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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

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

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

Fabio Fano and 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

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

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

John F. Strauss and 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

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

Viorel Cosma and 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

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

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

Walter Senn and 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

Adrienne Simpson and 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 Branscombe

Tuček achieved more than a passing success with the opera Lanassa , the melodrama Samson, Richter in Israel and the Singspiel Dämona, das kleine Höckerweibchen (56 performances in the Leopoldstädter Theater, 1806–15 , revived in the Theater in der Josefstadt, 1822 ). Most popular of all were the Singspiel Honza Kolohnát z Prělouče ( 1795 or 1796 ) and its sequel Die zwei Klacheln . His output for the theatre also includes ballets, pantomimes and incidental music. Works all Vienna operas performed at Leopoldstädter Theater

Article

David Charlton and Hervé Audéon

intelligence with which Citizen Grasset conducts the orchestra, which itself is made up of the most skilful artists to be found in Paris’ ( Courrier des spectacles , 29 March 1798 ). He entered the Opéra orchestra in about 1799 and was professor at the Paris Conservatoire from 1800 to 1816 . In 1804 Grasset was appointed conductor of the Théâtre Italien (or Opera Buffa); he held this position until 1830 . His direction and solo performances were popular, enabling him to survive several changes of management. Meanwhile he undertook other conducting engagements

Article

graduating in 1923 . In 1919 he had already been appointed director of the Ukrainian National Chorus and later ran the Leontovych Society ( 1921–8 ). He later conducted both the Kiev Opera ( 1926–8 ) and the Khar′kiv Opera ( 1928–35 ) and was invited to appear as guest conductor in Kiev, Khar′kiv, Moscow and – during World War II – Ufa. For a while ( 1928–30 ) he was head of VUTORM, the All-Ukrainian Society of Revolutionary Musicians. He was appointed to teach at the Lysenko Institute while still a student and later taught, from 1946 as a professor, at the Kiev Co

Article

Andrea Lanza

sera and in 1878 succeeded his father as professor of aesthetics at the Milan Conservatory. In 1880 he moved to London, where he was a teacher and translator of Italian, and occasional music critic. Alberto’s daughter, Elisa, composed the opera Mr Sampson of Omaha ( 1888 , Omaha, Nebraska). Works all printed works published in Milan Stage La fidanzata di Lammermoor (dramma per musica, 2, P. Beltrame, after W. Scott), Padua, Nuovissimo, 24 Feb 1834, I-Mr *, excerpts, pf acc. (1836) Don Chisciotte (melodramma

Article

Durrell Bowman

comedy sketches. Shore’s first film score was for the Canadian horror film I Miss You, Hugs and Kisses ( 1978 ). Subsequently, from 1979 to 2007 , he composed the music for all but one of Canadian director David Cronenberg’s psychological thrillers. Shore’s music for Cronenberg appropriately often features a brooding, repressive aesthetic. The score for The Fly ( 1986 ) was reworked as an opera (premiered at Le Théâtre du Chalet in Paris in 2008 ), with music by Shore, a libretto by David Henry Hwang, directed by Cronenberg, and conducted by Plácido Domingo. Shore’s