21-40 of 2,351 results  for:

  • All: Opera for all x
  • Composer or Arranger x
Clear all

Article

three small children’. Nothing further is known of Grabu's activities until April 1683 , when he competed unsuccessfully for a post in the French royal chapel. That autumn Thomas Betterton recruited him ‘to represent something at least like an Opera in England for his Majestyes diversion’. His setting of Dryden's allegorical opera Albion and Albanius was put into rehearsal during winter 1684 , only to be interrupted by Charles II's death on 6 February 1685 . It was finally produced on 3 June, but ran for only six nights before being interrupted by Monmouth's rebellion

Article

Robert Wangermée

revised by Lewis Reece Baratz

into the Brussels Conservatory. Van Helmont's known religious works (all autograph manuscripts) include a Requiem ( 1791 ) and two motets ( 1797 ) of mediocre workmanship ( B-Bc ), a responsorium graduale for Corpus Christi and a setting of Homo quidam ( B-Br ); three other motets are attributed to him by the priest and copyist Franciscus Haseleer and dated 1803–4 . An additional motet, a Missa solemnis for chorus and orchestra (before 1783 ) and many other works are lost. His opéra comique , L'amant légataire , produced in Brussels in 1808 , had no success

Article

Louise Litterick

chapelle at the French royal court during the first decade of the 16th century also document the circulation of his music and his presence in Italy, it is striking that half of his motets, as well as two Magnificat settings and at least one mass, all survive in manuscripts compiled for the papal chapel and nowhere else – indeed, in all the music copied for that chapel between 1497 and 1512 , Prioris is second only to Josquin in the number of works copied. Moreover, although the references to ‘D[omino] Priori’ as playing the organ of S Pietro, Rome, in 1491 , once thought

Article

Lionel Salter

first rank; he later made five world tours. Almost entirely self-taught as a composer, Manén had begun to write at 13, and in 1900 he conducted a concert of his own works in Barcelona. His first opera, Juana de Nápoles (produced when he was 19), was well received at the Barcelona Liceu, and he immediately followed this with Acté , for which (as for all his later operas) he wrote his own libretto. He then spent time in Germany, where he acquired an admiration for Wagner and Richard Strauss, which can be observed in his orchestral writing. Strauss’s influence on his

Article

Peter Holman and Robert Rawson

where according to Walther he composed ‘more German operas’. During this period a number of his instrumental collections were published by Roger of Amsterdam. By 1706 he was in Breslau in the service of Duke Karl Philipp of Neuberg, the younger brother of the Elector Palatine. He remained in Karl Philipp's service for the rest of his life; in October 1707 he was a Kammermusiker in the Innsbruck Hofkapelle and rose to the position of Konzertmeister in 1708 . In that same year Finger was back in Berlin, where his operas Der Sieg der Schönheit über die Helden and

Article

interest of his chamber works. His brother Joseph(-Antoine) Godecharle ( b Brussels, bap. 17 Jan 1746 ; d Brussels, 21 March 1829 ) was first oboist at the royal chapel from 1766 until the chapel was disbanded in 1794 , and in 1768 oboist in the orchestra at the Brussels Opéra. Another brother, Louis-Joseph-Melchior ( b Brussels, bap. 5 Jan 1749 ; d Brussels, 8 June 1807 ), was attached to the church of St Michel et Ste Gudule as a singer, and was a baritone at the royal chapel until 1794 . Works 6 sinfonie a 4 o 8 partite

Article

choir in Gregorian chant, and in 1909 visited the Benedictine monastery at Maria Laach, Germany, where he studied chant practice. He remained active in the musical life of Boston, retaining unofficial ties with the Boston SO; he was a member of the board of directors of the Boston Opera Company, and served as an adviser on various competition juries. Loeffler also had interests in New York, serving as an adviser on the foundation of the Juilliard Graduate School ( 1924 ). Loeffler's major occupation was composition. He was a skilled and careful, even fastidious,

Article

Ronald Woodley

and court tutor in the theory and practice of music. (Besides singing, he played the rebec and bowed vihuela enthusiastically.) He was perhaps drawn to Naples partly by the reputation for law of the University there, but all other details of the recruitment process or material enticements offered to Tinctoris by Ferrante have been lost. Almost all his writings and compositions date from his two decades in Naples. Throughout this time he was involved with the highest intellectual levels of Italian humanism; in 1478–80 he was particularly close to and influential upon

Article

Alcuin  

Jane Bellingham

including for instruction in ‘cantilenae’. This advice reflects the practice at the Frankish court where, according to one of Alcuin's poems, boys were taught ‘modulamine sacro’ by the cantor (MGH, Poetae latini , i, Berlin, 1881 / R , p.246). Bibliography Alcuin : Opera omnia , PL , c–ci E. Dümmler , ed.: Poetae , MGH , Poetae latini aevi Karolini , 1 (Berlin, 1881/ R ) E. Dümmler , ed.: Epistolae , MGH , Epistolae , 4 (Berlin, 1895/ R ) J. Szövérffy : Die Annalen der lateinischen Hymnendichtung (Berlin, 1964) J. Dehusses : ‘Le supplément

Article

in Italy. There he had composed three operas: an intermezzo Il geloso (performed at Rome in 1751 and later at Florence and at Bastia in Corsica), Il trionfo del Giglio and La Lavinia (performed at Bastia in 1751 and c 1753 respectively). The only extant pieces from this Italian sojourn (contained in a volume of extracts from Lavinia published soon after his return to Paris) are five bravura arias and a duo, supported by fairly substantial orchestral accompaniments, which suggest that Lavinia was a typical opera seria of the time. For Paris Herbain

