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Article

David Charlton

revised by 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

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

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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

Guido M. Gatti and John C.G. Waterhouse

exception is La sacra rappresentazione di Abram e d’Isaac , whose uncharacteristically self-contained lyrical ‘numbers’ reflect the work’s origin in incidental music to a play. Otherwise (obviously in extreme reaction against the melodic indulgences of Mascagni and Puccini) all Pizzetti’s operas, from Fedra to Clitennestra , systematically set out to avoid self-sufficient lyricism, except (as in the beautiful ‘Trenodia per Ippolito morto’ in Fedra or Mara’s song near the end of Act 1 in Debora e Jaele ) when choral groups or individuals are actually depicted as

Article

Durrell Bowman

sketches. Shore’s first film score was for the Canadian horror film I Miss You, Hugs and Kisses ( 1978 ). Subsequently, from 1979 to 2014 , he composed the music for all but one of the 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 (it received its première 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

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Romantic symphonies and overtures. The conductor of three Roman Catholic church choirs, he introduced Haydn masses into church services; with the Toonkunst choir he performed oratorios from Handel to Schumann as well as 16th- and 17th-century works. After the success in the 1830s of his operas Saffo and Le bandit , and of Rossini’s Guillaume Tell , he was appointed music director of the Hollandsche Schouwburg in 1840–41 . He served as president of Toonkunst ( 1849–50 ) and from 1853 until his death directed the Amsterdam section’s newly founded music school. Van Bree’s

Article

Alfred Loewenberg

revised by Andrew Lamb

almost certainly Genée wrote the lyrics, as usual. Genée also wrote many partsongs, among which one for male voices, Italienischer Salat , is most amusing in its satire on the older style of Italian operas, being sung to nonsense words. His brother Rudolf ( b Berlin, 12 Dec 1824 ; d Berlin, 19 Jan 1914 ) also wrote some librettos. Works ( selective list ) all stage works, in order of first performance; for more detailed list and for list of librettos see GroveO Polyphem [Ein Abenteuer auf Martinique] (komische Oper), 1856 Der

Article

Clive Brown

virtually a mirror image of his symphonic activity: between 1811 and 1832 he wrote just three symphonies, all in a Classical format, but in the 1830s and 40s he composed six more, all but one with explicit or implicit programmes. The two patterns are not unconnected, for in the climate of the 1830s and 40s, unpropitious for German opera, the programme symphony and oratorio provided an outlet for the dramatic energies Spohr had earlier expended on opera. The Mozartian influences that, despite a scherzo of Beethovenian scale, dominate the First Symphony gave way

Article

Lester Trimble

revised by Severine Neff

Conferences. In addition Luening was a co-founder of ACA ( 1938 ) and the American Music Center ( 1939 ). In 1944 Luening was appointed director of opera productions at Columbia University, where he developed a graduate seminar in composition, and professor at Barnard College. During his tenure at Columbia he conducted the world premières of Menotti’s opera The Medium , Thomson’s The Mother of Us All , and his own opera Evangeline . Luening was a founder of CRI ( 1954 ) and a trustee of the American Academy in Rome ( 1953–70 ), where he was also composer-in-residence

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turned to teaching and composing to supplement his income. In 1767 Bach left Berlin to replace Telemann in Hamburg, and Fasch was promoted to first accompanist at the Prussian court. In 1774 , after the death of J.F. Agricola, he was given the responsibility for conducting the royal opera; he held this position until the spring of 1776 , soon after J.F. Reichardt was appointed Kapellmeister. After the Bavarian War of Succession in 1779 the king rarely saw his musicians, and after he died in 1786 Fasch was retained even though the new king was not particularly

Article

Anthony Payne, Paul Hindmarsh and Lewis Foreman

Reproduced by permission of Stainer & Bell Ltd, London. England All of his major works after the Piano Sonata exhibit these qualities to a greater or lesser degree, and the majority are of exceptional quality. The more private field of chamber music gave most opportunity for pursuance of the new style, and in the Third and Fourth String Quartets Bridge approached the early works of the Second Viennese School. There is the same determination to keep all 12 chromatic notes in play, the same pervasiveness of motivic relationships. Yet Bridge’s

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performances of Die Zauberflöte , Don Giovanni and Così fan tutte . His own greatest success as opera composer came with Die Geisterinsel to Gotter’s adaptation of Shakespeare’s The Tempest . His name became widely known through the numerous ballads and lieder published from 1791 onwards, mostly by Breitkopf & Härtel in Leipzig. Zumsteeg himself was able to publish only part of the seven volumes of Kleine Balladen und Lieder , comprising 170 settings in all, before his death of a heart attack. Although Zumsteeg composed a number of instrumental works, vocal

