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Article

Adrian Thomas

y restricted technical means: intervallic repetition, doggedly persistent rhythms, sombre orchestral colours and a tendency to deploy his ideas rhetorically. In contrast to the voyeurism of his first opera, The Devils of Loudun ( 1969 ), where the profane is dominant, Penderecki’s second stage work is styled a sacra rapprezentazione . While both works are opera–oratorio hybrids, Paradise Lost ( 1975–8 ) draws on a variety of early genres, such as Renaissance Florentine entertainments, with their extravagant scenic tableaux and dances. Given its Christian message

Article

Philip L. Scowcroft

RAM from 1901 , winning the Goring Thomas Scholarship in 1904 for his opera The Spanish Student . Much of his work was for film and he is best remembered for A Cornish Rhapsody , his miniature piano concerto for the film Love Story ( 1944 ). For the concert hall he composed rousing marches, light concert suites and single genre movements. He was well known in the theatre and his other works include The Visions of Hannele , a symphonic poem based on incidental music for the stage. His operas, after Longfellow, Hardy, Gerald du Maurier and others, were less popular

Article

Rodney Slatford

conducted the première of his first opera, Cristoforo Colombo . Concert tours and engagements followed, taking him to New Orleans, New York, London and all over Europe. His début in London on 26 June 1849 at Ella’s Musical Union astounded the audience. He played some solos and took the cello part in a quintet by Onslow. He was nicknamed the ‘Paganini of the double bass’, and contemporary writings bear witness to his extraordinary agility, purity of tone, intonation and exquisite phrasing: ‘How he bewildered us by playing all sorts of melodies in flute-like harmonics

Article

Gerard Béhague

sentimental song genre of the 19th century, while A jangada is perhaps the most nationalist of all, because of its rhythmic and harmonic elements: the syncopation of the accompaniment and the harmonic progressions imitating the guitar in conjunct descending motion. Nepomuceno’s four theatrical works, including the one-act opera Artemis ( 1898 ) and the three-act opera Abul , first performed in Buenos Aires in 1913 , made no attempt to create a national opera. Nevertheless he has been proclaimed the ‘father’ of Brazilian music because he was one of the first

Article

Eduardo Contreras Soto

but without resorting to specific references. His harmonic construction is chromatic and rhythmically innovative. His Symphony no.1, with its original treatment of rhythm within a classical format, the opera Elena , various songs such as Tres sonetos de sor Juana , and his piano piece Costeña are all noteworthy compositions. Works ( selective list ) Opera Elena (1, F. Zendejas), 1948, Mexico City, Palacio de Bellas Artes, 23 Oct 1948 Ballets Procesional, 1940 Antesala, 1952 Ermesinda, 1952, suite, orch, 1952 Theatre music Bajío, ov. for

Article

Peter Branscombe

his new operas in the years following his final departure from Vienna, but none of these houses seems to have invited him back to mount another. Tastes were changing; the esteemed master of Das Nachtlager and Der Verschwender had nothing original to offer a public that was experiencing the early operas of Wagner. Kreutzer’s music has never been entirely forgotten. His Uhland settings for male-voice chorus long remained popular. Das Nachtlager used to be revived occasionally in Germany and a few of the solo songs are still sometimes heard; above all, his score

Article

Peter Heyworth

revised by John Lucas

studied composition with Schoenberg in the mid-1930s in Los Angeles and was a prolific if spasmodic composer. His output includes several operas, a considerable number of songs (some settings of his own texts) and nine string quartets, as well as six symphonies, all in a post-Mahlerian style. Not all these works have been performed. Many were extensively revised and a number were destroyed. Works ( selective list ) Das Ziel, opera, 1915, rev. 1970, unperf. Missa sacra, C, solo vv, chorus, children’s chorus, org, orch, 1919 Psalm xlii, Bar, orch, 1919 Merry Waltz

