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Article

Arend Koole

revised by Paul van Reijen

leading figure in the development of musical life in Amsterdam. He conducted performances at the theatre there of operas including Paul Wranitzky’s Oberon and Dittersdorf’s Der Apotheker und der Doktor and Das rothe Käppchen (all 1796 ) and Mozart’s Die Entführung aus dem Serail ( 1797 ) and Die Zauberflöte ( 1799 ), probably adapting and in some cases translating them himself. He also translated, and inserted his own music into, many French opéras comiques , including Grétry’s Les deux avares (as ‘De twee gierigaards’, 1787 ) and Richard Coeur-de-lion

Article

Kate Daubney and William Rosar

composer he worked on almost all of MGM’s prestige productions of the 1930s and 40s. His idiom incorporates thematic quotation from other composers, including Chopin ( A Tale of Two Cities , 1935 , The Picture of Dorian Gray 1945 ), Delius ( The Yearling , 1947 ), and Tchaikovsky ( Conquest and Romeo and Juliet , both 1937 ). This was partly a response to an emphasis at MGM on broadening the experience of its audience through the inclusion of ‘classical music’ in film. His scoring technique also reflects his interest in Wagner’s operas and the leitmotif: this

Article

Romeo Ghircoiaşiu

revised by Laura Otilia Vasiliu

stage as an opera. His symphonic overture Ştefan cel Mare (‘Stefan the Great’) is one of the first Romanian pieces of programme music. As a forerunner of the school of Romanian piano music, he wrote miniatures in a Romantic style, a rhapsody, and fantasies on folk themes, and many dances collected in different regions of the country. His five vaudevilles and his operetta Millo director , all based on comedies by Vasile Alecsandri, were performed by amateur theatre companies. His choruses and songs for schools, salons, and musical societies were all composed according

Article

John C.G. Waterhouse and Folco Perrino

minore di G. Martucci’, RMI , 3 (1896), 128–66 L. Torchi : ‘La seconda sinfonia (in fa maggiore) di Giuseppe Martucci’, RMI , 12 (1905), 151–209 L. Perrachio : ‘L'opera pianistica di Martucci’, Il pianoforte , 3 (1922), 72–81 G. Piccioli : Il ‘concerto’ per pianoforte e orchestra (Como, 1936, 3/1954), 193–9 F. Perrino : ‘Premessa e considerazioni all'articolo di Luigi Perrachio su l'opera pianistica di Giuseppe Martucci’, Musicalbrandé , 9/36 (1967), 10–11 F. Perrino : ‘Il Concerto in si bemolle minore op.66 per pianoforte e orchestra di Martucci’,

Article

Lucrecia R. Kasilag

diploma 1933 ); his composition teacher was Nicanor Abelardo. Later he joined the staff of the University of the Philippines, where he was secretary of the conservatory until 1941 . He taught and lectured outside the university as well, also conducting choral groups, church choirs, opera and orchestral concerts. In 1956 he was made director of the Cosmopolitan Academy of Music, and also directed the Centro Escolar University Conservatory ( 1948–71 ). He received an honorary doctorate from the university in 1953 and was made dean emeritus of the conservatory on his

Article

Kurt Stephenson

as a music teacher (from 1885 at the Conservatory), as a choir director and as conductor of the Altona Singakademie and the Hamburg Liedertafel. Being in contact with the Classical–Romantic tradition and under the spell of the works of Brahms, Krug composed vocal music of all genres except opera, mostly with chorus or for chorus a cappella . He was also a versatile instrumental composer; with his String Sextet op.68 he participated in the attempt by the violin maker Alfred Stelzner to enrich the string family with a violotta, an instrument whose register lay between

Article

Francesco Bussi

and Giuseppe Gherardeschi. In 1833 he moved to Florence, where he completed his studies at the Istituto Musicale in 1836 . The same year he made his début as a composer with the opera Matilde di Toledo , the success of which earned him a scholarship from the Grand Duke Leopold II. He then went to Novara to study with Mercadante, and in 1840 produced Rolla , his most successful opera, in Turin. In 1842 he returned to Pistoia, but a year later settled in Florence, accepting an invitation to become director of the orchestra of the Società Filarmonica; this involved

