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Article

Olga Termini

two tenor violas, violone and theorbo in ‘In quel piè legato’ from Onorio in Roma , Act 2 scene iv; five-part strings plus two oboes in ‘O non ti rivedrò’ from Ottone , Act 3 scene ix; and the same with timpani in ‘All’armi’ in La forza della virtù , Act 3 scene viii. Pollarolo was one of the first Venetian composers to introduce the oboe into the opera orchestra. In Onorio in Roma (Act 3 scene ii) he transfers the concerto grosso principle to the operatic stage: the five-part orchestra on stage alternates with the three-part concertino off stage. Elsewhere the

Article

Sylvan Suskin

Works Stage all first performed in Paris all published in Paris in year of first performance, unless otherwise indicated MSS in F-Pn, Po Sémiramis (tragédie lyrique, 3, P. Desriaux, after Voltaire), Opéra, 4 May 1802 Les artistes par occasion (opéra bouffon, 1, A. Duval), OC (Feydaeu), 22 Jan 1807 L’Auberge de Bagnères (opéra bouffon, 3, C. Jalabert), OC (Feydaeu), 23 April 1807 Alexandre chez Apelles (ballet, 2, Gardel), Opéra, 20 Dec 1808 Les bayadères (op, 3, E. Jouy), Opéra, 8 Aug 1810

Article

Winton Dean

the librettos of the unsuccessful pasticcio Ercole ( May 1712 ) and Handel’s Silla ( June 1713 ), and no doubt other operas of this period, including perhaps Amadigi . He showed little literary or dramatic skill. His rival Rolli satirized him in one of his epigrams after Martial. On Haym’s death in August 1729 Rossi became, according to Rolli, ‘Handel’s accredited bard’, and may have provided the librettos of Lotario and other operas, all adapted from earlier originals. He made revisions and additions for the revival of Rinaldo in April 1731 . He was not

Article

George J. Buelow

18th-century Germany; it also contains five librettos by Feind. Feind opposed many of the stereotyped Baroque dramatic conventions, especially those found in French opera. He stressed a belief that individual characterization lies at the heart of opera drama. He insisted that dramatic actions of all kinds were required to stir the emotions of the audience, and he defended his frequent recourse to scenes of violence including murder and suicide: ‘Etlichen Weichmühtigen kömmt es cruel vor eine Person auf dem Theatro erstochen zu sehen und dennoch sind bey den grausamsten E

Article

Lowell Lindgren

observed that even Stampiglia's magnanimous heroes (e.g. Caius Graccus) make crude parodistic remarks. Thus his 13 operas seem to counter the purgative movement of his day, and as might be expected, his outdated comic scenes and other irregularities were often excised by the expurgatorial editors of revivals. They consequently removed some of the ‘spirito’ found in the originals, but they could not remove it all, which is presumably why Stampiglia's operas continued to receive new settings and stagings until, and even beyond, 1750 . His son Luigi Maria was also a librettist

Article

John Walter Hill

and 1616 , texts by Guarini) and Amor pudico ( 1614 ), the first Roman secular opera. All of his surviving works are for solo voice and continuo. O dell'ombrosa notte amati orrori ( c 1612 ) alternates recitative and aria styles stanza by stanza, providing an important precedent for the chamber cantata. Marotta's wife Ippolita ( b c 1577 ; d Rome, 10 June 1650 ) entered the service of Cardinal Montalto with her husband. She attained wide fame as a singer of monody and opera, and was favourably compared with Andreana Basile and Francesca Caccini.