Article

Jennifer Spencer

was made an honorary member of the Russian Musical Society. Works all unpublished, unless otherwise stated; MSS in RUS-SPk Vocal Taras Bul′ba (op, after N.V. Gogol), 1860s Vakula-kuznets [Vakula the Smith] (op, after Gogol: Noch′ pered rozhdestvom [Christman Eve]), 1860s Ammalet-bek (op, 4, A.F. Weltmann, after A.A. Bestushev-Marlinsky), St Petersburg, Mariinsky, 11/23 Nov 1870 Sten′ka Razin (op) 5 other operas Pir Petra Velikogo [The Feast of Peter the Great] (cant.), 1860

Article

Ioannis Fulias

Dimitri Mitropoulos: Una luce che incatena il cielo (Varese, 2007) G. Sakallieros : ‘I opera Sœur Béatrice tou Dimitri Mitropoulou (1918): mousiki yfi, aisthitikes katefthynseis kai istoriko plaisio dimiourgias’ [The opera Sœur Béatrice by D. Mitropoulos (1918): musical texture, aesthetic directions and historical background], Elliniki mousiki dimiourgia tou 20ou aiona gia to lyriko theatro kai alles parastatikes technes [Greek music creation of the 20th century for opera and other performing arts], ed. G. Vlastos (Athens, 2009), 17–29 A. Kostios : Dimitri

Article

Julian Anderson

g modal and harmonic areas. In all of these works a leaning towards octatonic pitch formations can be discerned, a tendency which culminated in the two fantasy operas Where the Wild Things Are ( 1979–83 ) and Higglety Pigglety Pop! ( 1984–5 , rev. 1999 ). Here the predominant use of all-interval tetrachords linked into octatonic chains gives rise to a harmonic palette which allows Knussen to incorporate brief allusions to similarly construed passages from Musorgsky or Debussy without any sense of stylistic incongruity. In all Knussen's mature work, intervallic

Article

often performed. Now they are of historical importance only. Works Operas Samuel Zborowski, c 1896 Maria, 1899, Warsaw, 1911 or 1913–14, orch pts. PL-Wtm ; Pojata, c 1900 Choral Samuel Zborowski, poem, chorus, orch, c 1896 Antygona, poem, chorus, orch, c 1900 Instrumental Conc. for orch (Sym.), Wtm ; 4 str qts, F, op.16, f, op.17, D, op.19, A, op.23, all unpubd; Sonata, vn, pf, op.27, unpubd; Sonata, va, pf, op.22 (Kraków, 1953)

Article

Michael Struck

worked at the Darmstadt Opera as musical adviser to the intendant, Carl Ebert, and as a conductor ( 1927–9 ). After a summer season as guest conductor of the Leningrad PO, he went to Berlin in the autumn of 1931 , to work at the Städtische Oper and in radio. The première of his opera Der gewaltige Hahnrei at the Mannheim Nationaltheater in 1932 gave promise of an advance in his career, but the performances announced for the 1932–3 season in Berlin were cancelled, following the Nazi takeover of power. Goldschmidt was barred from all official activity from then

Article

Hugh Ottaway

revised by Alain Frogley

national. A striking innovation is the matching introduction and epilogue. Also used by Bax, the epilogue is Vaughan Williams’s most personal contribution to symphonic form (cf all his symphonies except the Pastoral , where the finale has its own introduction and epilogue, and nos.8 and 9). Although the London was originally to have been a symphonic poem and has been described as ‘a misplaced opera’ – more concretely the composer acknowledged a background link with H.G. Wells’s Tono Bungay – Vaughan Williams rightly insisted that it was ‘self-expressive, and must stand

Article

Alan Walker

again at such theatres as Kroll's, the Wallner-Theater, and the Victoria-Theater. It was at this time that Conradi reached his definitive position in the musical life of Berlin, writing light operas and farces which enjoyed great popularity, including the evergreen Berlin wie es weint und lacht and Herzliebchen mein unterm Rebendach . Conradi's compositions include eight operas, five symphonies, overtures, string quartets, dance music for piano and orchestra, farces, potpourris and numerous lieder. Liszt admired Conradi and made a well-known piano transcription of

