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John Tyrrell

Link , ed.: Beseda: český salonní tanec [The beseda : a Czech salon dance] (Prague, 1863, 6/1939; Fr. trans., 1863) F. Bonuš : Český salonní tanec beseda, jeho historie a tvůrci [The Czech salon dance beseda , its history and creators] (Prague, 1971) J. Tyrrell : Czech Opera (Cambridge, 1988), 226–8 J. Tyrrell , ed. and trans.: Zdenka Janáčková: My Life with Janáček (London, 1998), 67–8


Percy M. Young, Edmund A. Bowles, Charles Edward McGuire and Jennifer Wilson

typically retained more modest forces. All festivals, however, copied the Westminster commemoration concerts’ programmes: for several decades, Handel’s Messiah was frequently the only oratorio performed whole at morning sacred concerts. Other sacred concerts featured selections from Handel’s oratorios, as well as his anthems and concertos, mixed with works by other composers, such as movements from a mass or an anthem. Evening secular concerts opened and closed with a symphony or an opera overture and featured arias and ensembles from operas that were in vogue and concertos


Jehoash Hirshberg

other venues include the Ein Karem Music Centre, Dormition Abbey and the Scottish Church (St Andrew's), and there are also firework displays over the walls of the old city and other free outdoor events. The festival has had no clear artistic policy. Nearly every year a large-scale opera production, such as the Arena di Verona's Aida , is imported as an outdoor spectacle. The festival has regularly responded to salient changes in taste, demonstrated in its sponsorship of performances of Japanese and Indian music ( 1991 ), Moroccan trance-art ( 1994 ) and concerts given


were all Bulgarian (including Dobri Hristov, Angel Bukureshtliev, and Emmanuel Manolov). The idea for an established music summer festival first emerged in 1949 , but was carried out in 1957 under the name Varna Summer Festival. In 1964 the world’s first International Ballet Competition was included in the Festival. Since 1984 , for the first time in Bulgaria, an International Summer Academy was organized as part of the Festival. Since 1993 the Festival has occurred concurrently with scholarly conferences. The Festival now includes many activities: opera, symphony


Katherine K. Preston and Michael Mauskapf

lectures each week. After the Civil War, the orientation of the lyceum series (now called “star courses”) shifted from education to entertainment; each local series of 10 or 12 events now included concerts (by solo instrumentalists, singers, opera companies, orchestras, and bands) in addition to lectures. But as individual lyceums all over the country attempted to engage performers and lecturers of national reputation, the organizational structure broke down. In the late 1860s, in response to the resulting chaos, two national lyceum booking agencies emerged: the Boston



Timothy M. Crain

venture (the Public Radio Satellite System), making it possible for non-NPR shows to get national distribution. Musical programming on NPR has been vital to its mission of cultural advancement from the beginning. Several programs produced by NPR include All Songs Considered , Jazz Profiles , NPR World of Opera , and The Thistle & Shamrock . Other productions distributed by NPR include From the Top , Piano Jazz , and Sunday Baroque . In November 2007 the website NPR Music was launched as a subsidiary of NPR to offer podcasts, live concert webcasts, reviews


Noël Goodwin

English Bach Festival An annual series of concerts, opera productions and other events, which has regularly exceeded the implications of its title. It was founded in 1963 by Lina Lalandi, the Greek-born harpsichordist and singer. She originally based the festival in Oxford, making use of several notable university and other buildings. In 1968 six additional concerts were held in London, where a majority of the festival events has since taken place. From the outset the joint artistic directors were Lina Lalandi and Jack Westrup; in 1971 Lalandi became sole


David Gilbert

reason to want to leave Paris. The ability to construct a correct fugue and to obey mechanically the rules of counterpoint and harmony are not sure signs of a creative musical talent. The final round was a test of reasonable length on which to judge a contestant's ability to write opera, but the assigned text and the form it imposed tended to inhibit creativity. The competition was a rite of passage for generations of French composers, providing some with official standing, public recognition and, most importantly, monetary support early in their careers. The list