Article

Fabio Fano

revised by Roberta Costa

MGG1 ( R. Allorto ) A. D’Angeli : ‘L’opera musicale di Guido Alberto Fano’, Cronaca musicale , 13 (1909), 256–60 I. Valetta : ‘Rassegna musicale: i concerti al Corea’, Nuova Antologia , 44 (1909), 331–2 F. Fano : ‘Di una corrispondenza di Guido M. Gatti con Guido Alberto Fano con notizie e considerazioni connesse’, Quadrivium , 14 (1973), 45–64 F. Fano : ‘La figura di Guido Alberto Fano’, Rassegna musicale Curci , 28/2–3 (1975), 41–4 V. Fano : ‘Come far uscire la fanciulla dal pozzo – Vicissitudini di un’opera: Juturna di Guido Alberto Fano ed Ettore

Article

Peter Branscombe

1782 (Lipowsky) he married the singer Johanna Roithner (who later sang at the Munich Opera until at least 1811 ). The couple were at Brünn (now Brno) in 1783 as members of Waizhofer's company, and in 1785 they moved on to Linz, where Lasser directed the company in the 1786–7 season. In 1788 , after a brief season as director at Eszterháza, he rejoined Waizhofer, then at Graz. In 1791 the Lassers went to Munich, where he distinguished himself at court by singing arias in all four registers, and by playing a violin concerto. Apart from a successful guest appearance

Article

Steven Ledbetter and Victor Fell Yellin

career commentators noted ‘American’ traits in his music, as in the String Quartet no.2 and the scherzos of his first two symphonies. Some works, such as the lyric drama Judith , show an interest in French sonorities, while The Padrone , for all its evocation of American urban life, draws on the techniques of verismo opera. In the scherzo of the Second Symphony he uses a pentatonic melody resembling black American song nine years before Dvořák included the better-known example in his Symphony no.9 (‘From the New World’). Most movements of Chadwick’s symphony use

Article

Milena Bozhikova

and composition under Pancho Vladigerov. He specialized in composition, musical analysis, and aesthetics under Olivier Messiaen at the Conservatoire National Superieur de Musique in Paris ( 1970–71 ). He has conducted all of the major symphony orchestras in Bulgaria: the Varna Philharmonic Orchestra, where in 1966 he began his career, and the Varna Opera Orchestra ( 1966–77 ); he was artistic director of the Burgas Philharmonic Orchestra ( 1977–81 ), conductor of the Sofia Philharmonic Orchestra ( 1981–2004 ) and its director ( 2000–02 ), and artistic director and chief

Article

John F. Strauss

revised by Virginia F. Strauss

of the quartet and persuaded Simrock to publish Rabl's works. His other works include chamber music, lieder and a symphony, which are harmonically conservative and in the tradition of Brahms. The influence of Wagner is apparent in Rabl's opera Liane , not only in its form and structure but also in its use of leitmotifs. The opera, which was critically acclaimed following its première in Strasbourg in 1903 , was his last published work. Between 1903 and 1924 Rabl held a series of conducting posts in Düsseldorf, Essen, Dortmund, Breslau and Magdeburg, during

Article

Viorel Cosma

revised by Ruxandra Arzoiu

Lenin’), 1957 , and Pentru marele octombrie (‘For the Great October’), 1960 . His dramatic temperament is evident in the operas Meşterul Manole (‘Master Manole’) and Michelangelo , but even more so in the oratorios Horia and 1907 and in the Symphony no.3 ‘Reconstructia’. The basis of his style evolved from late Romanticism to serialism in the manner of the Second Viennese School and reveals a great mastery of compositional technique in all genres; His final mature manner was realized in several works of a nationalist spirit written between 1950 and 1966