Article

Gustave Reese

revised by Michael Meckna

) Music Festival in 1925 ; he held all three posts until his death. He appeared as a guest conductor of the symphony orchestras of Boston, Cleveland and St Louis, among others. From 1923 to 1930 he was head of the music department of New York University. In 1927 he accepted the directorship of the opera and orchestra departments of the Juilliard Graduate School, where he gave the first New York performances of Malipiero's Il finto Arlecchino and Strauss's Ariadne auf Naxos , the world premières of several American operas (including Antheil's Helen Retires

Article

Francesco Bussi

February 1789 until 1811 he was effectively maestro di cappella (the last) at the cathedral. He taught the Piacenza singers Pisaroni and Bonoldi, and participated as maestro al cembalo in the opera seasons at the Teatro Municipale from its inauguration on 10 September 1804 (with J.S. Mayr’s Zamori, ossia L’eroe dell’Indie ) until at least 1816 . Works all MSS in I-Bc 2 dramatic ints, 2vv; Mag, 8vv, vns; Vespers, 4vv, vns, 1755 hymns, grads, psalms, 1754–8 Sinfonia, str, 1755 other works

Article

Diana von Volborth-Danys

of the Royal Flemish Opera of Antwerp. In 1954 he won conducting competitions at the Théâtre de la Monnaie in Brussels and Belgian Radio, and was conductor at the Monnaie ( 1954–9 ) before returning to the Antwerp Opera House as its conductor and music director. He continued with these functions at the restructured Flanders Opera ( 1981–8 ). As a conductor he has appeared in Belgium, France, the Netherlands, Germany, Spain and the USA, conducting first performances of operas by such Belgian composers as Legley, De Jong and Kersters, almost all Wagner’s works and

Article

Monika Bártová-Holá

Spanish theme about the siege of Granada at the end of the 15th century, represents Bendl's response to grand opera. Encouraged by its success, he went on to compose other operas. Břetislav ( 1869 ), on a subject from Czech history, also takes as its starting point the principles of grand opera, while the comic opera Starý ženich (‘The Elderly Suitor’, 1871–4 ) follows the model of Smetana's The Bartered Bride . Bendl also attempted romantic fairy tale opera ( Die Wunderblume , 1876 , to a German libretto) and operetta ( Indická princezna , ‘The Indian Princess’

Article

Peter Branscombe

Bulgarien ( 1819 ), Die Wildschützen ( 1820 ) and Die Zaubernelke ( 1821 , the score partly by Gallenberg), all given in the Theater an der Wien; the Fenzl pantomime Die Doppelgestalten ( 1834 ) for the Leopoldstadt Theatre; the Singspiel Das Grenzstädtchen (text by Kotzebue) given in the court theatres in April 1809 , soon after Riotte’s arrival in Vienna; a comic melodrama Azondar ( Azondai ) given in the Theater an der Wien in 1819 ; the operas Euphemie von Avagora (Kärntnertor Theatre, 1823 ) and Nurredin, Prinz von Persien (Theater an der Wien,

Article

Corneel Mertens

revised by Diana von Volborth-Danys

of the symphonic poems that were stimulated by the naturalism of Flemish Renaissance painters. He wrote the music for a play, Sanguis Christi , which is given every five years before the Belfry of Bruges. Works ( selective list ) Ops (all first perf. in Antwerp, Koninklijke Vlaamsche Opera) Vikings (tragédie lyrique, 3 tableaux, E. Buskens), 1919, 27 Nov 1937 Adriaen Brouwer (3, F. de Witt-Huberts), 1926, 26 Nov 1947 Egmont (drame lyrique, 3, J. van Rooy), 1944, 24 May 1960 15 syms., 1931, 1933,