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Article

Steven Zohn

Gänsemarktoper, where he performed his own operas as well as those by Handel and Keiser, for which he often provided additional material. He found the opera to be in good financial circumstances at first, but declining attendance in the 1720s and 30s forced it to close in 1738 ; as early as 1732 he wrote to his friend J.F.A. von Uffenbach that the opera had few spectators and that all expenses were paid by one or two patrons. 1. Georg Philipp Telemann: engraving by Georg Lichtensteger Telemann’s direction of the opera and collegium musicum met with strong

Article

Philip Gossett

donna del lago . To call it the first opera in which Rossini wrote out the coloratura is a great exaggeration (see above). Although it is the first of his operas in which all recitative is accompanied by strings, Mayr had done this two years earlier in Medea in Corinto , written for the same Neapolitans who, largely under French influence, were demanding the rejection of secco recitative in opera seria . Much of the music of Elisabetta is salvaged from earlier operas, and the new pieces offer little novelty. As Rossini's first opera for Isabella Colbran, whose highly

Article

Tim Carter and Geoffrey Chew

enters for the first time and the opening words are taken up polyphonically by all five voices, the phrase of text is at last completed and the music reaches its tonal goal, providing a strong emotional release of tension. The fifth book, then, may resemble some of the theatre music in various genres, notably ballets, intermedi , operas and incidental music to plays, that Monteverdi was required to compose during his Mantuan employment. It is, however, not altogether like the operas Orfeo ( 1607 , published in full score) and Arianna ( 1608 ) that were also

Article

Nancy B. Reich

work became known to the musical world. Almost without exception, Clara played at the première of each work he wrote for or with piano; and almost all his orchestral works were introduced in concerts in which she was the solo artist. In 1878 Clara Schumann became principal teacher of piano at the Hoch Conservatory in Frankfurt, but did not relinquish her performing career. Her presence attracted students from all over the world and especially from England, where she was an immensely popular performer. She made her last public appearance as a pianist in 1891

Article

Lewis Lockwood, Noel O’Regan and Jessie Ann Owens

career opportunities in Rome and elsewhere than in the wider circulation of his music. His dedicatees included virtually all the popes under whom he served, Philip II of Spain, Duke Wilhelm of Bavaria, Duke Guglielmo Gonzaga and Duke Alfonso II d’Este. Venetian publishers did eventually pick up on Palestrina’s music in reprints: his first book of madrigals was reprinted eight times between 1568 and 1600 and his motet books from 1563 onwards all received a good number of Venetian reprints, helping to spread the composer’s fame. A select number of motets and madrigals

Article

Bryan Gilliam and Charles Youmans

were hardly cheerful times. During work on the new opera, Die Liebe der Danae ( 1938–40 ), Strauss's daughter-in-law was placed under house arrest in Garmisch, and Strauss appealed to Heinz Tietjen, the Berlin Intendant, who had high political connections, to help ensure her and his grandsons' safety. Danae was scheduled for a 1944 première in Salzburg, but cancelled after a dress rehearsal by an order from Goebbels to close all theatres in preparation for total war. In the meantime Strauss composed his final opera, Capriccio ( 1940–41 ), which had its première

Article

his first 12-note works (apart from the three songs of op.48) since the opera, and with it the culminating productions of this period of his work. They are cast in the respective three- and four-movement moulds traditional in such works, but the individual movements abandon strict Classical layout. The first-movement recapitulations no longer correspond to the measure of the expositions, but are engulfed in the development, which continues unchecked to the close. The forward urge that marks all Schoenberg’s music asserts itself so forcefully here that a return to s

Article

Kornel Michałowski and Jim Samson

life of the capital, not only by the Opéra, naturally, but also by the ‘swarm’ of pianists who were launching the new season of concerts just as Chopin arrived. He even considered a course of lessons with one of the most famous of them, Frédéric Kalkbrenner. It was partly through Kaklbrenner’s offices that Chopin arranged his first Parisian concert, which took place in the Salle Pleyel on 26 February 1832 ( fig.1 ), and included the E minor Concerto. A supportive and perceptive review by Fétis clearly did Chopin no harm at all. Nor did his growing acceptance by other

Article

Pasquin  

Rob C. Wegman

move in parallel tenths. Bibliography E. Thoinan : Déploration de Guillaume Cretin sur le trépas de Jean Okeghem (Paris, 1864) C. Wright : ‘Musiciens à la cathédrale de Cambrai, 1475–1550’, RdM , 62 (1976), 204–28 A. Seay , ed.: Johannes Tinctoris: opera theoretica , CSM , 22/2a (1978) R.C. Wegman : ‘Sense and Sensibility in Late-Medieval Music: Thoughts on Aesthetics and “Authenticity”’, EMc , 23 (1995), 298–312

Article

Marie Louise Pereyra and George Biddlecombe

not certain whether they are all by Martin Joseph or by his two brothers. One brother, whose forename is unknown ( c 1768– c 1824 ), was probably the Adrien identified by Wild as chef des choeurs at the Théâtre Feydeau in 1791 . According to Fétis, the other, Ferdinand ( c 1770– c 1830 ) taught singing in Paris, but Fétis’s statement that he was maître des choeurs at the Opéra between 1798 and 1801 is not confirmed by Wild. One of the brothers may have written the opera Le fou ou La Révolution , produced at the Antwerp opera on 3 December 1829 .