Article

Dennis Libby and James L. Jackman

déserteur; L’amour fraternel; Zémire et Azor (opéras comiques), Stuttgart, 1774–5 L’isola disabitata (int, Metastasio), ?Stuttgart, 31 Dec 1775, D-B , Mbs , Rtt Enea nel Lazio (dramma per musica, V.A. Cigna-Santi), Rome, Argentina, carn. 1778 ov. Hs , I-Rdp Other works Sacred numerous masses, motets, pss, lits, canticles, A-Wn , D-B , MÜs , GB-Lcm , I-Bc , Gl , Nc , Rf , Rvat ; Quid retribuam Domino, 2vv, org, Verbum caro, 2vv, org, Mag, 4vv, org, all in Pubblicazione periodica di musica sacra (Rome

Article

1715–16 ) he directed about six operas annually, although only one of his own was given ( Armida al campo , 1717 ). His salary of 500 florins, plus expenses and a servant, far exceeded that of all other musicians including J.B. Trost and J.P. Käfer whose German operas dominated the Margrave's theatre. Court records show that, some time before 15 May 1718 , when nearly all his Italian singers had been replaced by Germans, Boniventi left Durlach. His opera La virtù tra nemici was performed at Venice in the 1718 carnival season, so in all probability he had returned

Article

Herbert Schneider

composers he admired have survived, but his library gives some clues as to his preferences. The scores he owned include the operas of Gluck, Piccinni, Sacchini, Cherubini, Rossini, Grétry, Dalayrac, Monsigny and, especially, Mozart, whom Auber admired above all others. Although Auber lived in Paris almost uninterruptedly, the popularity of his operas led to a flood of publication of his works throughout Europe and in America. Editions of the individual opera librettos and piano arrangements were printed in immense quantities, and particularly successful numbers gave rise

Article

Daniel Heartz, Marita P. McClymonds and George W. Loomis

Italian aria opera, and to this end had the text of Rameau's Hippolyte et Araicie translated and adapted by the court poet C.I. Frugoni. The work was conceived in part as a vehicle for the prima donna, Caterina Gabrielli, who inspired Traetta to his best efforts here and on several later occasions. Frugoni introduced choruses and spectacle into Ippolito ed Aricia but was unable to integrate them with the drama. He was also hard pressed to extract suitable scenes and aria texts from the model, so he used Racine's Phèdre as well. The result, for all its weaknesses

Article

Jerome Roche

voices and continuo. His first four collections of motets are all lost. The last one ( 1655 ), which includes three dialogues, shows how the style of motets for few voices had matured by the mid-17th century. There is a wider range of keys and a more definite feeling of modulation; continuo parts are more profusely figured with 6–3 chords and 7–6 and 7–6–5 progressions rather than with the ubiquitous 4–3 suspensions of earlier years. The gradually increasing distinction between recitative and aria in opera is paralleled in his motets, which have recitative-like 4/4 sections

Article

Marvin Tartak

where he composed oratorios. The first of his 11 operas, Piglia il mondo come viene ( 1825 , Florence), was an instant success; his subsequent stage works, in the Bellinian mould, were sought by impresarios at home and abroad. All but three were produced between 1825 and 1829 . He owed much of his subsequent fame to the soprano Fanny Tacchinardi, whom he married in 1830 . She sang in many of his operas, but Persiani’s most famous opera, Ines de Castro ( 1835 , Naples), was a vehicle for Malibran. His last opera, L’orfana savoiarda ( 1846 , Madrid), was a fiasco

Article

Etienne Nicolas Méhul and Opera during the French Revolution, Consulate, and Empire: a Source, Archival and Stylistic Study (diss., U. of Chicago, 1982) T. de Morembert : ‘Hoffman (François-Benoît-Henri)’, Dictionnaire de biographie française , ed. M. Prévart , R. d’Amat and H.T. de Morembert (Paris, 1988) M.E.C. Bartlet : ‘On the Freedom of the Theatre and Censorship: the Adrien Debate (1792)’, Musique, histoire, démocratie: Paris 1989 , 1, 9–24 J. Joly : ‘Dall'“Adriano ìn Siria” metastasiano all'“Adrien” di Méhul’, Dagli Elisi all'inferno: il melodramma

