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Article

Murray C. Bradshaw

laude , madrigals, operas and sacred concertos. Ex.1 Tone VII, P-Cug M.12 (c1500; crosses mark the cantus firmus) The ‘classical’ form and style of the falsobordone , associated with the harmonization of psalm tones, appeared in southern Europe in the 1480s. It was known in Spain as ‘fabordón’, a variant of the French ‘fauxbourdon’, but there is little apparent connection between the two beyond that of the name. Unlike the older fauxbourdon, both the Italian falsobordone and the Spanish fabordón chiefly use root position triads and have all four parts written

Article

Kelley Rourke

has sung all four heroines in Les Contes d’Hoffmann , as well as leading roles in works by Berlioz (Héro), Bizet (Leila, Micaëla), Gounod (Marguerite), Massenet (Thais), and Ambroise Thomas (Ophélie). Other roles include Gilda in Verdi’s Rigoletto , Giulietta in Bellini’s I Capuleti e I Montecchi , and Christine Storch in Richard Strauss’s Intermezzo . Dunleavy has appeared in concert with the Atlanta Symphony, Los Angeles Philharmonic, Saint Louis Symphony, San Francisco Symphony, and the Philadelphia Orchestra. She is featured on a Los Angeles Opera DVD of Z

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repertory included many leading tenor parts from operas by Verdi, Wagner, Gounod, Mascagni and above all by Russian composers, and a large number of Bulgarian folksongs. He staged several operas in Sofia and wrote many articles in Bulgarian and Russian as well as a book, Po vaprosa za osnovavaneto na Balgarskata narodna opera (‘On the foundation of the Bulgarian National Opera’, Sofia, 1907 ).

Article

Dennis Libby

Cortoni, Arcangelo ( fl 1756–77 ). Italian tenor . He made his opera seria début at Bologna in May 1756 , but did not then begin a sustained career. During the period 1760–68 he was with Jommelli’s company at Stuttgart (except for 1762 , when he sang in Florence, Venice and Genoa). From autumn 1769 he appeared in major Italian theatres, including four seasons at the S Carlo, Naples, where he sang in all three of Jommelli’s late Neapolitan operas. He is not found after 1777 . Jommelli praised his technical skill (as did Burney), mentioning

Article

James R. Anthony

attention’). In any case, the ballet-héroïque , with all the trappings of monarchical opera, replaced the more frivolous earlier type. The fanciful characters, amorous ladies and lively petits-maîtres of the first-period opéra-ballet disappeared, to find a place in parodies, vaudevilles and the budding opéra comique . The structure of the ballet-héroïque is identical with that of the opéra-ballet – that is, three or four acts, each with its own plot; it may be thought of as a specific type of opéra-ballet that made up the second and final period of the

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of his earlier opera, Hell’s Angels , to what an opera audience might conventionally expect. It includes several songs in which the vocal line is set in tonal harmonies, rather than set against a merely colouristic background, and there is a strong melodic interest – in Anna’s lament for her dead husband, for example, Serezha’s passionately detailed declaration of love for Sashka’s body, and a sentimental ditty for a Ticket Collector (bass). Most prominent of all is the vigorous revolutionary hymn with which Pasternak (high baritone) begins the opera and with which

Article

Seconda dedicata all’illustriss. Signor Giacomo Cavalli … M DC LV ), and by extension also to the composition. The term was commonly used for serious Italian opera in the 18th century, and is in effect interchangeable with the primarily modern term opera seria . Variants such as dramma in musica (referring to the setting rather than to the verbal text) or dramma musicale are also found. Some later writers have misinterpreted the term in the sense ‘drama through music’ and applied it to musico-dramatic effects achieved by the composer. See also Opera, §III, 2: Early

Article

Douglas Leedy

controversial departure, guest conductors have been engaged for all productions. Although a new opera, Lucy’s Lapses by Christopher Drobny, was commissioned for the 1989–90 season, the repertory has remained solidly conservative. In each season (October–June) five operas are given, each receiving three performances. Bibliography A. H. Ernst : ‘Opera comes to Oregon’, Sunday Oregonian Northwest Rotogravure Magazine (18 and 25 March 1956) D. Maclaine : ‘History of Portland Opera’, Willamette Week (4, 18 and 25 Nov 1980)

