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Article

Maureen Needham

danced in others. He was the ballet-master of Pierre Perrin’s Académies d’Opéra, creating dances for Cambert’s Pomone ( 1671 ). As ballet-master for Lully’s Opéra during the 1670s and 80s, he choreographed dances for the premières of Lully’s L’impatience ( 1661 ), La naissance de Vénus ( 1665 ), Alceste ( 1674 ), Atys ( 1676 ), Isis ( 1677 ), Le triomphe de l’Amour ( 1681 , with Pécour) and Ballet de la Jeunesse ( 1686 ). After Lully’s death ( 1687 ) Beauchamps left the Opéra to choreograph and compose music for ballets at the Jesuit colleges ( 1669–97

Article

series (all with music by Gluck) – Don Juan, ou le festin de pierre , Citera assediata , Alexandre et Roxane , Sémiramis and Ifigenia in Aulide (lost) — were based on well-known plays, operas or myths. By Angiolini’s own account the lieto fine of his Ifigenia ballet was in response to audience displeasure with the grim dénouement of Sémiramis . (Angiolini later staged a five-act version of his Sémiramis ballet, to his own music.) During this same period Angiolini contributed ballets to opéras comiques , and to opere serie , including reform operas by Traetta

Article

freemasons in 1789 . Lyonnet listed several 19th-century actors named Deshayes. Works Stage all performed in Paris; all printed works published in Paris Le faux serment, ou La matrone de Gonesse (cmda, 2, L.H. Dancourt), Beaujolais, 31 Dec 1785 (1786), excerpts (1786 and n.d.) La défaite du serpent Python par Apollon (scène lyrique, 1, Renou), Société des Enfants d'Apollon, 1 June 1786 Le paysan à prétention (opéra bouffon, 1, Eyrand), Beaujolais, 12 June 1786, romance (n.d.) L'auteur à la mode, ou Le mari

Article

Neal Zaslaw

choreography and music for the ballets in about 50 stage works in which he and his wife danced, including Graun’s operas Coriolano ( 1749 ), Fetonte ( 1750 ), Armida ( 1751 ), Britannico ( 1751 ), Mithridate ( 1751 ), Orfeo ( 1752 ), Semiramide ( 1754 ), Ezio ( 1755 ), Montezuma ( 1755 ) and Merope ( 1756 ), and Agricola’s Cleofide ( 1754 ). (The ballet music in the DDT edition of Montezuma is by Denis, not Graun.) The quality of opera and ballet at the Prussian court declined after the Seven Years War, and Denis left Berlin in 1765 . If the French

Article

Nils Schiørring

many of his ballets. After travelling in the late 1780s to Paris, Dresden, Berlin and Prague (where he met Mozart), Schall returned to Copenhagen in 1792 to take Hartmann’s place as Konzertmeister at the Opera, working successively under J.A.P. Schulz and F.L.A. Kunzen. In 1795 Schall became composer to the Royal Ballet and in 1818 music director at the Opera, where he remained until 1834 ; he conducted the première of Weber’s Freischütz overture there in 1820 . Though self-taught as a composer, Schall was rated highly by his contemporaries, and his experience

Article

Jérôme de La Gorce

partners in the Opéra since 1680 : when his contract with Vigarani expired he preferred not to renew it but to employ a salaried designer for his productions, turning for the purpose to Jean Berain, dessinateur de la chambre et du cabinet du roi . Lully was as shrewd a businessman as ever in his management of the Palais Royal theatre. While he gave standing room to the humbler part of the audience for only 30 sols, he charged higher prices than any other theatre in Paris for the seats reserved for more prosperous opera lovers. The highest price of all, one louis d'or

Article

J.G. Prod’homme and Marian Smith

‘the extreme difficulty of taking up the violin in the middle of a scene and playing it at a given moment, without time to make all the preparations that a musician never neglects before starting his solo’ ( Le constitutionnel , 22 January 1849 ). He produced numerous ballets in Lisbon ( 1854–6 ), was premier maître de ballet at the St Petersburg Imperial Theatres from 1859 to 1870 and was a frequent guest choreographer at the Paris Opéra in the summers. He thus became the dominant figure of both Russian and French ballet for most of the 1860s, and choreographed

Article

Gabriella Biagi Ravenni

Boccherini (Lucca, 1927), 10–11 A. Della Corte : Un italiano all’estero: Antonio Salieri (Turin, 1936), 104–15 E. I. Luin : ‘Italiani per il mondo: Giangastone Boccherini’, Rivista italiana del teatro , 7 (1943), 63–6 G. Arrighi : ‘Giovan Gastone Boccherini’, Lucca: rassegna del Comune , 6 (1962), 13–23 G. de Rothschild : Luigi Boccherini: sa vie, son oeuvre (Paris, 1962; Eng. trans., 1965) G. Biagi Ravenni : ‘Calzabigi e dintorni: Boccherini, Angiolini, la Toscana e Vienna’, La figura e l’opera di Ranieri de’ Calzabigi: Livorno 1987 , 29–71

Article

Claude V. Palisca

Artistic and Musical Director in Florence (forthcoming) See also Borrowing, §9: Reworkings and issues of originality Continuo, §2: Origins Dance, §4(i): Late Renaissance and Baroque to 1730: Before 1630 Opera, §III, 1(iii): Early opera, 1600–90, Humanist court opera: Rome. Oratorio, §1: Antecedents See also from The New Grove Dictionary of Opera : Emilio de’ Cavalieri ; Rappresentatione di Anima, et di Corpo