Article

Manuel Carlos De Brito

8vv; mass, 4vv; Miserere, 8vv; pss, 4vv, for S Antonio dei Portoghesi, Rome; offs, Lamentations, motets: all P-Lf Te Deum, 20vv, orch, 31 Dec 1734 O salutaris hostia, 5vv, 2 vn, b, org; Tantum ergo, 5vv, 2 vn, b, org; all Lisbon, church of Loreto Secular vocal Gli sposi fortunati (componimento da cantarsi), Lisbon, carn. 1732, lost Os encantos de Medeia (ópera, 2, A.J. da Silva), Lisbon, Bairro Alto, May 1735, lost Guerras do alecrim e manjerona (ópera joco-séria, 2, Silva), Lisbon, Bairro Alto, carn. 1737, P-VV Componimento drammatico da cantarsi in ocasione

Article

three operas at the Ruspoli Palace, Rome, in 1711 , and probably made his public début at Modena during Carnival 1714 in La fede tradita e vendicata (composer not named, but probably Francesco Gasparini). In 1716 he sang in G.B. Bassani's Alarico re dei Goti at Bologna and in five operas at Venice (two of them by Vivaldi). He appeared again in Bologna, and also in Rome and Mantua, in 1718 . In Bologna, where he was admitted to the Accademia Filarmonica as a composer, he produced oratorios in 1719 and 1720 . By that time he was in constant demand all over

Article

Dennis Libby, James L. Jackman and Rebecca Green

S-Skma (excerpts) Demofoonte (Metastasio), Milan, Regio Ducal, 26 Dec 1758, P-La Didone (Metastasio), Lucca, aut. 1760, La Music in Artaserse (pasticcio, Metastasio), Forlì, Pubblico, spr. 1752 G. Latilla: L’opera in prova a all moda (dg, 3, G. Fiorini), Lodi, carn. 1752 Miscellaneous excerpts CZ-POa , D-B , Dl , GB-Lbl , I-MOe , PAc Sacred Giuseppe riconosciuto (orat, Metastasio), Naples, 1745, ? D-B , BS Mass, 4vv, I-Fc * (dated

Article

Michele Girardi

Marco Praga, at the salon of Clarina Maffei. He strengthened his ties with the Milanese followers of the Scapigliatura movement, taking part in discussions of contemporary topics and sharing their interest in innovations in drama and opera, above all the aesthetics of Wagner, whose works were then frequently performed in some Italian opera houses. Giovannina Lucca, the publisher involved at first hand in the publication of Wagner's music, commissioned from Catalani a new large-scale dramatic work, Elda . The libretto, by the translator Carlo d'Ormeville, was based

Article

Julian Grant

trip to India in 1981 and a long experience of working in the opera house with a variety of singers. His theatrical sleight of hand can be redolent of Sondheim and Britten, but his bel canto approach to vocal writing is individual and alluring. His extensive series of operas form the backbone of his oeuvre and show a great range of subject matter, from contemporary to legendary, fairy tale to sexual politics, catering to all audiences from children to adult. He is the most frequently performed opera composer in the UK. The Enchanted Pig ( 2006 ), for the Young

Article

Elizabeth Forbes

back in Copenhagen he became chorus master and then singing teacher to the soloists of the Royal Opera. In 1851 he founded a choral society, Caeciliaforening, devoted to Italian Renaissance church music. He wrote several operas and syngestykker (Singspiele) as well as much incidental music for the theatre and many songs, but as a composer he was overshadowed by his greater contemporary, J.P.E. Hartmann. Works all stage works performed at Copenhagen, Royal Opera En bolero (op, 2, S. Beyer, partly after E. Scribe: La xacarilla ), 18 March

Article

Sophie Fuller

Square, conducted by Sir George Smart. She wrote at least two operas, The Kellerin and The White Wreath, which were never published. She is best known for her copies of famous paintings worked in embroidery that were exhibited in London from the late 1780s until her death in 1845 ; they were admired by Napoleon, the British royal family and Empress Catherine of Russia. Works The Kellerin (opera); The White Wreath (opera); David’s First Victory (oratorio) (London, ?1840) Songs (all pubd in London) Let us hence!, in The Harmonicon , vi/2 (1828)