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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

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 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

Bonnie J. Blackburn

Gertrude in Nivelles. The other, who probably died in about 1548 , was a chaplain and singer at the church of Our Lady in Antwerp. (On these two musicians, see Albrecht.) Neither is known to have been a composer. Works Edition Johannis Lupi Opera omnia , ed. B.J. Blackburn, CMM, lxxxiv/1–3 (1980–89) [B i–iii] only principal sources given Masses Missa ‘Mijn vriendinne’, 4vv, B iii (called Missa ‘Plus oultre’ in E-MO 771) Missa ‘Philomena praevia’, 4vv, B iii (on Richafort’s

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

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

Susan Pratt Walton

established a music and dance school called Penyuarga (Penyuara Gamelan) with the help of two prominent musicians in Surakarta, Sutarman and Prawotosaputro. The leading singer and dancer in the Mangkunegaran palace, she was particularly acclaimed in the genres of langen driyan (all-female dance-opera), temembangan (classical sung poetry) and wayang kulit (shadow puppet theatre); she also composed her own vocal cèngkok (melodic patterns) and wangsalan (two-line vocal texts). Her vocal style was marked by intelligence, deep feeling and elegant simplicity. She made

Article

James L. Jackman

probably often away from Naples. According to Gervasoni and the Biografia he composed four serious operas and three comic ones; oddly, except for Nitteti , no production records have been located for these works, although Florimo said that La vendemmia was his first opera, written for Naples, and Villarosa reported that Il matrimonio per fanatismo was greatly applauded in Rome. In 1790 Parenti went to Paris, where, according to Fétis, he was first employed by the Opéra-Comique to add pieces to a revival of Gluck’s La rencontre imprévue on 1 May. This was given

Article

used the name ‘Seranus’ for both music and literary publications as well as ‘Gilbert King’ or ‘G.R. King’ for songs and piano music. In 1883 she wrote the words and arranged the music of the Address of Welcome to Lord Lansdowne . Her opera Pipandor was completed in 1884 but has not been performed. This work, the first opera written by a Canadian woman, incorporates French-Canadian folktunes, a genre on which the composer frequently lectured. In addition to her work as a composer Harrison edited the first anthology of Canadian English, French and Amerindian verse

Article

Yury Gabay

dances and mugam . In 1938 he began studies with A.N. Aleksandrov (composition) and Vasilenko (instrumentation) at the Moscow Conservatory, after which he became a composition pupil of Shostakovich ( 1942–6 ). During the war, together with Hajiyev, he also wrote the heroic-patriotic opera Veten (‘Fatherland’), which won a State Prize in 1946 . His diploma composition was the Second Symphony ( 1946 ), which, though to a certain extent revealing Shostakovich’s influence, marked the emergence of the composer’s individuality. Simultaneously with his compositional work

Article

Sophie Fuller

Square, conducted by Sir George Smart. She wrote at least two operas, The Kellerin and The White Wreath, which were never published. She is best known for her copies of famous paintings worked in embroidery that were exhibited in London from the late 1780s until her death in 1845 ; they were admired by Napoleon, the British royal family and Empress Catherine of Russia. Works The Kellerin (opera); The White Wreath (opera); David’s First Victory (oratorio) (London, ?1840) Songs (all pubd in London) Let us hence!, in The Harmonicon , vi/2 (1828)

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

Robert Stevenson

stipends until July 1699 , indicating the esteem in which he was held. Melgaz's extant compositions in cathedral archives at Évora and Lisbon, some of them duplicates, are all Latin liturgical works. Of the four incomplete vilhancicos in Évora Public Library, two have Spanish texts, one a Galician text and one a Portuguese text. Melgaz also edited a plainchant hymnal containing 152 melodies, all barred in either binary or ternary metre. He was the first Évora composer to use bar-lines in his polyphonic works, to write functional harmony and to provide independent

Article

Barbara Coeyman

(tragédie lyrique, prol., 5, J.-L.-I. de La Serre), Paris, Opéra, 11 April 1741 (Paris, 1741) Les quatre parties du monde (opéra-ballet, P.-C. Roy), Versailles, 1745 Bouquet (romance, L. Fuzelier), pubd in Mercure de France (1746), July L’année galante (opéra-ballet, prol, 4, Roy), Versailles, 13 Feb 1747 (Paris, 1747) Julie et Ovide (ballet héroïque, after L. Fuzelier: Les amours déguisés ), Paris, 11 June 1753 Sacred vocal Motets, all perf. Paris, Concert Spirituel: Magnus Dominus, 7 Feb

Article

Julian Budden

I Capuleti e i Montecchi , which inevitably eclipsed Vaccai’s slighter opera on the Romeo and Juliet story. But the older composer was avenged at a Paris performance in 1832 when Malibran, at Rossini’s suggestion, interpolated the penultimate scene of Vaccai’s opera into Bellini’s. From then on this became a regular option for contraltos such as Marietta Alboni who essayed the role of Bellini’s Romeo, originally written for the soprano Giuditta Grisi; hence its inclusion as an appendix in all later printed editions of I Capuleti e i Montecchi . In 1830 Vaccai

Article

Elizabeth Forbes

He composed several operas, of which three were produced in Prague: Pygmalione , 1845 ; Consuelo , 1846 (in which the 20-year-old Marietta Alboni sang the part of Anziletto) and Loscrivano pubblico , 1850 . He also wrote church music, marches and songs. His brother Luigi ( b Modena, 21 June 1806 ; d Florence, 1 May 1860 ) sang in the boys' choir of the Pitti Chapel in Florence and studied the piano and composition. For a time he was employed by Count Demidoff to produce music for entertainments. His compositions include ten operas, eight of which were

Article

Hanns-Bertold Dietz

Durante, Cotumacci never composed an opera; he concentrated on church music, but his works are undistinguished. Works Sacred vocal Messa nel 6° tuono, 2 S/T, bc; Messa della Beata Virgine a canto firmo; Messa a canto firmo, S, bc; Ky, Gl in pastorale, 2 S, bc; Messa funebre, 5vv, insts: all I-Mc Missa di Requiem, S, B, org, 20 Oct 1727 Requiem, 5–8vv, insts; Sequentia for Pentecost, 4vv, insts; Responsori for Holy Week, 4vv, bc; TeD, 4vv, insts, autograph; Cogitavit Dominus, lesson for Good Friday, S, insts: all Nc Nunc dimittis, 4vv in canon, formerly

Article

Hanns-Bertold Dietz

his first opera, L’amor tirannico, ossia Zenobia , and during the carnival season in 1714 Il martirio di S Caterina , a dramma sacro . In the following years he began to gain recognition with noteworthy works for local churches ( Missa defunctorum , 1718 ) and contributed recitatives, arias and comic scenes to Neapolitan performances of operas by other composers. In 1719 he composed La forza della virtù , a commedia per musica , followed by the opera seria Teuzzone in 1720 . Feo’s first true success, however, appears to have been the opera seria Siface

Article

Riccardo La Spina

Fétis – perceived as a skilled amateur. However, each of his seven operas was produced in Naples during his lifetime. The première of the first, Priamo all tenda di Achille (S Carlo, 19 November 1828 ), in which Rubini created Achille, took place just before the composer's 21st birthday. News that Staffa's next work would be Francesca da Rimini (S Carlo, 12 March 1831 ) upset Mercadante in Madrid, who towards the end of 1830 was working on his own setting of Romani's libretto. The other operas were Un matrimonio per ragione (Teatro del Fondo, 1835 ), La battaglia

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