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Article

I.M. Yampol′sky

1919 to 1928 and from 1948 to 1953 , and chief conductor and artistic director of the Moscow PO from 1926 to 1929 , when he was appointed chief conductor of the Moscow Broadcasting Centre; he was also head of opera there. In 1937 he became chief conductor and artistic director of the USSR All-Union RSO, and in 1938 musical director of the Stanislavsky Opera Theatre. Works of a Russian national epic type most successfully reflected his characteristics as a conductor, including the vocal quality of his phrasing, the dynamism and dramatic tension of his interpretations

Article

Warren A. Bebbington

revised by Gordon Kerry

Conservatorium ( 1984–7 ), and during this period he appeared as a composer or guest conductor with all the ABC orchestras. Since 1987 he has been chiefly a freelance composer-conductor: he was artist-in-residence with the Australian Ballet ( 1987–8 ), then the ABC ( 1989–94 ), artistic adviser to the State Orchestra of Victoria ( 1987 , 2006 –) and the Brisbane Biennial ( 1995–7 ), and artistic director of the Adelaide Chamber Orchestra ( 1991–6 ) and the WA Opera (since 1996 ). He was chairman of the Australia Council Music Fund ( 1996–8 ). As Director of the

Article

Jeffrey Cooper

s, and complimented his well-rounded abilities as conductor, instructor and organizer. Nevertheless the administrators of the Opéra, although pleased with Hainl’s conducting, appointed F.-A. Gevaert as supervisory music director in 1867 . As a cellist, Hainl was praised for his precision and light staccato. He composed several fantasias for the cello and wrote De la musique à Lyon depuis 1713 jusqu’à 1852 (Lyons, 1852 ). Works all published in Paris, dates unknown Chbr/orch Thème original, vc, pf/orch, op.1; Fantaisie sur Norma, vn, vc, pf/orch, op.3;

Article

Niall O’Loughlin

Musica Viva group of composers and in 1962 won the Prešern Award of the Ljubljana Academy. He was assistant conductor of the Slovenian National Theatre opera company in Ljubljana ( 1968–1970 ) and then artistic director of the Slovenian PO ( 1970–74 ). He was professor of composition at the Universities of Ljubljana and Maribor until 1995 , when he was appointed artistic director of the Slovene National Opera. He was a founder of the Slovene Music Days festival (Ljubljana) in 1974 and the University of Maribor Jazz Centre in 1992 . Božič’s music has been strongly

Article

Mervyn Cooke

graduating from Cambridge University (BA 1959 ), he studied conducting at the GSM with Norman Del Mar and worked as a professional horn player at Sadler’s Wells Opera ( 1960–61 ). In 1961 he joined the music staff of the Royal Shakespeare Company at Stratford-upon-Avon, serving as head of music and resident composer ( 1963–98 ); he composed over 150 scores for the company, including incidental music for all of Shakespeare’s plays. His musical based on The Comedy of Errors won the Ivor Novello Award and the Society of West End Theatre Award for the best British musical

Article

Gérard Streletski

Filarmonica Romana while he was at the Villa Medici. When he returned to Paris he soon became highly regarded as a teacher and as a composer. In 1846 his one-act Le trompette de Monsieur le Prince proved to be the first of a series of successful stage works up to 1870 , all performed by the Opéra-Comique. The most popular, judging by the many transcriptions, must have been the three-act Le voyage en Chine , to a libretto by Eugène Labiche ( 1865 ). Vocal music was another of Bazin’s main interests. He composed for and conducted choirs in Paris. He was an enthusiastic

Article

Richard Crawford and Wayne J. Schneider

stab at opera in the Harlem-based Blue Monday Blues ( 1922 ), Gershwin had been one of three composers approached in November 1924 by Otto Kahn, board chairman of the Metropolitan Opera Company, who hoped to commission “a jazz opera” for New York’s premier opera house. Irving Berlin and Jerome Kern both declined the invitation, but Gershwin had expressed strong interest, reporting that further studies were preparing him for the task. In an interview in the spring of 1925 , he told a music journalist where his thinking on the subject stood. “A jazz opera,” he believed

