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Roland J. Vázquez


(b Portugal, 1836; d Madrid, May 21, 1886). Spanish impresario, actor and singer. He first became popular in comic roles at theTeatro de la Zarzuela in Madrid. In 1866 he formed his own company, the Bufos Madrileños, modelled on Offenbach’s Bouffes-Parisiens. It was an instant success. By 1870 he had begun a second company in Barcelona. In addition to operettas by Offenbach and Lecocq, Arderíus staged new works by Spanish composers, including F. A. Barbieri and P. J. E. Arrieta.The dance routines and brief costumes of the female chorus were indispensable to the appeal of the Bufos, and were among the features that incited critics to condemn the genre as frivolous and a hindrance to the development of serious opera in Spanish. By the beginning of 1873 the company’s popularity had ended, and Arderíus had become director at the Teatro de la Zarzuela. Thereafter he championed the cause of national opera, attempting, without success, to launch a Spanish opera series in ...



(b ?Paris, 1799; d Soisy-sous-Etiolles, Corbeil, nr Paris, Sept 25, 1841). French actor and impresario. He came from a theatrical family; his father, Jacques François Laporte (1775–1841), was the celebrated Harlequin of the Théâtre du Vaudeville in Paris for over 30 years. The younger Laporte also appeared in comic French roles at the Vaudeville, 1822–6, and in Brussels (1823) and London (1824), making his début on the English stage at Drury Lane in November 1826. The following year he joined the Haymarket company and by the beginning of 1828 was involved with one Laurent, the manager of the Italian opera in Paris, in a scheme to run the King’s Theatre, London. Laurent soon withdrew and Laporte actively managed the theatre for the next 13 years (apart from the 1832 season, when Monck Mason was in charge and Laporte himself was lessee of Covent Garden)....


Bonnie E. Fleming

(b Harrisburg, PA, March 2, 1921; d Westport, CT, Sept 16, 2017). American singing actress, producer, stage director, and teacher. Possessing a wide range of performing skills, she was known for undertaking challenging operatic roles such as Birdie and Regina in Mark Blitzstein’s Regina (1949, 1953, and 1958) and Lizzie in Jack Beeson’s Lizzie Borden (1965). She worked on Broadway, in light opera, on radio and television, and at New York’s Metropolitan Opera. Lewis attended Penn State University and was encouraged by its Glee Club director to audition for a scholarship at the Curtis Institute of Music, where she went on to study with Emilio de Gogorza. After her teacher suddenly left the Institute, Lewis auditioned and made her debut with the Philadelphia Opera Company at the age of 19 in the role of the Marschallin in Richard Strauss’s Der Rosenkavalier. A remarkably quick study, Lewis absorbed music and words in any language almost on the spot, a gift to which she attributed most of her early success. In ...


Olive Baldwin and Thelma Wilson

(b 1734/5; d Edinburgh, Aug 14, 1804). English tenor, actor and theatre manager . As a boy he sang at the London fairs and then had three seasons at Drury Lane (1749–52), creating the role of Palaemon in Boyce’s The Chaplet. His adult singing career was principally at Covent Garden, where he appeared every year from 1757 to 1784. O’Keeffe remembered him as ‘tall and well made’ and Hugh Kelly admired his ‘tender strain, so delicately clear’. He sang many romantic leading roles in English operas, retaining most of them until the early 1780s. He was the first Thomas in Love in a Village, Lord Aimsworth in The Maid of the Mill, Tom in Tom Jones and Ferdinand in The Duenna. Mattocks often sang with his wife, formerly Isabella Hallam, with whom he had eloped in 1765. He managed summer seasons in the provinces for many years and in ...


Hugh Canning

(b Geneva, Aug 2, 1942). Swiss actor and director . He studied at the University of Geneva and was trained as an actor with François Simon and as a director at the Berliner Ensemble, in East Berlin. He worked first as an actor and director at the Atelier de Genève, which he founded in 1963. From 1975 to 1981 he was director of the Théâtre de Carouge. Since 1981 he has been a freelance opera and theatre director. His first important production was The Turn of the Screw at Geneva (1981) and his productions since have included Death in Venice (Scottish Opera and Geneva, 1983), La traviata for Opera North (1985, Leeds), Der Ring des Nibelungen (1985–7, Seattle), Cardillac (1988, Berne), Die Meistersinger von Nürnberg (1989, Seattle) and Parsifal (1989, Berne). His work is notable for its narrative clarity and sober neo-classicism....