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Article

Nigel Burton

the music’s phrase patterns with considerable subtlety. Her songs in the Italian vein demonstrate an intimate knowledge of contemporary opera, and her vocal experience is reflected in their beautifully shaped melodic contours. Her sense of quasi-symphonic development results in some remarkable experiments with binary form in songs such as Mary, adieu ( 1837 ) and The lark now leaves his wat’ry nest ( 1840 ). Works all printed works published in London Songs, 1v, pf Ah! love was never yet without the pang (Byron) (1837)

Article

Julian Rushton

Beaurepaire (opéra, 1, [?J.-J.] Leboeuf), Opéra, 3 Feb 1793, Po Unperf. Les fêtes lupercales (pastorale-héroïque), 1777 L’Amour et Psyché, Bacchus et Erigone (opéra) [rev. of Acts 2–3 of Mondonville: Fêtes de Paphos], 1780 Thémire (opéra), c 1781 Lausus et Lydie (opéra), 1786 Les jeux olympiques (opéra), 1788 Ladislas et Adélaide (opéra), 1791 Roxane et Statira, ou Les veuves d’Alexandre (tragédie lyrique), c 1792 Brutus (opéra), 1793 Danaé (opéra), c

Article

sequence. In nearly all the operas ( Orimonte is an exception) some arias have more elaborate accompaniment, either phrase by phrase in antiphonal fashion, over the voice throughout (particularly in laments and pieces of related mood), or some combination of the two. Gli amori d'Apollo e di Dafne has one such aria, Pompeo magno nine. Sinfonias also form part of all the operas. Those at the beginnings of operas or acts most commonly are in duple metre with a grave minim movement, though some (including those that introduce most of the later operas) have more than

Article

William V. Porter and Tim Carter

Source of Florentine Renaissance Keyboard Music’, MD , 20 (1966), 151–74, esp. 154 A.M. Monterosso Vacchelli : ‘Elementi stilistici nell’“Euridice” di Jacopo Peri in rapporto all’“Orfeo” di Monteverdi’, Claudio Monteverdi e il suo tempo: Venice, Mantua and Cremona 1968 , 117–27 N. Pirotta : Li due Orfei: da Poliziano a Monteverdi (Turin, 1969, enlarged 2/1975) H.M. Brown : ‘How Opera Began: an Introduction to Jacopo Peri’s Euridice (1600)’, The Late Italian Renaissance, 1525–1630 , ed. E. Cochrane (New York and London, 1970), 401–43 S. Reiner : ‘La

Article

Ellen Rosand

revised by Beth L. Glixon

violins. Except for the earliest known opera, La Zenobia , possibly first performed in Vienna on 18 November 1662 , all Boretti’s operas received their premières in Venice, many of them appearing subsequently in other Italian cities. His musical language is richly varied and dramatically flexible, moving easily between recitative, arioso and aria. Yet the frequency and elaboration of the arias in several of his operas reflect the growing tendency to abandon the realistic musico-dramatic flow characteristic of early opera in Venice, notably Cavalli’s, in favour of

Article

James L. Jackman

minor figure in 18th-century comic opera is noted here mainly to distinguish him from his more illustrious predecessor, Giuseppe Maria Buini. Librettos refer to him as ‘bolognese’, but no relationship has been traced to either G.M. Buini or the singer Rosalba Buini. He sang in the 1748 production of Cocchi's La maestra in Modena. For Carnival 1748–9 in Bologna he reset the recitatives and ‘almost all’ of the arias in La virtuosa corteggiata da tre cicisbei ridicolo for performance at the Teatro Formagliari; the original opera was Li tre cicisbei ridicoli (text

Article

Mary Cyr

ariettes in all of Rameau's works, ‘Règne, Amour’ from Zaïs ( 1748 ), was also written for him. Rameau's librettist, Cahusac, pointed to the talents of Fel and Jélyotte as an important factor in the success of Rameau's works: We enjoy nowadays two singers who have carried taste, precision, expression and lightness of singing to a point of perfection that one would never before have thought possible. The art owes its greatest progress to them, for without doubt it is to the possibilities that Mr Rameau saw in their brilliant, flexible voices that opera owes its remarkable