Article

it and opposed it in all kinds of ways, great and small: for example, by always refusing to give the obligatory Nazi salute at public concerts, even when Hitler was present, by constantly using his influence to save the lives of Jewish musicians, obscure as well as famous, by rejecting numerous commands to conduct in occupied countries during the war, and by speaking his mind quite openly. In 1934 , when Hindemith’s opera Mathis der Maler was banned, Furtwängler resigned all his posts and, though wooed by the Nazis, never resumed them. All this required courage

Article

Zofia Chechlińska

Polish composers. From 1905 to 1908 he was director and conductor of the Warsaw PO, and from 1907 was also director of the opera. He occasionally directed choirs. Throughout his life he wrote music criticism for the daily press and for journals. In his concert reviews he also drew attention to more general musical problems. Noskowski was one of the most important Polish composers of the second half of the 19th century. He composed all types of music, including popular works intended for a wide public and pieces for children. His large output was uneven in quality

Article

Warren A. Bebbington

revised by Larry Sitsky

College, Sydney, 1962–3 . In 1973 he won a Churchill Fellowship for further study, and he took the University of London DMus the following year. He was head of academic studies at the Canberra School of Music ( 1967–84 ) and musical director of the Canberra Choral Society and Canberra Opera, and composer-in-residence with the Tasmanian SO, 1990–91 . Soon after, Hollier made a decision to distance himself from Australian musical life, and went to live abroad, in Greece and Wales for an extended time, only returning to Australia in the 2000s. He currently lives in New South

Article

Guy Bourligueux

Subiza ( 1870 ), which had 300 performances in one year. The jota he wrote for Lombía’s play El sitio de Zaragoza has remained a popular favourite. After 1867 he conducted Italian opera in Madrid, in 1870 becoming director of the Teatro Real, where he died suddenly during a rehearsal of Mignon . Works complete list of stage works in Peña y Goñi 88 zars, all first performed in Madrid, incl. La venta del puerto, o Juanillo el contrabandista (1, M. Fernández), Príncipe, 16 Jan 1847 La pradera del Canal (1, Azcona), Cruz, 1847, collab. S

Article

Deanne Arkus Klein

music director of the Opéra-Comique in 1816 , and lived in Versailles until his death in 1829 . Blasius had two brothers who became noted musicians: Pierre Blasius ( b Lauterbourg, 2 Sept 1752 ), a violinist, and Ignace Blasius ( b Lauterbourg, 11 April 1755 ), a bassoonist. Both were members of the National Guard Band, and taught at the Institut National de Musique and the succeeding Conservatoire. Works printed works published in Paris unless otherwise stated; thematic catalogue in Rau (1974) and McCormick (1983) Theatrical all first performed in Paris

Article

E. Eugene Helm

revised by Darrell Berg

of Amor e Psiche , he wrote to his attendant Pöllnitz: ‘You will tell Agricola that he must change all of Coli’s arias – they are worthless – as well as those of Romani, along with the recitatives, which are deplorable from one end to the other’. An effort of 1772 entitled Oreste e Pilade , ordered by Frederick as entertainment for a visit by the Queen of Sweden and the Duchess of Brunswick, proved to be so far from what Frederick wanted that the entire opera had to be rewritten and retitled I greci in Tauride . As a performer-teacher, and in aspects of composition

Article

Nicholas Temperley

into an Anglican service. These lavish choral services, which were really in the nature of sacred concerts, were continued by Barnby on a still more ambitious scale when he moved to St Anne’s, Soho, in 1871 . The services at this church soon gained the popular nickname of ‘The Sunday Opera’. From 1873 onwards Barnby conducted an annual performance of Bach’s St John Passion with orchestra in the church. Meanwhile Barnby had been extremely active elsewhere in the cause of choral music. He had been musical adviser to Novello & Co. since 1861 , and in 1867 the company

Article

Warren M. Sherk

head of the composition department. He spent the next three years teaching privately in Vienna and Leipzig, where he studied with composers Max Reger and Hans Sitt. Back in the United States, he lived in Georgia from 1912 to 1916 , directing the Atlanta Philharmonic, conducting light opera, and teaching at Brenau College in Gainesville. After moving to New York, he taught at the Malkin School of Music and contributed music to a National Academy of Music university course. He spent 1919 in Great Britain and France, conducting vaudeville shows in Paris. After he settled