Article

John Rutter

revised by Manfred Fensterer

as director of the Hofoper in Dresden. As a champion of German opera, he was at first harassed by pro-Italian factions, but his excellent performances of Oberon and Euryanthe won him approval, and in 1828 he was appointed Hofkapellmeister with responsibility for sacred music, chamber music and the music for the court theatre, a post he held until his death. Besides his activities as Kapellmeister, his contract also obliged him to compose a mass annually for no extra fee. The records show that in all he composed 12 Latin masses and a Requiem during his term of office

Article

Geoffrey Norris

IRMO A. Rabinovich : Russkaya opera do Glinki [Russian opera before Glinka] (Moscow, 1948) [incl. excerpt from Lesta in fs] P.V. Grachov : ‘S.I. Davïdov’, Ocherki po istorii russkoy muzïki 1790–1825 [Essays on the history of Russian music 1790–1825], ed. M.S. Druskin and Yu.V. Keldïsh (Leningrad, 1956), 263–82 L. Fedorovskaya : Kompozitor Stepan Davïdov (Leningrad, 1977) Yu.V. Keldïsh : ‘S.I. Davïdov’, Istoriya russkoy muzïki , 4 (Moscow, 1986), 145–67 See also from The New Grove Dictionary of Opera : Stepan Ivanovich Davïdov ; Lesta

Article

Marta Ottlová, Milan Pospíšil, John Tyrrell and Kelly St Pierre

(alien to Czech’s distinctive first-syllable stress) prominently in her librettos for Smetana’s last three operas, which led to less natural-sounding word-setting than Smetana had achieved earlier with the trochees in The Two Widows . Smetana’s last four operas were particularly well received, in no small part because they received their premières during and after the onset of his deafness. All of these were comedies, the later ones increasingly serious, and all concerned the healing of a central relationship, especially through the passage of years; Smetana’s later

Article

Roberta Costa

‘Giovani musicisti romani: Ennio Porrino’, Musica d'oggi , 1st ser., 17 (1935), 373–82; M. Rinaldi : ‘Ennio Porrino e il suo sentimento drammatico’, All'ombra dell' Augusteo (Rome, 1944), 145 only R. Vlad : Storia della dodecafonia (Milan, 1958), 225–7 F. Karlinger : Ennio Porrino e la Sardegna (Cagliari, 1961) M. Rinaldi : Ennio Porrino (Cagliari, 1965) A. Trudu : ‘Per una collocazione critica dell'opera di Ennio Porrino’, Annali della Facoltà di Magistero , new series, 1 (1976), 127–50 R. Zanetti : La musica italiana nel novecento (Busto Arsizio

Article

Claudio Casini

1925 , having composed two requiems, chamber music and two operas, both with librettos by Luigi Illica: Lorenza , staged at the Teatro Costanzi, Rome, on 13 April 1901 , and revised for a performance in Brescia on 3 September 1901 , and La Perugina , favourably received at the S Carlo, Naples, on 24 April 1909 . Mascheroni’s brother Angelo Mascheroni ( 1855–1905 ) was a conductor, active in Paris and London, who worked with Patti and who composed a number of songs, including a popular salon piece For all Eternity . Bibliography A. Bonaccorsi

Article

Gaetano  

Barbara Chmara-Żackiewicz

a composer Gaetano made his début with the opera Nie każdy śpi ten, co chrapi (‘Not All Sleep who Snore’), which was well received, also outside Warsaw. In 1788 the king’s private theatre in Warsaw’s Łazienki Park was inaugurated with a performance of Gaetano’s intermezzo Les amours de Bastien et Bastienne . In the opera Żółta szlafmyca (‘The Yellow Nightcap’) he introduced a chorus for the first time on the stage of a Polish theatre; the chorus sang memorable motifs drawn from Polish folk music. As well as operas and ballets, he wrote programmatic music for