Article

Christopher Fifield

and the Klavier-Schule Klindworth in Berlin, or guest conducting at the Berlin and Hamburg opera houses. His precarious mental state began to decline in the 1890s and he entered a private institution in 1893 . Ill-health persuaded him the following year to seek the warmth and dry air of Egypt, but he died in a Cairo hotel. Eduard Dannreuther described Bülow’s pianism as possessing a ‘passionate intellectuality’ (his detractors preferred to omit the word ‘passionate’) with ‘all effects analysed and calculated with the utmost subtlety, and yet the whole left an impression

Article

Gérard Streletski

of his teachers, particularly Halévy and Berton. However, it was above all his talents as an orchestrator that were recognized by his contemporaries; Gounod and Berlioz in particular paid tribute to his skill. Works MSS at F-Pn, printed works published in Paris Sacred 3 requiems op.7, 1843 (n.d.) op.28 no.1, 1877 op.28 no.2, 1870 Choeurs religieux, hymnes, op.18 (1847) O salutaris, op.14a, 1847 (n.d.) Prière pour la paix, op.28 no.6 (1870) Dramatic Operas Samson, 1837, lost Lionel Foscari (1), 1841, F-Pn *; Le violon enchanté

Article

mid-1990s on, all of Platz’s major works have been conceived as part of an endless chain of interlocking pieces which can also be played independently. However, his intention is not to create an epic cycle of works in the manner of Stockhausen’s LICHT ; any segment of the formal chain is an adequate representation of the underlying idea. At the 1996 Donaueschingener Musiktagen, for example, ANDERE RÄUME , nerv ii and Turm/Weiter were presented as an interlocking sequence, with Echo II as an epilogue. Works ( selective list ) Operas VERKOMMENES

Article

Walter Senn

revised by Joachim Veit

(after representations against the election of Joseph Weigl), he was appointed Kapellmeister of the Stephansdom in Vienna as successor to Josef Preindl in September 1824 . One of the choristers (who were also his pupils) was his nephew Anton Mitterwurzer ( 1818–76 ), later famous as an opera singer. From this time on Gänsbacher composed mainly church music, and only a few homage cantatas. By the time of his death he was one of the most famous musicians in Vienna. Some of Gänsbacher's early instrumental compositions, such as the Clarinet Concertino and the sonatas in F

Article

John Edwin Henken

soloists, chorus and orchestra. He returned to Madrid in July 1846 , and in the following year completed a three-act opera buffa, only excerpts of which were performed. He joined a group of progressive musicians agitating for a national opera under the name La España Musical and in the following year joined the Madrid Liceo, for which he sang and composed. He began writing music reviews for La ilustración in 1849 and worked as a prompter in Italian operas at the royal palace. Although his first zarzuela to reach the stage, Gloria y peluca , had been completed the

Article

Adrienne Simpson

revised by Roger Hickman

dwindled quickly, although they did not necessarily go out of fashion. As late as 1818 the nine-year-old Chopin made his début with an orchestra playing a concerto by Gyrowetz. In his new position Gyrowetz was obliged to compose at least one opera and one ballet a year. His first major success was Agnes Sorel ( 1806 ), an opera seria that was performed 124 times in Vienna during the next decade. It continued to be performed throughout Europe for the next 30 years and was translated into German, Polish, Danish and Hungarian. The Singspiel Der Augenarzt ( 1811 )

Article

Peter Franklin

creative preoccupation during this period, however, was his opera Palestrina (designated ‘a musical legend’), whose libretto he completed in 1911 , using historical sources to elaborate the essentially fictitious story of Palestrina's ‘rescue’ of polyphonic music (by composing the Missa Papae Marcelli ) from the reforming zeal of the Council of Trent. The completed opera was first performed in Munich in 1917 , at the height of World War I, and rapidly established itself as the most moving and coherent of all Pfitzner's expressions of idealistic, ‘inspiration’-orientated