(b Verona, Nov 4, 1878; d Milan, Oct 12, 1946). Italian playwright, librettist and journalist . After graduating in law at the University of Padua he devoted himself to literature, first as theatre critic of the Arena (Verona), then as playwright. His first stage work was the one-act comedy I fioi di Goldoni in Venetian dialect; thereafter he proved remarkably successful in a comic-sentimental vein with such plays as Una capanna e il tuo cuore (1913), Capelli bianchi (1915), Felicità Colombo (1935) and its sequel Nonna Felicità (1936). In 1911 he made the acquaintance of Giulio Ricordi, head of the publishing firm, of whom he left a valuable memoir in his Giulio Ricordi e i suoi musicisti (Milan, 1933, 2/1945 as Giulio Ricordi, amico dei musicisti). It was Ricordi who first put him in touch with Puccini, who briefly considered setting his Spanish-derived libretto ...
(b Escondido, CA, Dec 13, 1948; d New York, NY, April 30, 1982). American rock critic. Bangs’s parents were devout Jehovah’s Witnesses; he was raised mostly by his mother after his father died in a house fire in 1955. Bangs began writing freelance reviews for Rolling Stone magazine in 1969, and would go on to write for Creem, The Village Voice, Penthouse, Playboy, New Musical Express, and many others. He wrote a 1980 book on the new-wave act Blondie and co-authored, with Paul Nelson, a biography of Rod Stewart, but the published works for which he is best known remain the two posthumous anthologies of his rock criticism: Psychotic Reactions and Carburetor Dung (New York, 1987), edited by Greil Marcus; and Mainlines, Blood Feasts, and Bad Taste (New York, 2003), edited by John Morthland.
Bangs was inspired by the drug-fueled stream- of-consciousness style of Beat poets like William S. Burroughs and the confrontational, subjective New Journalism of Hunter S. Thompson and Tom Wolfe. Alongside John Mendelssohn, Nick Tosches, and Richard Meltzer, Bangs was grouped into the subset of early rock critics dubbed “the Noise Boys,” whose wild, digressive, slang-filled style contrasted with the more sober, academic approach of Greil Marcus and Robert Christgau. Bangs was an advocate of what would come to be called “punk rock,” celebrating its return to the raw, amateur spirit that defined the earliest rock ’n’ roll. He wrote critical pieces on many of the scene’s seminal acts, including The Ramones, Iggy and the Stooges, and the Velvet Underground. “I finally realized that grossness was the truest criterion for rock ’n’ roll, the cruder the clang and grind the more fun and longer listened-to the album would be,” Bangs wrote, and his prose aspired towards the same energy. Bangs died from respiratory and pulmonary complications related to the ingestion of Darvon....
Jérôme de La Gorce
(b Orléans, c1670; d Paris, 1745). French dramatist. After writing four tragedies for the Thé âtre Français, she is thought to have collaborated with the Abbé Pellegrin, who gave her advice, on several librettos: Les fêtes de l’été (1716), set by Montéclair, and Le judgement de Pâris...
(b Prague, Dec 14, 1868; d Vienna, April 24, 1922). Austrian critic and writer of Czech descent . After graduating in German and musicology at the German University in Prague he worked as an editor (Neue Revue, Kunstwart) and as a music critic (Bohemia, Prager Tagblatt). In 1908 he moved to Vienna, where he continued his activities, editing Der Merker with Richard Specht and writing reviews for the Wiener Fremdenblatt. He also taught history of opera at the academy (1909–14). His publications include Aus der Opernwelt: Prager Kritiken und Skizzen (Munich, 1907) and Allgemeine Geschichte der Musik (Stuttgart, 1909–15). In addition to his writings on music, where he was one of the first German-speaking writers to deal with Czech music, he translated Czech, Italian and French operas into German, and wrote several opera librettos himself.Der polnische Jude (with V. Léon...
(b Novosibirsk, Russian SFSR [now Russia], March 16, 1947). Russian drummer, writer, broadcaster, and educator. He began playing jazz in 1962, and after graduating from the state medical institute in Novosibirsk in 1971 he pursued a dual career as a jazz musician and an obstetrician. In 1975 he established Tvorcheskoye Dhazovoye Ob’yedinenie (Creative Jazz Unity), the first association of musicians and jazz promoters east of the Urals. He performed with Vladimir Tolkachev in the Musical Improvising Trio (1975–9), with Igor Dmitriev in various groups (including, from 1977, Zolotoye Gody Dhaza (Golden Jazz Years), with Vytautas Labutis in the quartet SibLitMash (Siberian-Lithuanian Jazz Machine, 1980s), and with Vagif Sadykhov in another quartet (1998), while also working as a freelance with Vladimir Chekasin, Anatoly Vapirov, Igor Butman, Joe Locke, Paul Bollenback, and former members of Art Blakey’s Jazz Messengers, among others. In 1990 he began to broadcast on radio, and in ...
