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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

Jorge Luis Acevedo Vargas

Milagro de amor ( 1955 ) and the opera María ( 1976 ), both emphasizing local manners and customs. In 1971 his Cantata de la Independencia earned him second prize at the celebrations of the 150th anniversary of Central American independence, and in 1979 he won the competition for the Latin American Parliamentary Hymn with lyrics by another Costa Rican, Efraín Nuñez Madriz. In 1982 he won the Aquileo J. Echevarría prize for his Marcha de Pontifical Monseñor Antonio Troyo . Works ( selective list ) Stage (all perf. at San José, Nacional,

Article

Edward F. Rimbault

revised by Alfred Loewenberg

Macfarren), Surrey, 17 May 1828 collab. A. Lee Mischief-Making (interlude, J.B. Buckstone), Surrey, 16 Sept 1828 † My Old Woman (comic op, Macfarren, after Scribe, Delavigne: La vieille), Surrey, 14 Jan 1829, lib pubd after Fétis’s opera Black-Eyed Susan, or All in the Downs (musical play, D. Jerrold), Surrey, 8 June 1829 (1829), lib pubd The House of Aspen (play, incidental music, W. Scott), Surrey, 17 Nov 1829, lib pubd Paul Clifford (musical drama, E. Fitzball, after Bulwer-Lytton), CG, 28 Oct 1835,

Article

Sarah Cahill

approached Adams about writing an opera on the improbable subject of Richard Nixon’s momentous six-day visit to China to meet Mao Zedong in 1972 . Given its première by the Houston Grand Opera in October 1987 , Nixon in China was performed over 70 times in the following few years. The opera was televised by PBS and received both an Emmy and a Grammy award. The Nonesuch recording was named ‘one of the ten most important recordings of the decade’ by Time magazine. Between 1989 and 1991 Adams and Alice Goodman created a second opera on a contemporary event, the

Article

Anna Levy, Gregory Myers and Milena Bozhikova

felt among Bulgarian composers. His monographs Lyubomir Pipkov and Slovo i delo (‘Word and deed’) were published in Sofia in 1958 and 1997 , respectively. Works ( selective list ) Vocal and dramatic Operas Boyanskiyat maystor [Boyana’s Master] (4, M. Hadzhimishev, after S. Zagorchinov), 1962, Sofia, National Opera, 3 Oct 1962 Elenovo tzarstvo [The Kingdom of the Deer] (3, Iliev), 1973, Ruse, 1976 Choral Chudnoto khoro [The Miraculous Dance] (suite), female chorus, ww qnt, pf, 1956 Selska pesen [Peasant Song] (cant.), 1965 Zeleni

Article

Paul R. Laird and David Schiff

addition to the Israel PO, Bernstein had lasting relationships as a guest conductor with other orchestras, perhaps most significantly the Vienna PO. Bernstein directed Falstaff at the Vienna State Opera in 1966 and Fidelio in 1970 , and he returned there frequently in the last two decades of his life to conduct the Philharmonic, which is the orchestra of the Vienna State Opera. Bernstein made many recordings with the Vienna PO, included filming the complete Beethoven, Brahms, and Mahler symphonies, among other works. Other orchestras that Bernstein conducted with some

Article

Milan Poštolka

Bohemia. Therefore the attribution to the elder Franz Habermann of compositions bearing an ambiguous christian name or none at all is questionable. Works Dramatic only printed librettos extant Easter orats (all perf. in Prague) Haec mutatio dextrae excelsi … id est Conversio peccatoris, 1749 Christi servatoris … de morte triumphantis archetypus, 1753 Deodatus à Gozzone, 1754 Coelestis Samaritanus Jesus Christus, 1763 S Agostino, 1764 Opéra comique, title unknown, Prague, 12 May 1743, for the coronation of Maria Theresa as Queen of Bohemia, lost Artium clementinarum

Article

Jēkabs Vītoliņš

the 1980s. His orchestral works are characterized by intense emotional expression and rich, pointed orchestration. His perception, especially in the song cycles, is highly romantic and incorporates elements of irony, satire and the grotesque. Works ( selective list ) Opera Pazudušais dēls [The Prodigal Son] (after R. Blaumanis), 1995 Orchestral Sym. no.1, 1965 Pirms aiziešanas [Before the Departure], sym. episode, 1966 Sym. no.2 ‘In modo classico’, 1968 Romantiska poēma, 1969 Vc Conc., 1970 Sym. no.3, 1972 Sym. no.4 ‘Jauni sapņi no vecām pasakām’

Article

Richard Langham Smith

Poulenc, Milhaud and Honegger, of the contemporary music group ‘Triton’. He divided his career equally between composing and conducting, and he conducted at many opera houses throughout the world. As a prolific composer, his orchestral music is important, especially the concertos he wrote for solo instruments and orchestra. However, he was attracted above all to the theatre, and it was two of his operas, L'Atlantide and Miguel Mañara , that established his reputation. Miguel Mañara tells of a mystical Don Juan who has renounced debauchery. The composer's own

Article

J. Bradford Robinson

Among the many works composed by Doles during this productive period was a school opera ( 1748 , now lost) to commemorate the centenary of the Peace of Westphalia; the text, at least in part Bidermann’s, was ridiculed by Lessing, who however gave high praise to Doles’s music. Perhaps as a result of this Bidermann, with his De vita musica of 1749 , launched his disastrous Rektoratsprogramm , which questioned the role of music in education. The ensuing battle of polemics involved above all Mattheson, but also Gottsched and Bach, and led Doles, who apparently took no

