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(b 1843–4; d ?1917). English translator . He was a scholar of Oriel College, Oxford (BA 1866), and was ordained in the Church of England in 1868. He was choirmaster and organist of Christ Church, Marylebone, London, from 1878 to 1882.

For the production of Così fan tutte (at that time rarely staged) by the Royal College of Music at the Savoy Theatre in 1890, he wrote an amusing and elegant English version, ‘translated and adapted from the original Italian and the German paraphrase’, in a style Richard Brinsley Sheridan would not have disdained. It was published in vocal score by Novello, with the characters Fiordiligi and Guglielmo renamed Isidora and Gratiano, presumably for the convenience of English tongues. The long survival of this version, with modifications, extended to the ENO production of 1990. Browne also translated Cornelius’s Der Barbier von Bagdad (RCM, Savoy, 1891) and Hermann Goetz’s ...

Article

Carolyn Gianturco

(b Florence, Dec 19, 1876; d Milan, March 3, 1965). Italian musicologist . He studied at the Milan Conservatory, with Catalani and others, teaching there from 1898 to 1941, and until 1948 holding the chair of Verdi studies, a position created for him. In 1921 he founded the music section of Teatro del Popolo, Milan, which he directed for more than 30 years. He also served as director at La Scala (1941–4) and was music critic of L’illustrazione italiana (1918–48). As a scholar he devoted himself to critical and historical studies of late 19th-century opera: his Verdi, in its original 1931 edition, is one of the most comprehensive and fully documented accounts of the composer and his music. He also composed orchestral and vocal music.

Il Teatro alla Scala rinnovato (Milan, 1926) Verdi (Milan, 1931, 2/1951; part Eng. trans., 1955, as Verdi: the Man and his Music...

Article

Ruth Pincoe

(b Norwich, April 11, 1912). Canadian composer, theorist and conductor of English origin. He moved to Canada in 1928, becoming a Canadian citizen in 1930. His composition teachers have included Alfred Whitehead in Montreal and Paul Hindemith at Yale University (1952–3). He also studied conducting with Willem van Otterloo in Utrecht (1956). From 1946 until his retirement in 1977, he taught at Queen’s University in Kingston, Ontario. He also conducted the Queen’s SO (1946–54), and founded and conducted both the Kingston Choral Society (1953–7) and the New SO of Kingston (1954–7).

George’s music is in a 20th-century idiom characterized by traditional formal structures and modal harmonies, and influenced by his studies of ethnomusicology and the structural aspects of music. His operas are large-scale works based on historical events with librettos adapted from contemporary writing. He has also composed many choral pieces....

Article

Erik Levi

(b Czernowitz [now Chernovtsy, Ukraine], Oct 26, 1888; d Vienna, Oct 12, 1960). Austrian theatre historian and librettist . He went to Vienna in 1907, studying German, philosophy and musicology (under Guido Adler) at the university and practical music at the academy. In 1908 he became a private pupil of Robert Fuchs and also studied operatic production at the Vienna Hofoper. In 1910 he became Max Reinhardt’s assistant for a production of the second part of Goethe’s Faust at the Deutsche Theater, Berlin. After war service he was appointed librarian at the Austrian National Library, where he founded a theatre archive in 1922 and a film archive in 1929; he initiated studies in theatre history at Vienna University in 1947. During the last years of his life he was accorded many national and international awards.

Although Gregor left important monographs on the history of Vienna’s theatres, on Richard Strauss’s operas and on the broad cultural history of theatre and of opera, he is probably best known as the librettist of Richard Strauss’s ...

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Arthur Jacobs

(b London, March 13, 1863; d London, May 17, 1933). English translator. He was one of the first British champions of Richard Strauss, with whom he became personally acquainted at the first performance in Berlin of Feuersnot (1912). His translation of Der Rosenkavalier, published in the vocal score and first performed in Birmingham in ...

Article

Christopher Smith

(b Maillane, Bouches-du-Rhône, Sept 8, 1830; d Maillane, March 25, 1914). Provençal poet and philologist . The son of a prosperous landowner, he devoted his life to the promotion of the cultural values of Provençal. His most famous work is the rural epic Mirèio (1859) which Michel Carré used as the basis for the libretto of the five-act opera (sometimes described as an ‘opéra-dialogué’) Mireille, set by Gounod. This was first performed in 1864 and subsequently remodelled. Calendau (1867) formed the basis of Henri Maréchal’s opera Calendel (libretto by Paul Ferrier), which had its première in Rouen in 1894. Maurice Léna’s libretto for C. M. Widor’s opera Nerto (1924, Paris) was derived from Mistral’s verse-tale of the same name. In 1904, half a century after the foundation of the pro-Provençal ‘félibrige’, the Nobel Prize for literature was awarded jointly to Mistral and the Spanish poet José Echegaray....

