E. Dümmler , ed.: Poetae , MGH , Poetae latini aevi Karolini , 1 (Berlin, 1881/ R ) E. Dümmler , ed.: Epistolae , MGH , Epistolae , 4 (Berlin, 1895/ R ) J. Szövérffy : Die Annalen der lateinischen Hymnendichtung (Berlin, 1964) J. Dehusses : ‘Le supplément

Article

Albert Cohen and Julie Anne Sadie

and Raguenet, constitute a notable contribution to the development of aesthetics and a philosophy of opera during the late 17th and early 18th centuries. Writings Sur les opéra; Les opéra, comédie; Idylle en musique; Observations sur le goût et le discernement des françois; Parodie d’une scène de l’opéra de Roland; Eclaircissement sur ce qu’on a dit de la musique des italiens; A M. Lully ; 2 short dramatic scenes in verse and a verse/prol., all intended for musical setting; in Oeuvres meslées , vii, xi (Paris, 1684; enlarged 1705– by P. des

Article

Sylvan Suskin

Works Stage all first performed in Paris all published in Paris in year of first performance, unless otherwise indicated MSS in F-Pn, Po Sémiramis (tragédie lyrique, 3, P. Desriaux, after Voltaire), Opéra, 4 May 1802 Les artistes par occasion (opéra bouffon, 1, A. Duval), OC (Feydaeu), 22 Jan 1807 L’Auberge de Bagnères (opéra bouffon, 3, C. Jalabert), OC (Feydaeu), 23 April 1807 Alexandre chez Apelles (ballet, 2, Gardel), Opéra, 20 Dec 1808 Les bayadères (op, 3, E. Jouy), Opéra, 8 Aug 1810

Article

Rosemary Williamson

Pluteo 29.1 della Biblioteca Laurenziana di Firenze: storia e catalogo comparato , ed. M. Masani Ricci , Studi musicali Toscani, viii (Pisa, 2002), 9–15 ‘Speaking with the Supernatural: E.T.A. Hoffmann, George Bernard Shaw and Die Oper aller Opern ’, MJb 2002 , 115–34 ‘Fromental Halévy: de l’opéra comique au grand opéra’, Actes du colloque Fromental Halévy, Paris, Novembre 2000 , ed. F. Claudon , G. de Van and K. Leich-Galland (Weinsberg, 2003), 93–116; Eng. trans. in Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (Aldershot, 2005)

Article

Paula Morgan

Monteverdi to the operas of Verdi. He has also prepared the seven-volume facsimile edition, Italian Secular Song 1606–1636 (New York, 1986–7 ). Tomlinson was one of the first musicologists to be named a MacArthur Fellow ( 1988–93 ). Writings ‘Ottavio Rinuccini and the favola affettusoa ’, Comitatus , 6 (1975), 1–27 Rinuccini, Peri, Monteverdi, and the Humanist Heritage of Opera (diss., U. of California, Berkeley, 1979) ‘Madrigal, Monody, and Monteverdi's via naturale all immitatione ’, JAMS , 34 (1981), 60–108 ‘Music and

Article

Jean Gribenski

music, as well as a subsidiary on the 18th-century orchestra. He was subsequently given a government grant to do research in Italy on opera buffa , but this was interrupted by the outbreak of war, his conscription and his death from influenza at the Grenoble military hospital. He established his reputation as a major scholar of 18th-century music in his many articles, his dissertations and his book on the origins of French comic opera, all based on thorough knowledge and full of detailed information, expressed with elegance and concision. He left an account of 18th-century

Article

Eric Blom and Alec Hyatt King

taking the PhD at the latter in 1925 . He at first intended to make his career as a lecturer in philosophy, but took a lively interest in the cultivation of opera, then at its height in Berlin. While attending every operatic performance he could, he began to accumulate voluminous data about operatic history: details of opera titles, composers, librettists, places and dates of production and subsequent performances all over the world. This mass of material was incomplete when the Nazi regime compelled Loewenberg to leave Germany in 1935 . Having settled in London, he undertook