Article

Roger Fiske and Dale E. Monson

Instruction of Mr Tenducci to his Scholars (London, 1782 ) is of more lasting value. Works Operas all first performed in Dublin Amintas (R. Rolt, after P. Metastasio), July 1765 [all-sung adaptation of G. Rush: The Royal Shepherd] with addns by S. Arnold, London, CG, 15 Dec 1769, Act 2 (London, 1769) The Revenge of Athridates, 1767 [trans. and adaptation of D. Perez: Il Farnace] Favourite Songs (London, 1767) Il castello d’Andalusia, 1783 [? adaptation of Arnold: The Castle of Andalusia] The Campaign (afterpiece with spoken dialogue, Jephson)

Article

Winton Dean

alto castrato and composer . He sang in Venice (12 operas: 1708 , début in Albinoni’s Astarto , 1714–16 , 1726 ), Florence ( 1709–10 , 1720 , 1725–6 , 1731–2 ), Genoa ( 1710–11 , 1720 , 1728 ), Rome ( 1711 , 1721–2 ), Lucca ( 1711 , 1714–15 , 1724 , 1730 ), Ferrara ( 1713 , 1731 ), Naples (ten operas at the S Bartolomeo and the royal palace, 1713–14 , 1722–3 ), Livorno ( 1717–18 ), Bologna ( 1719–20 , 1722 ), Turin ( 1719 ), Milan ( 1719–20 ) and Parma ( 1724 , 1729 ). He appeared in operas by all leading composers from Alessandro Scarlatti, Albinoni

Article

Margaret Murata

declare Rome happy to see heaven receive its newest saint Landi’s score, the first of three Barberini operas to be published, was issued in the same year with eight scenographic plates ( see also Opera ). Landi’s note to the reader concerning transposition of roles, instrumental doubling, and ornamentation suggests that he anticipated future performances. Librettos from Reggio nell’Emilia ( 1645 ) and Bologna ( 1647 ) have survived. The composer of the Barberini opera given in 1635 and 1636 , I Santi Didimo e Theodora , is not known. Landi has been considered,

Article

George J. Buelow

Graupner is testified to by the fact that five of Grünewald's ten children had the Graupners as godparents. Noack conjectured that Graupner wrote the leading role in his opera Costanza vince l'inganno for Grünewald. While it is known that Grünewald alternated with Graupner in composing cantata cycles for the royal chapel between 1719 and 1739 , none of these works survives, since apparently all of Grünewald's personal manuscripts were destroyed on his death. A single surviving work, 7 Partiten for harpsichord ( D-DS ; ed. L. Cerutti, Padua, 1994 ), is a collection

Article

Charles Solié ( d after 1912 ), was a conductor and director at the Théâtre Graslin, Nantes, in the 1860s and later conductor at the Nice Théâtre Français. He composed a successful opéra comique, Scheinn Baba, ou L’intrigue au harem (Nice, 5 April 1879 ), and light orchestral music. Works all printed works published in Paris Stage opéras comiques, first performed in Paris unless otherwise stated Le séducteur (comédie, 5, G.-F. de Bièvre), Fontainebleau, 4 Nov 1783 L’époux généreux, ou Le pouvoir des procédés (1, J.-E.-B. Dejaure)

Article

Folke Bohlin

and from 1851 he was a very active member of the Academy of Music. In 1853–4 he was in the USA, where he taught and gave concerts, mostly in Washington, DC. In 1856 he founded a successful music shop in Stockholm. All Dannström's compositions are vocal music. His operetta Doktor Tartaglia had its first performance at the Swedish Royal Opera in 1851 (a revised version was given in Göteborg as Crispinos giftermål , 1878 ). He was also successful with his music for the comedies Skomakaren och hans fru ( 1847 ), Herr och fru Tapperman ( 1848 ) and Lordens