Article

Walter G. Simmons

Fulbright Fellowship to continue his studies at the Accademia di S Cecilia, Rome ( Diploma di studi superiori 1956 ). From 1950 to 1977 he was professor of composition and conducting at the Manhattan School. He was also active as a conductor at the Chicago Lyric Opera ( 1961 ) and the New York City Opera ( 1967 ), and appeared frequently as a pianist. His many recordings with the Rome SO and the Rome Chamber Orchestra span a broad repertory. Flagello’s own music represents a distillation and intensification of European post-Romanticism, tempered by an American concision

Article

counterpoint, Impressionist harmonic subtleties and dramatic complexity, all firmly rooted in folk traditions. He further experimented with this style in a series of choral poems on texts of contemporary poets; these works include L′odolom (‘Icebreaker’) and Litni tony (‘Summer Tones’) to words by H. Chuprynka and Lehenda (‘Legend’) to words by M. Vorony. Leontovych also wrote several religious works (among them a setting of the liturgy and a number of cantatas), and at his death left an unfinished opera based on B. Hrinchenko's fairy tale Na rusalchyn velykden (‘The

Article

Rolf Haglund

and later also with Bäck, Blomdahl, Fortner, Krenek and Jelinek. He studied conducting with Tor Mann and Swarowsky and the piano with Carl Tillius, Olof Wibergh and Gottfrid Boon. He was conductor at the Riksteater ( 1958–60 ), the Stora Teater in Göteborg ( 1962–5 ), the Stockholm Opera ( 1967–8 ) and the Örebro Orchestra Foundation ( 1968–74 ); he has also been a guest conductor with most Swedish orchestras. He taught at the College of Speech and Drama in Göteborg ( 1963–7 ) and its equivalent in Stockholm, now the Operahögskola, from 1968 to 1970 , and from 1974

Article

collections, particularly opp.7, 8 and 10, are also very fine. Had Zemlinsky outlived the war, he would, like Korngold, Wellesz and Hans Gál, have experienced his eclipse by the post-Webernian serialists. Together with Schreker, to whom he has often been likened, he all but vanished from concert and opera programmes until the later 1960s. Thereafter, in the wake of the rehabilitation of Mahler, his music experienced a renaissance. Major works, such as the Fourth Quartet and Psalm xiii, which had neither been published nor performed during his lifetime, were discovered

Article

Octavian Cosma

revised by Valentina Sandu-Dediu

professor, Ştefan Niculescu, Dănceanu experimented with spectral technique, elements of instrumental theatre, and innovative ways of producing musical sound. All of these elements would later be part of his personal re-examination of tradition by way of an approximation of traditional forms and genres with such forms as his ‘quasi-fuga’, ‘quas-iricercare’, ‘quasi-concerto’, ‘quas-isimfonia’, and ‘quasi-opera’. In the 1990s, his inclination towards commenting musical history turned into a pursuit of various musical languages (from the organum to repetitive minimalism

Article

Lance W. Brunner

revised by Greg A Steinke

imagination. His Five Pieces after Paintings by Andrew Wyeth explore a number of styles, from sophisticated chromatic counterpoint to rock and jazz rhythms to Ivesian collage and layering, resulting in a vivid programmatic tapestry characteristic of his instrumental palette. Works Operas The Birthday of the Infanta (Nelson), 1955–6 Hamaguchi (M. Miller), 1981 Choral The Christmas Story (Bible), cantata, Bar, nar, SATB, brass, perc, org, 1958, arr. SATB, orch; 5 Anthems for Young Choirs (Heb. Book of Prayer), SA, pf, 1961 3 Ancient Prayers (Heb. Book of Prayer), SATB

Article

Gérard Condé

recording in 1961 ), and works by Xenakis, Varèse and the Second Viennese School. He also produced the successful television series ‘Arcana’, introducing music to a wider public. Le Roux was musical director of the Orchestre National de l'ORTF ( 1961–8 ), musical adviser to the Paris Opéra ( 1969–73 ), and inspector-general of music for the Ministry of Culture ( 1973–88 ). A richly gifted artist, he found it difficult to concentrate his energies in one area alone. The scandal unleashed at the Aix-en-Provence Festival in 1953 by Le cercle des métamorphoses , which

Article

Peter Branscombe

es Musiktheater im späten 18. Jahrhundert: Typologie, Dramaturgie und Anthropologie einer populären Gattung (Tübingen, 1998) D. Link : The National Court Theatre in Mozart’s Vienna: Sources and Documents, 1783–1792 (Oxford, 1998) See also from The New Grove Dictionary of Opera : Bergknappen, Die ; and Schöne Schusterinn, Die .

Article

Robert Orledge and Andrew Thomson

Davies : ‘The French Wagnerians’, Opera , 19 (1968), 351–7 L. Davies : César Franck and his Circle (London, 1970/ R ) A. Balsan : ‘L’hérédité Drômoise de Vincent d’Indy: notes généalogiques’, Revue Drômoise , no.421 (Oct 1981), 373–7 S. Giocanti : ‘Vincent d’Indy et le régionalisme musical’, France Latine , no.113 (1991), 81–104 See also Franck, César, §1: Life Chabrier, Emmanuel, §2: Works Symphonic poem, §6: France See also from The New Grove Dictionary of Opera : Indy, (Paul Marie Théodore) Vincent d’ (opera) ; Etranger, L’ ; Fervaal

Article

although he retained the post until his death. Although Kranz composed music for several plays, as well as keyboard variations and violin concertos (all in a Classical style), he was most significant as a conductor and director. Under his leadership the Weimar Hofkapelle became one of the best in Germany, and his contributions to the court theatres, in collaboration with Goethe, were equally valuable. Works all stage works first performed in Weimar unless otherwise stated Inkle und Yarico (ballet), ?1772, scenario pubd Incid music in plays Der Gross-Cophta