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

Piero Weiss and Julian Budden

passages but in other respects not unlike that of the contemporary opera seria (the arias are nearly all in da capo form). Like opera seria , these works are in three acts; Acts 1 and 2 often end with a short brawl for three or four of the cast, the germ of what later, in the north, was to become the extended opera buffa finale. The overtures, three-movement sinfonias, are indistinguishable from those of opera seria . 3. The north to c 1750. Piero Weiss From Naples, opera buffa spread to Rome. Bernardo Saddumene, one of the leading Naples

Article

Patrick O’Connor

director and as artistic director of Skylight Opera in Milwaukee, where his first production was L’incoronazione di Poppea ( 1982 ), followed by Orfeo and Il ritorno d’Ulisse in patria . For Bernstein he wrote the libretto of A Quiet Place ( 1983 ), which he also directed at La Scala and in Vienna. His productions of Gluck’s Orphée ( 1988 , Seattle), and Handel’s Xerxes ( 1985 , Milwaukee), Alcina ( 1987 , St Louis) and Partenope ( 1988 , Omaha) all furthered his concern with the modern interpretation of Baroque opera. He has also translated Monteverdi’s

Article

Nicholas Temperley

Company ; Edinburgh ; English Opera Group ; Glasgow (opera) ; Glyndebourne ; Intimate Opera Company ; Kent Opera (opera) ; Leeds ; Liverpool ; London ; Manchester (opera) ; Moody-Manners Company ; Norwich ; Opera for All ; Opera Restor’d ; Oxford (opera) ; Phoenix Opera ; and Travelling troupes, §4 . Bibliography BurneyH LS NicollH J. Dennis : Essay on the Opera’s after the Italian Manner, which are About to be Establish’d on the English Stage with Some Reflections on the Damage which they may Bring to the Public (London, 1706);

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

Alexander Silbiger

by shifting key, mode, and metre in some of their passacaglias. In vocal settings, Italian passacaglias were sometimes interrupted by recitatives (e.g. Frescobaldi’s Così mi disprezzate , 1630 ). Sections that resemble a passacaglia without being identified as such are found in operas, cantatas, and sacred works. However, the present-day tendency to regard any lament with a descending tetrachord bass as a passacaglia does not appear to have historical precedent unless the piece also shows other genre markings. By the beginning of the 18th century the passacaglia

Article

Patrick J. Smith

revised by Nicola Badolato

Dec 15, 2002 ). American opera administrator and conductor . He was educated at Yale University (BA 1950 ), and was an accompanist, opera coach, and conductor in New York from 1951 to 1956 . In 1957 he founded the Santa Fe Opera Company in New Mexico and became its general director and a staff conductor. Almost wholly owing to Crosby’s vision, the company established itself as an innovative and dynamic company, presenting many American and world premieres. To increase accessibility for American audiences, Crosby staged all operas in English; staging, lighting

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

Alan Blyth

critic for Queen magazine (later Harpers and Queen ) ( 1968–87 ) and opera critic for the Spectator ( 1979–90 ). He was opera critic of the London Evening Standard ( 1990–92 ) and became chief opera critic of The Times in 1992 . He began writing for Opera in 1971 , becoming associate editor ( 1976 ) and editor in succession to Harold Rosenthal ( 1986–99 ); he himself contributed discerning articles and profiles. In editorials he was forthright in his views on all aspects of opera house management and politics. A trenchant and entertaining writer, with

Article

David Cummings

composition, piano and choral singing at the Milan Conservatory, graduating in 1933 . He was successful in Italy for more than 20 years, giving a wide range of operas at all the major houses. He conducted Rigoletto at the end of the 1955–6 season at Covent Garden, returning early the following season for a Ballo in maschera that was described as ‘noisy and violent’ (H. D. Rosenthal, Two Centuries of Opera at Covent Garden , 1958 ). Quadri conducted Italian repertory in Vienna (Volksoper and Staatsoper) from 1957 . Don Pasquale , Tosca and Fedora are among

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

Maureen Needham Costonis

19, 1929 ). Russian impresario . A perceptive amateur of the arts gifted with a flair for organization and publicity, he was intimately involved in all aspects of the production, and even creation, of operas and ballets by composers including Stravinsky, Ravel and Prokofiev. In 1908 , intent on introducing Russian opera to an enthusiastic crowd of Parisians, he imported Shalyapin, Natasha Yermolenko and an all-Russian cast for a production of Musorgsky’s Boris Godunov . In the following year he returned to Paris to launch his Ballets Russes company, meanwhile