Article

Gerard Béhague

pf, tape, 1971 IV, va, tape, 1972 V, vn, tape, 1972 VI, vn, tape, 1972 VII, str qt, opt. tape, 1973 VIII, pf qt, opt. tape, 1975 IX, vv, objects, unspecified inst, 1976 X, ob/tape, 1976 XI, tape, 1976 XII, str qt/str orch, opt. tape, 1976 Vocal Opera Alma (4, Santoro), 1984 Choral Cantata elegíaca (Camões), chorus, orch, 1970 Aus den Sonnetten an Orpheus (R.M. Rilke), T, chorus, str, 1979 Missa a 6 vozes, solo vv, chorus, orch, 1983 Os Estatutos do Homem (orat), solo vv, chorus, orch, 1984

Article

Robert Stevenson

(dramma lirico, 3, C. Perini), Lisbon, S Carlos, 29 April 1844 Barbableu, Lisbon, Trindade, 18 July 1868 O evangélio em acção, Lisbon, Gymnásio, 1870 Tres rocas de crystal (ópera cómica, 3), Lisbon, Trindade, 1870 O filho da senhora Angot (ópera burlesca, 3), Lisbon, Prince, 5 May 1875 Other dramatic works all first performed in Lisbon Many operettas, incl. O beijo (S. Leal), Condes, 26 Nov 1844 O Caçador (Leal), Condes, 25 March 1845 Um bon homen d’outro tempo, Condes

Article

Antonio Rostagno

Nevertheless, Foroni developed further the Italian symphonic tradition, especially as regards the orchestration. In 1878 Filippo Filippi defined him as ‘a symphonist to take your hat off to’ and in 1879 Franco Faccio noted ‘the irresistible enthusiasm of all audiences’ for his sinfonias. Works Operas Margherita (melodramma semiserio, 2, G. Giachetti), Milan, Re, 1848, I-Mr Cristina di Svezia (dramma, 5, after G. Casanova), Stockholm, 1850 L'avvocato Patelin (commedia, 2), Stockholm, 1850, unfinished I

Article

Robert Hoskins

incidental music, wrote, or contributed to, over 70 operas. Although some of his writing is lacking in compositional finesse, having been produced at great speed and with little thought, the number of editions and stage productions of his operas testifies to Arnold’s popularity in the last quarter of the 18th century. Statistics show that Arnold’s more successful operas, such as The Agreeable Surprise ( 1781 ) and Inkle and Yarico ( 1787 ), an early anti-slavery opera, were among the most frequently performed of all operas of the time. No doubt Arnold’s prominence as

Article

John C.G. Waterhouse

success with Anima allegra , which was performed in several foreign countries as well as in Italy. Firmly traditional in style, the opera is notable for its refined harmony and orchestration and for vivid picturesque and atmospheric effects, ranging from the Spanish local colour in Act 2 to the Puccinian tenderness of the final pages. Among his other stage works only the ballet Vecchia Milano achieved comparable success: the later operas circulated very little after their first productions. In Caracciolo , which he himself regarded as his masterpiece, he attempted

Article

Zdravko Blažeković

performed mostly dance and popular music. In 1867 Eisenhuth started teaching the violin at the music school of the Hrvatski Glazbeni Zavud, and in 1881 he became the leader of the theatre orchestra, which he also conducted for operettas and operas; in 1873 he was appointed conductor of the Hrvatsko Pjevačko Društvo Kolo. He held all these posts until his death. During the 1870s he also conducted several other Zagreb choral societies (Sloga, Merkur, Hrvatska lira, Crkveno Glazbeno Društvo). Eisenhuth was organist of the church of St Mary in Zagreb, and also performed

Article

Michael Wittmann

exception of Emma d’Antiochia (Venice, 1834 ) all Mercadante’s operas of 1832–6 had at best a succès d’estime . He was far less popular with audiences than Bellini and Donizetti, a state of affairs clearly reflected in Rossini’s decision not to invite him to compose an opera for the Théâtre Italien in Paris until the spring of 1836 (Bellini and Donizetti had written works for the same theatre in 1835 ), and even then asked for an opera buffa or semiseria . Meanwhile, Mercadante had accepted a commission to write an opera for Naples in the autumn of 1835 , chiefly