Article

David L. Burrows, Carl B. Schmidt and Jennifer Williams Brown

Gobbo in La magnanimità d’Alessandro and Momus or Filaura in Il pomo d’oro . Gelone, for example, has entire scenes to himself: all are bravura displays of comic writing, and his arias are among the finest in the opera. Cesti’s stage works for Vienna differ considerably from his earlier ones. They generally treat allegorical or mythological plots rather than historical ones and exploit the huge forces available at Leopold’s court. All include a substantial dance component (music by Schmelzer); some serve to introduce a ballo , or equestrian ballet. Nettunno e

Article

Harold E. Samuel

written operas in Nuremberg during the 17th century. Of the four by Löhner, only two collections of arias were known until 1975 , when the missing organ tablature of Die triumphirende Treu ( 1679 ) was found. If Staden's Seelewig ( 1644 ) is discounted as an allegorical pastorale, Löhner's work can be credited as the earliest extant German opera. Its arias, like those of Staden and Johann and J.P. Krieger, are strophic songs in the same style as his sacred works in this form. Works all printed works published in Nuremberg Operas

Article

studied further with Plantade, and during the ensuing 30 years sang in the chief towns of the Netherlands, Belgium and France, and made his farewell appearance at Ghent in 1828 . He composed several operas, including Grotius (Amsterdam, 1808 ), Le passe-partout (Lyons, 1815 ) and L’heureux mensonge , a ballet Diane et Endymion , and much sacred and instrumental music, all of little importance. A requiem, four masses and a few other vocal pieces survive only in manuscript ( B-Bc ). Bibliography FétisB A. Vander Linden : ‘Le thème de la “Br

Article

Roger Fiske

revised by Irena Cholij

recent Italian operas given in London. Dibdin’s contribution is galant and italianate in style; at this period he never wrote strophic ballads for his operas. The Padlock ( 1768 ) was the first of many ‘dialogue’ operas for which he composed all the music. Dibdin first showed his unfortunate capacity for irritation when he suddenly left Covent Garden in summer 1768 and signed on for a seven-year spell at Drury Lane. He was free to write trifles for other theatres in the summer, and to make what he could from publishing his operas. The only Dibdin opera to survive

Article

James R. Anthony

Pellegrin and Molière ( Le bourgeois gentilhomme , 1716 , and La princesse d'Elide , 1722 ). His divertissements for Roy's comedy Les captifs ( 1714 ) were described as ‘extraordinary, beautiful and well characterized’ ( Mercure galant , October 1714 ). His only work for the Paris Opéra is the ballet héroîque Les amours des déesses (libretto by Fuzelier). At its first performance it consisted of a prologue and three entrées (‘Vénus et Adonis’, ‘Diane et Endimion’ and ‘Melpomène et Linus’); a fourth entrée, ‘L'Aurore et Céphale’, was added for the performance on

Article

Jane Schatkin Hettrick

1743 and late 1754 . By 1755 she and her family were in Bayreuth in the service of Margrave Friedrich of Brandenburg Culmbach and his wife Wilhelmine, sister of Frederick the Great. After Wilhelmine’s death in 1758 music at Bayreuth declined. In 1759–60 the Bon family all sang in opera performances directed by Girolamo in Pressburg. On 1 July 1762 the three Bons were contracted to serve the Esterházy court of Prince Nicolaus at Eisenstadt, where Anna remained until at least 25 April 1765 (Haydn wrote several roles for her mother). By 1767 she was resident

Article

style. Martini praised his ability to combine the older church modes with the newer tonal ideas of his time. Among his pupils, besides Martini, were Angelo Caroli, Antonio Bernacchi and G.M. Nelvi. Works Operas L’inganno punito, ?1722, lost L’imeneo preteso, ?1722, lost L’Armidoro, 1728, I-Bc [lib only] Oratorios all lost Il difensor della fede (U.M. Nini), Bologna, Congregazione di S Gabriele, 19 March 1713 La nascità di Gesù Bambino, Bologna, Congregazione di S Gabriele, Christmas 1713 La tentazione d’incredulità, Bologna, Congregazione