Article

Robert Stevenson

González Bocanegra. The judges, all native Mexicans, awarded first prize to Nuno’s anonymously submitted music on 14 August 1854 , and it was given its première in the Gran Teatro Santa Anna, later renamed Nacional, on 15 September 1854 , conducted by Giovanni Bottesini. Two months after Santa Anna’s deposition on 9 August 1855 , Nuno followed him to Havana and from there went to New York in the company of the contralto Vestivalí. In 1857 he directed the orchestra that played at Thalberg’s concerts there, in 1860 he conducted an opera company doing a season at the

Article

Virgil  

Warren Anderson, Thomas J. Mathiesen and Robert Anderson

libretto. Pre-Metastasio operas include Didona by Cavalli ( 1641 ) and Purcell’s Dido and Aeneas ( 1689 ). The Metastasio century 1724–1824 begins with settings of Didone abbandonata by Sarro ( 1724 ), Albinoni ( 1725 ) and Porpora ( 1725 ), continues with such composers as Galuppi ( 1740 , 1764 ), Hasse 1742 , rev. 1744 ), Jomelli ( 1747 , 1749 ) and Paisiello ( 1794 ), and enters the new century with Paer ( 1810 ), Mercadante ( 1823 ) and Reissiger ( 1824 ). Meanwhile J.M. Kraus wrote his Aeneas i Cartago to inaugurate the Royal Opera’s new theatre in Stockholm

Article

Edward H. Roesner

Conductus for Two and Three Voices , ed. J. Knapp, Collegium musicum, vi (New Haven, CT, 1965 ) [K] The Works of Perotin , ed. E. Thurston (New York, 1970 ) [T] The Montpellier Codex , ed. H. Tischler, RRMMA, ii–viii ( 1978–85 ) [M] Notre-Dame and Related Conductus: Opera omnia , ed. G.A. Anderson (Henryville, PA, 1979 –) [A] The Conductus Collections of MS Wolfenbüttel 1099 , ed. E. Thurston, RRMMA, xi–xiii ( 1980 ) [C] The Earliest Motets (to circa 1270): a Complete Comparative Edition , ed. H. Tischler (New Haven, CT, 1982 ) [E]

Article

Robert Wangermée and Lewis Reece Baratz

into the Brussels Conservatory. Van Helmont's known religious works (all autograph manuscripts) include a Requiem ( 1791 ) and two motets ( 1797 ) of mediocre workmanship ( B-Bc ), a responsorium graduale for Corpus Christi and a setting of Homo quidam ( B-Br ); three other motets are attributed to him by the priest and copyist Franciscus Haseleer and dated 1803–4 . An additional motet, a Missa solemnis for chorus and orchestra (before 1783 ) and many other works are lost. His opéra comique , L'amant légataire , produced in Brussels in 1808 , had no success

Article

Roy.20.A.XVI and is stylistically compatible with the works known to be his. Hayne’s output, as far as it can be established, consists entirely of rondeaux (including, probably, the two pieces that survive without text). With the possible exception of A l’audience all are for three voices, and all are in duple metre. The pieces share the traits typical of their genre in the later 15th century: a treble-dominated texture, probably intended for texted performance of the top voice and solmized or instrumental performance of the lower voices; a contrapuntal structure

Article

Louise Litterick

chapelle at the French royal court during the first decade of the 16th century also document the circulation of his music and his presence in Italy, it is striking that half of his motets, as well as two Magnificat settings and at least one mass, all survive in manuscripts compiled for the papal chapel and nowhere else – indeed, in all the music copied for that chapel between 1497 and 1512 , Prioris is second only to Josquin in the number of works copied. Moreover, although the references to ‘D[omino] Priori’ as playing the organ of S Pietro, Rome, in 1491 , once thought

Article

Michael Fend

des Alpes (scène lyrique, P.-J. Moline), Paris, Tuilleries, 20 July 1781 as op.11 ( c 1781) Esther (orat), Paris, Concert Spirituel, 8 April 1781 lost Ariane dans l’isle de Naxos (drame lyrique, 1, Moline), Paris, Opéra, 24 Sept 1782 ( c 1782) Feu (ballet, 1, from P.-C. Roy: Les éléments), Paris, Opéra, 24 Sept 1782 airs ( c 1782) Diane et l’amour (opéra-ballet, Moline), Paris, Jeunes-Elèves, 1802, mentioned in FétisB ed., with J.-L. Adam airs by other composers, 1v, hpd, vn, in Délices d’Euterpe (1778–84) Instrumental For list of various

Article

Ronnie Sanders

of O’Regan’s later works employ a free sense of chromaticism causing the tonal center to become somewhat obscured. His style of composition may be described as postmodern-eclectic. His opera Heart of Darkness ( 2011 ), for the Royal opera House in London, has a multiplicity of complicated rhythmic materials and a complex harmonic language, far-reaching from his early works. His All Creation Slept ( 2012 ), however, marks a return to the early modal chant-like style which O’Regan drew upon in his earliest works. Since 2004 , O’Regan has held various academic positions

Article

influential men of letters and musicians from Madrid court circles, such as the poet Alberto Lista and the violinist Francesco Maria Vaccari; and with the famous singer Manuel García. Reports on Arriaga's opera in the Spanish press presumably appeared on the initiative of his father and brother. The choice of texts for two patriotic hymns and the idea to set a Spanish opera also reflect the influence the family had on the boy. By September 1821 Arriaga had produced about 20 works, only some of which are now extant. According to his father, Arriaga wrote his first piece

Article

Bojan Bujic and Aleš Nagode

national movement also motivated his creativity in the field of theatrical music. His first work, Tičnik , is a Slovenian adaptation of A. von Kotzebue’s Der Käfig and is composed in the fading tradition of Viennese Singspiel. The lyric opera Teharski plemiči is a bit more ambitious and is considered an example of Slovenian national opera by some authors. However, its semi-serious character and tight stylistic ties with contemporary Viennese theatrical music anchor it firmly in the average Austrian provincial repertoire. Serenada za godala (Serenade for Strings), his