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Article

Ivan Zivanović

business college. From 1893 to 1895 he was conductor at the joint theatres of the Graz municipality. He then conducted opera at the new theatre in Zagreb (the Croatian National Theatre) until 1903 , when the company’s activities were suspended, and returned to the opera as both director and conductor in 1909 having spent the interim years composing in Vienna; this was the only period when Albini was actively engaged in composition. He remained at the opera until 1919 , and thereafter founded and directed the Croatian Copyright Centre as well as his own publishing house

Article

Warren M. Sherk

governor of Missouri. After graduating from high school in St. Louis in 1885 , he studied composition with Heinrich Urban and conducting with Gustav Kogel in Berlin. In 1891 , based in Los Angeles, he wrote a comic opera, Yorktown . By 1896 he was musical director at the Los Angeles Theater, conducting The Pirates of Penzance and other comic operas. A recital of his music compositions took place in Los Angeles in 1897 . Between 1899 and 1912 in New York he was music director for more than a dozen Broadway musical comedies, revues, and operettas, many by Victor

Article

Erik Levi

revenge by locking her husband in the cupboard to share her lover’s fate. As the story is somewhat insubstantial, the action is framed by a prologue and epilogue in which the three characters are identified with a modern honeymoon couple and their lay-brother tourist guide. Of all Schillings’s operas, Mona Lisa enjoyed the greatest longevity on the stage and became a notable vehicle for his second wife Barbara Kemp, as well as Maria Jeritza. The score is a typical late-Romantic effusion which perhaps lacks thematic distinction, but demonstrates considerable expertise

Article

Alfred Loewenberg

revised by Bruce Carr

Berlin all his life. In 1792 he was organist at the Marienkirche, in 1801 assistant conductor at the National Theatre (at the instigation of B.A. Weber, who had heard his Singspiel Claudine von Villa Bella ), in 1808 musical director of the royal chapel, and in 1822 court Kapellmeister. He was pensioned in 1830 . Besides Claudine , the score of which is now lost, Seidel’s works include three ballets and a number of operas and theatrical pieces including Der Dorfbarbier Zweiter Theil, oder Die Schmids-Wittwe (one-act farce, a sequel to Schenk’s opera, 1807

Article

objectives through the use of folksong, were to be fully overcome only in the work of Smetana and Dvořák. Škroup’s son, Alfred Škroup, was a violinist in the Rotterdam opera orchestra, and Kapellmeister in Coburg, Danzig (Gdańsk), Breslau (Wrocław), Mainz and other German cities. He also worked for the Prague music publishers Hoffman, and as an impresario for various singers. Works Stage all first performed in Prague Dráteník [The Tinker] op.1 (Spl, 2, J.K. Chmelenský), Estates, 2 Feb 1826 (Prague, 1913, 2/1926) Oldřich a Božena op.19 (op, 3, Chmelenský)

Article

E.D. Mackerness

Oct 1876 rev. as Dorothy, 1886 Two Foster Brothers (operetta, 1, G. a'Beckett), St George's Hall, 12 March 1877 The Spectre Knight (fanciful operetta, 1, J. Albery), Opera Comique, 9 Feb 1878 Belladonna, or The Little Beauty and the Great Beast (3, A. Thompson), Manchester, Prince's, 27 April 1878 After All (vaudeville, 1, F. Desprez), Opera Comique, 23 Dec 1878 In the Sulks (vaudeville, 1, Desprez), Opera Comique, 21 Feb 1880 The Masque of Pandora (grand op, 3, Rowe, after Longfellow), Boston, MA, Boston Theatre, 10 Jan 1881, lib pubd The Carp (whimsicality, 1, Desprez)