Article

reorchestrated Philidor’s Le sorcier . His own style remained unadventurous: even La surprise de l’amour , much praised by some, uses orthodox operetta formulas. Carmosine was completed at Poise’s death, to be heard eventually after 36 years. Works Operas unless otherwise stated, all are opéras comiques, first performed and published in Paris Bonsoir, voisin (1, A. de Beauplan and Brunswick [L. Lhérie]), Lyrique, 20 Sept 1853 ( c 1855) Les charmeurs (1, A. de Leuven, after C.-S. Favart: Les ensorcelés, ou Jeannot et Jeannette ), Lyrique, 7 March 1855

Article

James R. Anthony

prologue, of having Thalia (muse of Comedy) triumph over Melpomene (muse of Tragedy) in a setting representing the stage of the Paris Opéra. La Font and Mouret lost no time in composing another entrée, La critique des fêtes de Thalie , and in changing the name of the opéra-ballet to Les fêtes de Thalie , all of which appeared to placate the aestheticians. In 1722 a new entrée, ‘La provençale’, was added, proving the most popular of all, and holding the stage until 1778 . La Font’s other works for the lyric stage include two tragédies en musique , Hypermnèstre

Article

George Grove

revised by John R. Gardner

original pedal fugues and slow movements, other pieces for the organ and organ arrangements from the works of Handel and Bach, songs, duets, and many partsongs for four voices, of which a favourite was All among the Barley . In 1863 she married the organist F.A. Bridge ( 1841–1917 ). Her opera Bleakmoor for Copseleigh (unpublished) was in the repertory of their chamber opera company.

Article

Elizabeth Forbes

vaudevilles and comic operas during his apprentice years, even some of the theatre music written in his maturity; but there remain several operas and ballets that are not merely delightful examples of their kind, but are also scores full of genuine inspiration. Le chalet , his first significant success, incorporates the music from Ariane à Naxos , the cantata written for the 1825 Prix de Rome competition, but the opera is distinguished by its freshness of invention, as indeed are all his best works. Le chalet was Adam’s most popular opera in France throughout the

Article

Don Harrán

of some importance in the early history of the madrigal. Works Grand'è 'l mio duol, 4vv, 1540 20 Maledetto sia amor, 4vv, 1544²², ed. A.M. Monterosso Vacchelli, L'opera musicale di Antonfrancesco Doni (Cremona, 1969) Poi ch'amor cosi vole, 4vv, 1540 20 Vorrei il mio martire, 4vv, 1540 20

Article

Jon Bagüés

exemplified by French comic opera. His works were written to his own librettos, and privately performed. His comic opera El borracho burlado , performed in Azcoitia in 1764 , consisted of 35 scenes divided into two acts; it was the first opera in which the text was sung in Basque, though the spoken parts were in Spanish. In 1781 he wrote El amo querido , a comic opera for the students at the Real Seminario Patriótico Bascongado in Vergara. He died while he was composing La paz , another comic opera for the same school. All his operas are lost.

Article

George J. Buelow

Trost, Johann Baptist Matthäus ( fl 1714–26 ). German composer . He was one of a group of German musicians of the early 18th century who wrote operas for the court of Margrave Karl Wilhelm of Baden-Durlach. According to archival material ( D-KA ), Trost was born in Württemberg. He became a Hof-musicus in autumn 1714 and also served as tutor for singers of the court opera at Durlach. All Trost’s operas seem to be lost, including Rhea Sylvia ( 1716 ) and Ademarus ( 1718 ). Two other works attributed to him are Die bestürzte Königin in Schottland Maria Stuart

Article

Andrea Musk

the inhabitants, now living under the sea, lose all knowledge of their language apart from the sound ‘o’. The text in its entirety is written in an Italian macaronic based upon their only remembered sound. Works texts by composer unless otherwise stated Le phénix ou Ramage et plumage (opera buffa), 1957 Lettres perdues ou La correspondance des gens du monde (opera radiophonico-épistolaire), 1960 La dictée ou Les barbares sont dans la classe (monodrame lyrique), 1961 Le couer révélateur ou Les voliges (opéra de chambre, P. Soupault, after E.A. Poe), 1961

Article

James R. Anthony

Camille, reine des volsques (all Campra, 1712 , 1713 and 1717 respectively) are true tragedies. Camille , a political tragedy, minimizes the role of the supernatural. Achille et Déidamie (Campra, 1735 ) is a weak work for which librettist and composer were accused of ‘completely drowning the subject in divertissements. No one wished to honour it by calling it a tragedy’. In Les fêtes vénitiennes (Campra, 1710 ) music and text are equal partners; the work conforms exactly with Rémond de Saint-Mard’s definition of opéra-ballet : ‘Each act must be made

Article

Dixit Dominus, 5vv, insts, 1749 [autograph] Dixit Dominus, 5vv, insts; De profundis, 2vv, vns; Domine ad adiuvandum; Magnificat, 5vv, insts, 1745 [autograph] Magnificat, 5vv, insts: all I-Nc 5 motets [all autograph] Letamini fideles, A, vns, bc; Nova luce, 5vv, insts; Ridet, S, insts; Salve coeli, 5vv, insts; Vola turtur de nido, S, insts, 1729 2 Te Deum, 2vv, 5vv, insts: all Nc Alma Redemptoris; Ave maris stella, 5vv, insts; Beati omnes, 4vv, insts; Christus e Miserere, 4vv, 5vv, org [also Mc , Nc ]; Compieta, 4vv, vns; Graduale per S Filippo Neri;