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Article

Juan María Veniard

performed at the Colón. (Its libretto was also set to music at the same time by another Argentine, E. M. Casella). El manto mágico , a comic opera in three acts, was not performed. Schiuma was also active as a conductor: he founded the Teatro Lírico Argentino ( c 1930 ) to promote operas by native composers, many of which received their first performances there (for example Casella’s Latapera , 1934 ). Works all premières in Buenos Aires Biancafiore (2, A. Magno), Politeama Argentino, 8 Jan 1915 Amy Robsart (4, after W. Scott), Coliseo, 24 April

Article

Philip L. Miller

revised by Michael Meckna

in Hollywood, writing scores for a number of John Ford’s films, including Stagecoach ( 1939 ) and Fort Apache ( 1948 ). His opera, Caponsacchi , first performed at Freiburg as Tragödie in Arezzo in 1932 , was staged at the Metropolitan in 1937 . Works ( selective list ) Stage Caponsacchi (op, 3, R. Browning), 1931 I Hear America Call (orat, R.V. Grossman), Bar, SATB, orch, 1942 The Crucible (orat, B.C. Kennedy), 1943 Film scores (all dir. John Ford) Stagecoach, 1939 The Long Voyage Home, 1940 Fort Apache, 1948 Three Godfathers, 1948 She Wore a Yellow Ribbon

Article

Manica Špendal

revised by Jernej Weiss

Ljubljana Cathedral to the European level. His contribution was all the more valuable because he was one of the very few thoroughly educated professional musicians in Ljubljana at the time. Among his other compositions are sacred works (eight mass settings in Latin, three in Slovenian, a Glagolitic Mass, several collections of Graduale, Offertorium, and Tantum ergo, and four Te Deum), secular occasional cantatas ( Domovini , ‘To My Homeland’, 1883 ; Turki na Slevici , ‘Turks in Slevica’, 1907 ), a five-act opera, Dom in rod (‘Home and Family’, 1920–23 , to a libretto

Article

David W. Green

April 7, 1949 ). Polish-German conductor and composer . Having completed his apprenticeship at the Berlin Komische Oper ( 1907–11 ) and the Stadttheater in Essen ( 1911–12 ), he rose to prominence in Berlin as a conductor at the Deutsche Oper ( 1912–23 ) and opera composer. His three major operas, all composed in a richly melodic vein, received their premières at the Deutsche Oper: Mandragola ( 1914 ), inspired by the Renaissance comedy by Machiavelli; Jugend ( 1917 ), adapted from the realist tragic drama by Max Halbe; and Santaniel ( 1923 ), based on a

Article

Anders Lönn

revised by Lennart Hedwall

at the Opera school from 1786 ; he became a member of the Academy in 1786 . After his first published works, the two violin solos ( 1781 ), Zander composed theatre music in which he emulated the style of French opéra comique and German Singspiel, inserting familiar Swedish national tunes. The combination proved quite popular; from 1784 until his death he composed for and served as musical director of Carl Stenborg’s theatre, which under him enjoyed its greatest success. Works all in MS in S-St unless otherwise stated Stage all first

Article

Andrew Lamb

Royalty, Globe, Her Majesty’s and other theatres in London and New York. He wrote numerous parlour pieces for the piano and comic songs, and as a composer of comic operas he was one of the most accomplished contemporaries of Sullivan. Solomon’s melodies are usually in an English ballad or a march style with repeated melodic phrases and simple rhythms. His comic operas, many of which echo Sullivan’s, were all performed in London and include Billee Taylor (Imperial, 30 October 1880 ), Claude Duval (Olympic, 24 August 1881 ), The Vicar of Bray (Globe, 22 July 1882

Article

‘Sweet Annie Moore’ ( The Casino Girl ) was by John H. Flynn; ‘Under the Bamboo Tree’ ( Sally in our Alley ) by Bob Cole and J. Rosamond Johnson; and ‘Any Old Time at All’ ( The Rich Mr Hoggenheimer ) by Jean Schwartz. Englander’s last work, Madam Moselle ( 1914 ), was a failure, and he died in relative obscurity. Works ( selective list ) unless otherwise stated, all are comic operas; dates are those of first New York performance 1776 (L. Goldmark), 1884 The Passing Show (revue, S. Rosenfeld), 12 May 1894 The 20th Century

Article

Jennifer Spencer

directorship of the Théâtre Bouffe. From 1891 he taught the piano at the music school of the Moscow Philharmonic Society, and in 1897 was appointed superintendent of the Moscow Imperial Theatre orchestra and director of music at the Aleksandrovsky Institute. Simon wrote three operas (all performed in Moscow), three ballets, orchestral works, chamber music, choral pieces and about 100 songs. Works ( selective list ) Stage Rolla (op, A.M. Nevsky), op.40, Moscow, 17/29 April 1892 Pesn′ torzhestvuyushchey lyubvi [Song of Love Triumphant] (op

Article

Bertil H. van Boer and Martin Tegen

1743 he was elected to membership in the Accademia Filarmonica and produced his first opera, Alessandro nelle Indie , in Genoa. During the next ten years he achieved some fame as a composer of both operas (mostly opere serie ) and oratorios throughout Italy, joining the Mingotti theatre troupe in 1752 as resident composer. It was in that troupe that he met his first wife, the singer Rosa Scarlatti ( 1727–75 ). His first tour to northern Europe ( 1752 ) resulted in the opera Siroe , performed in Hamburg, and in the following years he directed L’olimpiade and

Article

Noël Goodwin

president; between 1969 and 1973 he recorded with this orchestra all Haydn's symphonies, to widespread acclaim; these were followed by an equally admired series of Haydn operas with the Lausanne Chamber Orchestra. He was made a Chevalier des Arts et des Lettres by the French government, a Knight of the Swedish Order of Vasa, and in Britain was appointed KBE in 1984 . Antal Dorati, 1965 photo Erich Auerbach, London A frequent guest-conductor of opera in Europe and North America, Dorati made his Covent Garden début