Article

Maureen Needham

danced in others. He was the ballet-master of Pierre Perrin’s Académies d’Opéra, creating dances for Cambert’s Pomone ( 1671 ). As ballet-master for Lully’s Opéra during the 1670s and 80s, he choreographed dances for the premières of Lully’s L’impatience ( 1661 ), La naissance de Vénus ( 1665 ), Alceste ( 1674 ), Atys ( 1676 ), Isis ( 1677 ), Le triomphe de l’Amour ( 1681 , with Pécour) and Ballet de la Jeunesse ( 1686 ). After Lully’s death ( 1687 ) Beauchamps left the Opéra to choreograph and compose music for ballets at the Jesuit colleges ( 1669–97

Article

Svetlana Sarkisyan

called him ‘the eastern Offenbach’) and above all Armenian urban folklore – the last is particularly noticeable in The Balding Elder and The Pea Seller . The historical-heroic opera Arshak II occupies an important place in Armenian music because of its high level of artistry; with a libretto based on 4th-century Armenian history it is national in its general tone, though conceived on the scale of grand opera. Its monumental proportions, especially the choral prologue and finale, present a contrast to his comic operas which, with their social awareness, stereotyped

Article

Nigel Burton and Keith Horner

Critical praise was high; in 1848 Davison wrote, ‘In speaking of the orchestra of the Royal Italian Opera, we take off our critical hat, and make low obeisance … it is almost unnecessary to add that it will be the finest orchestra in the world, without making any exception whatever’. By the end of his career, however, his tastes had become obsolete; Shaw put it neatly: ‘Costa … allowed the opera to die in his grasp whilst it was renewing its youth and strength all over Germany’. Yet for London, Costa’s discipline was unprecedented, particularly when exerted over

Article

Michele Girardi

where his one-act opera Zanetto ( 1896 ) was performed, but his commitments to the operatic seasons prevented him from fulfilling his academic duties adequately, and he had to resign after he went on a long tour of the USA and Canada in 1902–3 . Iris , which had its première in Rome ( 1898 ) with considerable success, inaugurated the vogue for fin-de-siècle exotic opera. At the height of his popularity, Mascagni produced a resounding failure in Le maschere ( 1901 ), which opened simultaneously at seven Italian theatres and was a fiasco at all of them except in

Article

William Ashbrook

Milan, where his work was introduced at La Scala on 11 November 1863 . He sought to tap again the euphoric spirit of the times, but this opera achieved only five performances. The reception was cool and there were murmurs of that shibboleth, ‘music of the future’. Faccio’s friends fêted him with a banquet, however, and it was on this occasion that Boito read his ode All’arte italiana that so offended Verdi. Faccio’s second opera, the four-act Amleto , to an innovatory libretto by Boito, was first performed at the Teatro Carlo Felice, Genoa, on 30 May 1865 , where

Article

Warren M. Sherk

( b Hunter, NY , Feb 26, 1888 ; d Dallas, TX , March 8, 1970 ). American composer , arranger , and conductor . He was largely self-taught as a musician, although he later studied composition with Ernst Toch in Los Angeles. In New York, he conducted vaudeville and light opera from 1912 to 1922 , before spending four years as musical director for the Al. G. Fields Minstrels, a touring theatrical group. After a stint as an arranger for Remick Music Co. from 1927 to 1928 , he moved to Hollywood, finding work as a staff composer and arranger at Paramount Pictures

Article

Viorel Cosma

taught singing and opera from 1872 until 1904 at the Bucharest Conservatory, where his pupils included Teodorini, Darclée, Nuovina, Giovanni Dimitrescu and many others who were to make international reputations as opera singers. Stephănescu himself was never a professional singer, but he was an outstanding teacher, and he summarized his method in Despre mecanismul vocal (‘On the vocal mechanism’) (Bucharest, 1896 ). He conducted at the Bucharest National Theatre from the foundation of the Romanian Opera in 1877 ; he also helped to further opera in the city by training

