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Article

Harold Rosenthal

, accompanied by a piano. By the 1966–7 season there were three Opera for All groups, each comprising 12 members; one was based at the London Opera Centre, one at Scottish Opera and one at the WNO. The increased touring commitments of the last two companies, and expanded touring by the English Opera Group and Phoenix Opera, resulted in the two regional groups being absorbed into the larger Scottish and Welsh companies as small touring ensembles with chamber orchestra. The London-based group retained the original name. Although works like La Cenerentola , Le comte

Article

Nancy B. Reich

work became known to the musical world. Almost without exception, Clara played at the première of each work he wrote for or with piano; and almost all his orchestral works were introduced in concerts in which she was the solo artist. In 1878 Clara Schumann became principal teacher of piano at the Hoch Conservatory in Frankfurt, but did not relinquish her performing career. Her presence attracted students from all over the world and especially from England, where she was an immensely popular performer. She made her last public appearance as a pianist in 1891

Article

Gregory Sandow

patterns: Chord Catalogue ( 1986 ) for keyboard consists of all 8178 chords possible within an octave; Formulas for string quartet ( 1994 ) is based on mathematical formulas. He also continued to write operas (his catalogue includes ten), of which the most successful has been Riemannoper ( 1988 ), a comedy in German with a text consisting of musical definitions from the Riemann Musik-Lexicon . Productions of this work and The Four Note Opera have made Johnson one of the most performed of contemporary opera composers, though he is rarely acknowledged as such. One

Article

Giuseppe Gerbino

(Padova, 1989), 239–267 G. Predota : ‘Towards a Reconsideration of the Romanesca: Francesca Caccini’s Primo libro delle musiche and Contemporary Monodic Settings in the First Quarter of the Seventeenth Century’, Recercare , 5 (1993), 87–113 J.W. Hill : Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto (Oxford, 1997), 203–34 See also Favorita

Article

Opera 80 Opera company, founded by the Arts Council of Great Britain in 1980 ; it succeeded Opera for All . One of the most active touring companies in the country, Opera 80 has undertaken two national tours each year, visiting 25 theatres over a period of 18 weeks. All productions are in English and are fully staged with an orchestra of 30 players. Independent performances have been given at Sadler’s Wells, Bath Festival and in France. In addition, the company works in a wide range of settings, including schools and hospices. Repertory has included

Article

Licht  

Richard Toop

Licht ( ‘Light’ ) The collective title of a projected cycle of seven operas by Karlheinz Stockhausen , each of which is named after a day of the week. The cycle was conceived in 1977 and completed in 2003 . Up to 2007 , only the first five operas have been staged, though semi-staged performances have been given of all individual parts of the two final operas: Mittwoch aus Licht (‘Wednesday’), 1995–7 , and Sonntag aus Licht (‘Sunday’), 1999–2003 . Performances of the complete cycle are planned (but unconfirmed) for Essen in 2010 . Licht ,

Article

S Giovanni Grisostomo Theatre in Venice, built by the Grimani in 1678 . The largest and most exclusive opera house in the city, it was renamed after Malibran in 1834 , then used for all kinds of popular entertainment; it was restructured in 1919 but soon became a cinema. See Venice (opera) §3 and Venice (opera) §8 .

Article

Augusta  

Derrick Henry

television network. The company presents four productions annually, usually two operas and two operettas or Broadway musicals. The 1990–91 season consisted of La bohème , Die lustigen Weiber von Windsor , South Pacific and Annie Get Your Gun . All performances are at the Imperial Community Theater (seating 800–850).

Article

Kelley Rourke

which was completed in September 2012 . In addition to providing space for its own programs, the Opera Center allows for the conduct of business (auditions, readings of new works, production meetings) by visiting opera professionals from across the country and around the world. OPERA America conducts and disseminates research on all aspects of the opera industry; its library houses unique collections related to American opera companies and repertory. The organization hosts an annual conference each year, as well as a number of smaller forums and workshops designed

Article

Richard Toop

Donnerstag aus Licht ( ‘Thursday from Light’ ) Opera in three acts, a greeting and a farewell by Karlheinz Stockhausen to his own libretto; Milan, Teatro alla Scala, 3 April 1981 (following an incomplete performance on 15 March 1981 ). Donnerstag was the first opera of Stockhausen’s Licht cycle to be completed; it was composed from 1978 to 1981 ( Der Jahreslauf , a scene from Dienstag , was composed in 1977 ). However, it assumes fourth place within a complete cycle. The framing format of Greeting and Farewell calls for special comment

Article

M. Elizabeth C. Bartlet and Richard Langham Smith

French plays were dropped, called the Opéra-Comique). First, its monopoly on operas with spoken dialogue was challenged and soon disappeared, the Théâtre de Monsieur (from 1791 the Théâtre Feydeau) becoming a powerful rival. Other theatres sprang up and many put on vaudevilles and shorter operas. The Opéra-Comique had to compete for audiences and for authors – the more so since court patronage, of course, disappeared and some of the other rich patrons suffered (although both it and the Feydeau remained out of the reach of all but the better-off). The 1790s saw a huge

