(b Bourmont-en-Bassigny, Haute-Marne, June 7, 1732; d Paris, May 21, 1801). French impresario, singer and dramatist. He first made his name as a singer with the Opéra-Comique (after about 1758), chiefly in artisan roles; no doubt it was to exploit this special talent that he was allowed to put on an opéra comique of his own, Le tonnelier, after La Fontaine's Le cuvier (Foire St Laurent, 28 September 1761). The work failed but Audinot nevertheless joined the Comédie-Italienne when that company merged with the Opéra-Comique in 1762. Audinot revised the libretto of Le tonnelier with A.-F. Quétant, and the work was revived on 16 March 1765 at the Comédie-Italienne with new ariettes and ensembles by various composers. In this new version it had considerable success in France, Holland and Germany alike. Audinot left the Comédie-Italienne in 1767 and soon became one of the principal impresarios of the Paris stage. After attracting crowds to his puppet show at the Foire St Germain, he opened the Théâtre de l'Ambigu-Comique on ...
(b Glinno, nr Poznań, April 9, 1757; d Warsaw, July 23, 1829). Polish impresario, librettist, actor and singer. He was a central figure in the history of the Polish theatre. He studied in Kraków (1770–73), where he attended many theatrical and concert performances organized by Sierakowski, prompting him to change the direction of his career away from the army and towards the theatre. He probably completed his studies at the Piarist school in Warsaw. For a few months during 1778 he studied acting with L. Montbrun, a Warsaw theatrical impresario. Soon afterwards he made his début as an actor in N.T. Barthé’s comedy Zmyślona niewierność (‘Imaginary Infidelity’), and on 11 July 1778 as a singer and librettist in the première of Maciej Kamieński’s opera Poverty made Happy. In 1783 he became the director of the National Theatre in Warsaw, remaining in this position (with some breaks) until ...
(b ? Moravia or Upper Austria, ?1740s; d Aachen, bur. Aug 7, 1792). Austrian theatre manager, actor and singer. He was engaged at Brünn (now Brno) in 1770, from the autumn of that year as director of the troupe. For long periods he toured in Austria, southern Germany and the Rhineland. In early summer 1776 he directed an opera season at the Kärntnertortheater, Vienna, in collaboration with Noverre: 14 works were given, almost all of them Singspiel adaptations of French operettas, many of which later became standard fare in Vienna. He was Joseph II’s original choice as producer for the new National Singspiel company, but his appointment was frustrated. However, he and his wife (Maria Anna [Marianne]; née Jacobs) appeared in his translation of the Sedaine-Monsigny Rose et Colas at the Burgtheater on 9 May 1778 and were with the company for the remainder of the season; their daughters appeared in minor roles....
[Bortnyansky, Dmitry Stepanovich]
(b Hlukhiv, Ukraine, 1751; d St Petersburg, 28 Sept/Oct 10, 1825). Ukrainian composer, singer and music director, active in Russia. He began his musical training early, possibly at the Hlukhiv choir school, and in 1758 went to sing in the Russian imperial court chapel in St Petersburg, where he became one of Empress Elizabeth's favourite choirboys. Singled out for his unusual talent, he was trained in opera and eventually performed major roles in court productions: in 1764 he played the role of Admetus in H.F. Raupach's Al′tsesta.
During this period he studied composition with Galuppi. In 1769, after Galuppi had left for Venice, Catherine the Great sent Bortnyans′ky to further his studies there, with Galuppi. His first extant compositions date from his years in Italy: he composed three opere serie, two of them, Creonte (1776) and Alcide (1778), for Venice and the third, ...
Susan L. Porter
(b nr Manchester, England, cJune 7, 1765; d nr Bladensburg, MD, Sept 12, 1805). Actor, singer, and theatrical manager of English birth. He began his career in 1782 with the Tate Wilkinson troupe in York; by 1790 he was playing leading roles in tragedy, comedy, and comic opera at the major English provincial theaters. He made his debut in the United States on 26 September 1792 with the Old American Company in Philadelphia, together with his second wife, Frances Hodgkinson (née Brett) (b England, 1771; d Philadelphia, PA, 27 Sept 1803). In addition to his varied acting roles and his notable popularity with audiences, Hodgkinson frequently sang in concert. He was credited with “a fine taste for music” and a voice that was “powerful, melodious, variable, and of immense compass” (Mirror of Taste and Dramatic Censor, i/3, 1810); he was also said to be proficient on the violin and the flute. He became manager of the Old American Company in ...
(b Vienna, Feb 22, 1717; d Vienna, Feb 3, 1784). Austrian comic actor, singer, dramatist and theatre manager. The son of the actor-manager Felix Kurz, and godson of ‘Hanswurst’ Stranitzky and J.B. Hilverding, he grew up in the theatre, and by the age of 20 he was performing leading roles with the German troupe at Vienna's Kärntnertortheater under the direction of Stranitzky's successor, Gottfried Prehauser. From 1740 until 1744 Kurz performed in Germany (most notably in Frankfurt and Dresden). Back in Vienna (1744–53) he developed and perfected the kind of magic burlesque, generously larded with songs, choruses, ensembles and incidental music, that dominated the popular repertory in most of the southern German lands. In a lengthy series of plays, mainly of his own devising, he appeared as Bernardon, a lively, urbane, satirical comic character. After the imperial ban on extemporization, Kurz moved in 1753 to Prague, where he was Locatelli's sub-lessee and director at the Kotzen Opera. He returned to Vienna in ...
Bertil H. van Boer
(b Stockholm, Sept 25, 1752; d Stockholm, Aug 1, 1813). Swedish singer, composer, translator and impresario. The son of the actor and director of the Swedish Comedy, Petter Stenborg, he grew up in the household of Count Adam Horn, who underwrote his education at Uppsala University. At the age of 14 he made his début in the public concerts of Stockholm and thereafter began to study composition with Ferdinand Zellbell (ii). In 1767 he was appointed to a government post, which he held while simultaneously performing with his father’s company. He achieved an instant success as Sweden’s leading tenor in the title role of the first Swedish opera, Uttini’s Thetis och Pelée on 18 January 1773. In 1782 he was appointed court secretary and the following year was elected to the Swedish Royal Academy of Music, where he taught for the next two decades.
In 1780 he took over the leadership of the Swedish Comedy and received permission from Gustavus III to stage comic operas and plays at a new theatre in Eriksberg (and later at the Munkbro Theatre), which competed with the Royal Opera for public support. Here he produced native works, translations of French and German comic operas and parodies by C.I. Hallman, O. Kexél and Carl Envallsson, which were set to music by J.C.F. Haeffner, J.D. Zander, J.F. Grenser and himself. From ...