(b Filettole, nr Prato, Aug 10, 1877; d Zoagli, Dec 18, 1949). Italian dramatist . After working as a journalist, he wrote a successful comedy, Tignola, but thereafter turned to historical tragedies in hendecasyllabic verse set in the Italian Middle Ages and Renaissance, in the manner of D’Annunzio. La cena della beffe won international acclaim; it and five others were set as operas by Italian composers. After a period of adherence to Fascism (he sat in Parliament from 1921 until the murder of Matteotti in 1924) Benelli distanced himself from the regime and concentrated on writing plays with philosophical themes. He emigrated to Switzerland but returned to Italy after the end of World War II.L’amore dei tre re, Montemezzi, 1913; Il mantellaccio, Setaccioli, comp. 1913, broadcast 1954; La cena delle beffe, Giordano, 1924; Rosmunda, E. Trentinaglia, 1929; Gorgona, L. Landi, comp. c1933; Proserpina, R. Bianchi, 1938...
(b Berlin, July 20, 1922; d Hamburg, Germany, Feb 4, 2000). German writer and record producer. Having first studied in Berlin he attended the University of Karlsruhe (1940–42). He was a founder in 1945 of the Südwestfunk Baden-Baden, where he led the jazz department until 1987, and in 1951 of the Deutsche Jazz Föderation. During the following decades he organized and directed many festivals and concert series (including Jazztime Baden-Baden, from 1947; the American Folk Blues Festival, 1962–8; the Berliner Jazztage, later known as the Jazzfest Berlin, 1964–72; the New Jazz Meeting Baden-Baden, which he founded in 1966; and the Olympic Games Jazz Festival in Munich, 1972) and was the producer and host of broadcasts both on radio (from the Baden-Baden festival) and television (“Jazz, gehört und gesehen,” 1954–72); he also organized an annual jazz concert at the Donaueschingen Festival for Contemporary Music (from ...
(b Douai, Aug 29, 1789; d Paris, March 3, 1855). French dramatist . While a clerk in the Droits Réunis in Lille he published pamphlets attacking the restored Bourbon monarchy, and was transferred to the Ministère des Finances in Paris. His first dramatic work, the tragedy Lothaire, written in collaboration with one F. Hay, was published in 1817 but not performed. Attila, a five-act verse tragedy, opened to acclaim at the Odéon, Paris, on 26 April 1822; its success, however, was probably due to Mlle George’s acting and to some propaganda that led to the banning of the tragedy. Blanche d’Aquitaine (Comedie-Française, 29 October 1827) also had marked political leanings; this play was probably the source upon which Felice Romani based his libretto for Donizetti’s Ugo, conte di Parigi (1832). Though not a particularly proficient playwright, Bis was called on to shorten Etienne de Jouy’s version of Schiller’s drama for Rossini’s ...
[Dionysus Lardner ]
(b Dublin, Dec 26, 1820 or 1822; d New York, Sept 18, 1890). Irish dramatist . Known primarily as an actor, he played regularly in New York and London from the 1850s, excelling in his depictions of Irish heroes. Though nearly all his dramatic works were adaptations, they were often brilliantly constructed. His most successful pieces were London Assurance (1841, produced under the pseudonym Lee Morton); The Colleen Bawn, or The Brides of Garryowen (1860, after G. Griffin: The Collegians, or The Colleen Bawn), later adapted by Boucicault and John Oxenford as the libretto for Benedict’s opera The Lily of Killarney (1862); and Arrah-na-Pogue (1865). With B. N. Webster Boucicault adapted an opéra comique by Ambroise Thomas, Le panier fleuri, for London, as The Fox and the Goose, or The Widow’s Husband (1844, Adelphi Theatre).DNB (J. Knight) J. W. Cole...
(b Albi, 1618; d Paris, July 22, 1688). French dramatist . Over a period of 50 years he wrote 23 plays, 14 of them tragedies, the rest machine-plays and comedies. He wrote the libretto for one opera, Méduse (C. H. Gervais, 1697); mainly in alexandrine verse, its plot revolves around Medusa’s love for Perseus and her jealous reaction to his love for Ismene. Boyer viewed Méduse as a tragedy set to music–a play to which intermèdes were added and in which spectacle was an important element. There are similarities with Metastasian drama in his plays Artaxerce, Porus, ou La générosité d’Alexandre and La mort de Démétrius; the last is echoed in Metastasio’s Antigono rather than Demetrio. Boyer’s Agamemnon was the source for the opera Cassandre (1706, Paris; music by Bouvard and Bertin de la Doué, libretto by Lagrange- Chancel), and Ulysse shows parallels with Rebel’s opera of the same name (...