Article

Hervé Lacombe

given section. His operas explore a man's voyage through his imagination ( H.H. Ulysse , 1984 ) or through history ( Les traverses du temps , 1979 ), a woman's sorrowful journey from the present to the past ( La noche triste , 1989 ) and the struggle of a genius against the forces of obscurantism ( Goya , 1996 ). Other dramatic media he has explored include not only ballet and film music, but also ‘silent opera’ in his work with the mime artist Marcel Marceau. Works ( selective list ) all dates are of first performance Operas

Article

Peter Franklin

Säckingen’ ) Opera in a prologue and three acts by Viktor E(rnst) Nessler to a libretto by Rudolf Bunge after J. V. von Scheffel’s poetic epic; Leipzig, 4 May 1884 . When the Baron von Schönau (bass) learns that his trumpeter Werner Kirchhofer (tenor) seeks the hand of his daughter Maria (soprano), he banishes Werner and consigns Maria to marriage with the cowardly but noble-born Damian (tenor). Werner then returns with troops to save the Baron from a peasant uprising. A mark on Werner’s arm reveals that he is of noble birth after all, and his union with

Article

Alexander Silbiger

bass formula ( ex.1f ). In vocal settings, Italian chaconnes were sometimes interrupted by recitatives (e.g. Frescobaldi’s Deh, vien da me pastorella , 1630 , and Monteverdi’s Zefiro torna , 1632 ). Sections that resemble a chaconne without being identified as such are found in operas, cantatas, and sacred works. However, the present-day tendency to identify any ostinato aria with the chaconne or passacaglia does not appear to have historical precedence unless the piece also shows the characteristic dance rhythms and other genre markings. By the beginning of the

Article

Mary Lou Humphrey

with Walter Piston and Randall Thompson, Mechem spent three years in Vienna refining his compositional skills. A composer of more than 150 works in nearly all genres, Mechem is particularly renowned for his choral works. His musical style, characterized by melodiousness, lyricism, tonal clarity, wit and humour, is free of any specific compositional school. Mechem’s first opera, Tartuffe , is a three-act comic opera set to a libretto by the composer after the Molière play. Cast in traditional operatic forms and exuding a lighthearted, Falstaffian spirit, Tartuffe

Article

Thomas Bauman

‘The Barber of Seville’ ) Komische Oper in four acts by Friedrich Ludwig Benda ( see Benda family (opera) §(3) ) to a libretto by Grossmann, Gustav Friedrich Wilhelm , adapted from Beaumarchais, Pierre-Augustin (opera) ’ play Le barbier de Séville ; Leipzig, Theater am Rannstädter Tor, 7 May 1776 . Grossmann originally translated Beaumarchais’ play more or less faithfully for the Seyler company. Seyler persuaded him to adapt it as a comic opera and it was in this form, with Benda’s music, that the play was generally performed in Germany during the 18th

Article

Bayan Northcott

comforts, Max escapes from the Wild Things, travelling home to his room to find his supper waiting after all. In elaborating words, designs and musical forms from what is essentially a picture book, Sendak and Knussen were consciously attempting to revive the genre of fantasy opera as represented by Stravinsky’s The Nightingale and Ravel’s L’enfant et les sortilèges . Scored for an orchestra of 48 (without trumpets) and running just under 40 minutes, the opera transcends the ‘magic’ scores in its background – Musorgsky, early Stravinsky, Debussy’s La boîte à joujoux

Article

Tim Carter

scene to a play or opera serving to clarify and enhance the perceptual and conceptual frame of the drama, often by securing some manner of collusion with the audience. The prologue can variously outline the aesthetic intent of the work, introduce the subsequent action, and/or pay homage to a patron. The changing place of the prologue in operatic history holds an intriguing mirror to the fate of opera itself, reflecting the various political, social, cultural and philosophical pressures brought to bear on so problematic a genre. The first opera librettists and composers

Article

M. Elizabeth C. Bartlet

the context of stage works opéra entered the French language as a translation of the Italian ‘opera’ in the mid-17th century. In the 18th century it had two primary meanings. First, it was ‘a dramatic and lyric spectacle in which the goal was to unite all the charms of the fine arts by depicting a passionate action’ (Rousseau); its component parts were the libretto (‘poëme’), the music, the choreography and the sets (see also Brossard and Diderot). Second, on a more restricted level, opéra was a synonym for libretto; poets wrote opéras , and composers set them to

Article

in Italy. There he had composed three operas: an intermezzo Il geloso (performed at Rome in 1751 and later at Florence and at Bastia in Corsica), Il trionfo del Giglio and La Lavinia (performed at Bastia in 1751 and c 1753 respectively). The only extant pieces from this Italian sojourn (contained in a volume of extracts from Lavinia published soon after his return to Paris) are five bravura arias and a duo, supported by fairly substantial orchestral accompaniments, which suggest that Lavinia was a typical opera seria of the time. For Paris Herbain