Article

Mireille Barrière

(b Ottawa, Sept 7, 1892; d Montreal, Sept 20, 1958). Canadian composer and folklorist . He studied the piano and the organ in Ottawa with Amédée Tremblay and piano in Montreal with Alfred Laliberté. From 1915 he collaborated with Charles Marchand on collecting and arranging folksongs, and he was also active as a teacher, orchestral pianist and accompanist. From 1927 to 1930 he took part in the festivals commissioned by the Canadian Pacific Railway and became their joint musical director with Harold E. Key in 1930; it was for these that his ballad operas, based on Canadian folklore and including many folksongs, were written. His operetta Philippino was broadcast in 1943. O’Brien became a priest in 1952.

ballad operas unless otherwise stated

Article

David J. Hough

(b Harrisburg, pa , March 7, 1902; d Bedford, ny , June 20, 1975). American designer and historian . He began designing while a student at Harvard University, influenced by Professor George Pierce Baker and the emerging stagecraft of Norman Bel Geddes and, in particular, Robert Edmond Jones. He toured Europe in 1923–4 on a Sachs Travelling Fellowship with John Mason Brown (who later became a theatre critic) and began his collection of original designs, now housed in the Museum of the City of New York. He joined the Jones, Kenneth Macgowan and Eugene O’Neill wing of the Provincetown Players. His first production in New York was a dance satire, Sooner and Later, for the Neighbourhood Playhouse in 1925. In the same year he joined Baker at the newly established Yale School of Drama and from that time combined teaching with designing. He served in the World War II as a camouflage officer in the US Air Force....

Article

David J. Hough

(b Argentan, Jan 28, 1943). French stage designer. He studied sculpture at the Académie de Dessin in Paris, but preferred painting and scenic design. In 1967 he met the director Patrice Chéreau; since 1969 he has designed all Chéreau’s productions, beginning with L’italiana in Algeri (1969) for the Spoleto Festival. They collaborated on Les contes d’Hoffmann in 1974 and Lulu in 1979, both for the Paris Opéra. Lulu was transposed from the late 19th century to the 1920s, and Peduzzi’s split set was an effective metaphor for the femme fatale’s physical and moral journey. Their last opera was Lucio Silla in 1984–5 for La Scala, the Théâtre des Amandiers in Nanterre and the Théâtre de la Monnaie. Their most famous, and controversial, production was the 1976 ‘industrial revolution’ Bayreuth Ring. Greeted at first with a storm of protest, it then generated much scholarly criticism. By 1980...

Article

Rudolf Klein

(b Vienna, June 25, 1910; d June 26, 1992). Austrian director and musicologist. He studied at Vienna University with Lach, Orel and Wellesz (1929–35) and took the doctorate in 1935 with a dissertation on the Viennese stage director Friedrich Strampfer. After serving as stage manager and director at various German and Austrian theatres (...

Article

Noël Goodwin

(Edward)

(b Melbourne, June 6, 1926). Australian conductor and musicologist. He studied in Melbourne and London, where he made his conducting début in 1953 as assistant to Beecham with the RPO, and worked with Knappertsbusch at Bayreuth. As a scholar he became absorbed by textual inaccuracies between autograph and published texts of operas by Verdi and Puccini, and was drawn into dispute with the Ricordi publishing house. He published papers on Verdi (La Scala, no.104, 1958, pp.11–15, 71–2) and on Puccini’s orchestration (PRMA, lxxxvii, 1960–61, pp.1–14), and the article ‘“Tradition” in Verdi and Puccini’ (Opera, xii, 1961, pp.301–5). He became adviser to UNESCO on musical copyright and its abuses (1962–7) and was largely responsible for the 1967 Stockholm revision of the Berne International Copyright Convention.

Vaughan was music director for the Elizabethan Trust Opera Company, Sydney, in 1966, and in the 1970s he worked at the Munich and Hamburg opera houses. He returned to Australia as music director of the State Opera of South Australia at Adelaide (...

Article

Arthur Jacobs

(b London, Nov 14, 1933). English translator. With Michael Scott, he made a free adaptation of Donizetti’s Le convenienze e inconvenienze teatrali in its one-act form (as The Prima Donna’s Mother is a Drag) for a production at the Camden Festival in 1972. The following year he provided an English version of Offenbach’s ...

Article

Ian Mikyska

(b Brno, 13 March 1966). Czech composer, pedagogue, and writer on music, son of zdeněk zouhar. He studied composition at the Janáček Academy of Music and Performing Arts (JAMU) in Brno (with Miloš Ištván and alois piňos) and musicology at the Masaryk University, followed by post-graduate studies at the Hochschule für Musik und darstellende Kunst Graz (with Herman Markus Preßl and younghi pagh-paan) and JAMU. He remains an external pedagogue at both these institutions, as well as being active as a researcher at the Palacký University Olomouc (vice-dean starting in 2010), Ostrava University, and Masaryk University.

His brand of postmodernism is surprisingly respectful, using disparate materials in a serious manner, and generally staying with a few pieces of material for the duration of a piece or movement. Often composed in an additive, evolutionary structure, his works are sonically reminiscent of New York post-minimalism, but are very European in their approach to expressivity and emotional intensity. This approach includes both the intense rhythms of ...