Article

Antonio Rostagno

Mancinelli produced his own opera, I ribelli , in Lisbon in 1888 . He wrote salon songs, as was customary for Italian composers of the time, and a few piano pieces. Not all sources agree in attributing to him the opera Giorgio Clankerty , produced in Vienna in spring 1881 . At the beginning of the 20th century the Teatro dell'Opera in Rome held some of his autograph scores; others are known to be in the possession of the Orvieto city archives. Works Operas Giorgio Clankerty (os, 2, G.T. Cimino), Vienna, Opera, spr. 1881 [?doubtful]

Article

‘spring overture’ Yar-khmel′ shows; he was also influenced by Balakirev in his interest in the oriental, displayed in his operas Ruf ′ (‘Ruth’) and Izmena (‘Treachery’) as well as in the well-known suite Kavkazskiye ėskizï (‘Caucasian Sketches’). All that he inherited from Tchaikovsky was an elegance of phrasing and a song-like arioso ; Ippolitov-Ivanov's opera Asya was composed mainly under the influence of Yevgeny Onegin . His last opera Poslednyaya barrikada (‘The Last Barricade’), is set at the time of the Paris Commune. Other notable features of Ippo

Article

Gian Paolo Minardi

Real, 1772 Le négociant (opera comica), Berlin, 1772, D-B Ipermestra (os, P. Metastasio), Modena, Corte, 1773 L'ospite incomodo (dg), Parma, Colorno, aut. 1778 L'incontro inaspettato o fortunato, Parma, Ducale, 1800 Arias in: Antigono, I-PAc ; Artaserse, F-Pn Other vocal Messa (Ky, Gl), 4vv, insts; Cr, 4vv, insts; 9 lamentazioni: all D-Dl 4 arie, solo vv, orch; Mucio o Fernando, recit and quartet; Perfidi al mio furore: all I-PAc ; Canzonette, 2 S, b; La contesa

Article

Neal Zaslaw

d his debt in a warm letter of dedication to Chéron in which he stated that, ‘all the world knows that I am your pupil … If some beauties are found here, I owe them to the learned lessons that I received from you’. Chéron joined the Paris Opéra in 1734 as harpsichordist, and five years later was promoted to batteur de mesure , replacing Rebel. To his conducting duties were added in 1750 those of maître de chant of the Opéra, culminating in the position of inspecteur de l’Opéra . His regime saw such important premières as Leclair’s Scylla et Glaucus ( 1746

Article

Nicholas Temperley

January 1837 he brought out his one-act opera Un anno ed un giorno , performed at Naples earlier in the season. He was engaged as musical director at Drury Lane ( 1838–48 ) during the period of Alfred Bunn’s management, which was also the most promising time for English Romantic opera. In addition to The Bohemian Girl , Maritana and other highly successful operas by Balfe and Wallace, Benedict brought out three English operas of his own, with more modest success. In 1848 he conducted Mendelssohn’s Elijah at Exeter Hall, when Jenny Lind made her first appearance

Article

I.M. Yampol′sky

at the Petrograd (St Petersburg) Conservatory with Glazunov (composition) and Nikolay Tcherepnin (conducting), he became conductor at the Petrograd Music Drama Theatre ( 1917 ), and at the State Opera and Ballet Theatre, now the Kirov ( 1923–31 ). He was then chief conductor successively of the Leningrad PO, 1930–34 , of the USSR State SO in Moscow, 1936–41 , and of the All-Union RSO, 1953–63 . During this period he gave several first performances of works by Khachaturian, Myaskovsky, Shaporin, Shostakovich and others, and his conducting was distinguished by his sense

Article

Francesco Bussi

La trilogia di Dorina , but a serious illness impaired his mind and led to his early death. Bibliography GroveO ( F. Bussi ) R. Celletti : ‘Gli ultimi cent’anni’, Storia dell’opera , ed. G. Barblan and A. Basso (Turin, 1977), 3/1, 282–98 V. Frajese : Dal Costanzi allOpera , i: Cronache, recensioni e documenti (Rome, 1978), 111, 135–6 See also from The New Grove Dictionary of Opera : A basso porto .