Article

descriptive instrumental music to Fénelon’s Télémaque was intended to illustrate his ideas. Works all lost Operas Armide (tragédie lyrique, 3, Quinault), 1777 Omphale (La Motte), 1783, accepted by Opéra, not perf.; Scanderberg, before 1785 Cyrus (Paganel, after Metastasio), before 1785 Alcine (Framery), 1786, accepted by Opéra, not perf. Incidental music to Fénelon’s Télémaque, 1785 Requiem At least 2 syms., 1 symphonie concertante, 2 fl, all lost, cited by Brook; 54 str sextets, 5 sets of sonatas, cited by Fétis Writings only those

Article

Horst Seeger and Andrew Clark

performed. He wrote extensively about the history of opera, particularly Baroque opera in Venice, Naples and Hamburg, on the Netherlandish music of the Renaissance, and the music of Mendelssohn. His interest in the visual aspects of music culminated in his edition of the volume on opera in the series Musikgeschichte in Bildern ( 1968 ). In addition to his operas, he wrote a ballet as well as orchestral and chamber works. In later years he became known as a painter. Works ( selective list ) Stage (all librettos by the composer) Der kleine

Article

melodies from serious operas) was unnotated, though the notated airs in Zéphire et Flore may be his. In his Théorie de la musique (Paris, 1764 ) he developed a system based on the harmonic series of the hunting-horn; a similar system, evidently unknown to him, had been presented by G.A. Sorge in 1741 . The Théorie had some followers (notably Canon Jamard and Abbé Feytou) and won Rousseau's praise, but was harshly criticized by later theorists, in particular J.-B. de La Borde. Works unless otherwise stated, all are opéras comiques in 1 act, with

Article

David Scott

College, London ( 1964–5 ). He held appointments as head of radio opera at the BBC, where he supervised many first performances ( 1967–70 ), and Regents' Professor at the University of California at Berkeley ( 1970 ); he returned to King’s College, first as reader in music ( 1970 ) and then ( 1974 ) as King Edward VII Professor of Music. In 1988 he became Heather Professor of Music at Oxford University, retiring in 1996 . Apart from his 15th-century studies Trowell has been much concerned with opera (of all periods, but particularly pre-Classical and 20th-century), and

Article

Salzburg 1991 [ MJb 1991 ], 580–93 ‘Il “grande finale” nell'opera buffa e nell'opera seria: Paisiello e Rossini’, RIM , 27 (1992), 225–55 ‘Tendenzen der italienischen Opera seria am Ende des 18. Jahrhunderts – und Mozart’, Studi musicali , 21 (1992), 307–58 ‘Romani e Bellini: i fatti e i principi della collaborazione’, Felice Romani: melodrammi, poesie, documenti , ed. A. Sommariva (Florence, 1996), 83–113 ‘Mozart und Paisiello in der Opera buffa’, Mozart, Paisiello, Rossini e l'opera buffa: Rome 1993 [ AnMc , no.31 (1998)] ‘Rossini 1815: “Elisabetta

Article

Heinz Zirnbauer

very important account of the subject and provided the basis for texts by Jean Paul and E.T.A. Hoffmann, as well as the text, and the musical substance too, of Wagner’s opera. Bibliography G.A. Will : Nürnbergisches Gelehrten-Lexicon , 4 (Nuremberg, 1758), 144–55; see also vol. viii by C.C. Nopitsch (Altdorf, 1808), 368ff A.M. Bowen : The Sources and Text of Wagner’s Opera ’Die Meistersinger von Nürnberg’ (Munich, 1897/ R ) H. Thompson : Wagner and Wagenseil (London, 1927)

Article

James R. Anthony

théâtre françois . The Dictionnaire des théâtres de Paris treats alphabetically all plays (including operas) which ‘from the year 1552 up to the present have been performed on the stages of the different theatres of Paris’ (preface). Cast lists, revival dates, cross-references to the Mercure de France and the Recueil général des opéra , and anecdotes concerning authors, composers, actors and actresses, dancers and stage designers make this a valuable source for any study of French opera of the period. Equally important is the manuscript Histoire de l’Académie royale