Article

Ronald Crichton

revised by José A. Bowen

Beethoven might have been surprised by his fondness for comic opera, which he was able to indulge in Vienna. Weingartner’s operas had some success in their time, Genesius ( 1892 ) being quite widely performed. Yet the recognition he longed for as a prolific composer of large-scale music continued to elude him. Weingartner was the first major conductor to leave a representative sampling of his art in recordings. He made acoustic recordings ( 1910–14 and 1923–5 ) of symphonies by Beethoven, Brahms and Mozart, all of which he re-recorded after the introduction of electrical

Article

Hugh Macdonald

army, and the eldest of three brothers, all of whom studied the violin with their father and later at the Paris Conservatoire. The family spent some years in Brest. François-Antoine was in Baillot’s class at the Conservatoire, where he won a premier prix for the violin in 1804 . He is said to have received a pension of 1200 francs from the Empress Josephine. In 1804 he joined the orchestra of the Opéra-Comique, but moved almost at once to that of the Opéra. When Rodolphe Kreutzer was promoted to director of the Opéra in 1817 Habeneck succeeded him as principal

Article

greatest personal successes was with his opera Son na Volge (A Dream on the Volga), based on the same Ostrovsky play as Tchaikovsky’s opera Voyevoda , and produced in Moscow in 1891 . Parts of the opera had been composed under Rimsky-Korsakov’s supervision when Arensky was still a conservatory student. In 1894 Balakirev recommended Arensky as his successor to the directorship of the imperial chapel in St Petersburg, and in 1895 Arensky moved to that city, resigning from his professorship at the Moscow Conservatory. A second opera, Rafaėl ′ (Raphael), composed in

Article

Michael Fend

to the fore in the thematic development of the final movement. In a similarly experimental fashion, in Quartet no.6 the openings of all the previous movements are quoted in the finale. In Quartet no.1, his most popular quartet, movements are linked thematically and by emphasizing contrapuntal technique; its Scherzo is a ‘Spanish’ genre piece with refined texture and colourful instrumentation. Cherubini's overtures to his French operas became popular concert overtures in their own right during the 19th century. He quickly replaced the Italian overture of Ifigenia in

Article

Juan María Veniard

began in Buenos Aires in 1955 . He conducted all the leading Argentine orchestras and toured the American continent and occasionally Europe. He was principal conductor of the National SO ( 1968–9 ; 1979–83 ; 1992 ) and of the Rosario SO ( 1977–90 ) and has appeared frequently at the Teatro Colón, Buenos Aires, conducting both operas and concerts. He composed music in many genres, including film music. His opera El timbre uses a technique invented by him, espejos intervalicos (intervallic mirrors). His other two operas, Antigona Velez and Don Juan , use Argentine

Article

Zofia Chechlińska

the principles outlined in his treatise. His operas are cast in the style of Rossini and his instrumental works show his adoption of the Haydn–Beethoven Viennese style. His symphony ( 1855 ), composed for Mannheim, follows Beethoven's monumental approach to form and is one of the most substantial and richly scored Polish Symphonies of the period. Mirecki also wrote one of the earliest European treatises on orchestration, Trattato intorno agli instrumenti ed all'instrumentazione (Milan, 1825 ). Works Operas Pułavski, before 1822, lost

Article

Christopher Hailey

direction), as well as the concert première with piano of his first opera, Flammen , in the Bösendorfer-Saal on 24 April 1902 . Several of his early works and most of his songs were published (by this time he had dropped the second ‘c’ in his surname), and his Intermezzo won first prize in a competition sponsored by the Neue musikalische Presse . Probably in the midst of this flurry of early success, though possibly as late as 1904 , he began Der ferne Klang , for which, as with all his subsequent operas, he wrote his own libretto. He had begun conducting in 1895

Article

Leonard B. Smith and Raoul F. Camus

Caprice (1934) Democracy (1934) Hungarian Fantasy (1934) Valse caprice (1934) Yankee Rhythm (1934) Nutty Noodles (1935) Opera in the Barnyard (1935) Pleasant Recollections (1935) The Roosters Lay Eggs in Kansas (1936) Yea, Drummer (1936) Assembly Selection (1937) Coming Home (1937) Robin Hood Fantasy (1939) Naida, cornet, band (1940) Golden Century Ov. (1941) Little Red Riding Hood (1944) In the Land of Shangri-La (1946) Kreutzer in Waukegan (1950) All Out for America (1951) Sweetheart, 3 tpt, 3 trbn, band (1982) many arrs., incl. works by Bizet, Grieg, Herbert, Massenet

Article

David Ades

Roger, Roger ( b Rouen , Aug 5, 1911 ; d France , June 12, 1995 ). French arranger , composer and conductor . The son of Edmond Roger, a well-known Paris opera conductor and friend of Debussy, he was attracted more to popular music and at 18 formed his first small group for a music hall. This encouraged him to develop his arranging skills, although he also showed a flair for composing. During a long career he accompanied almost every French singer, and his ‘Paris Star Time’ radio series was heard worldwide. He once claimed to have made over

Article

John Beckwith

letters, legal proceedings, shipping lists, and other documents. Central to both works (Anhalt calls them operas, though their performances have not included staging) is the episode of the voyage itself. In both, moreover, religious themes – French Catholic or Church of England – intrude significantly. In the late 1970s and early 80s Anhalt’s work took two new directions. Firstly, his interest in extended vocal techniques (exhibited in Cento , Foci and the two operas) led to a period of research in the works of other composers (especially Berio, Ligeti, Lutosławski