1-20 of 258 results  for:

  • All: Opera for all x
Clear all

Article

Rosemary Williamson

1984 and elected Fellow of the Society of Antiquaries in 1989 . He has also held visiting fellowships at All Souls College, Oxford ( 1991–2 ), and New College, Oxford ( 1992 ), and is Honorary Keeper of the Music at the Fitzwilliam Museum, Cambridge. He is editor of Cambridge Studies in Medieval and Renaissance Music ( 1992 –) and on the editorial boards of Early Music History (founding editor, 1981 ), Opera Omnia di Andrea Gabrieli ( 1987 ) and Opera Omnia di Luca Marenzio ( 1997 ). Fenlon's principal area of study is the history of music from about 1450

Article

Jack Westrup

departamento de música de la Biblioteca de Catalunya (Barcelona): i. Els madrigals i la missa de difunts d’en Brudieu (with F. Pedrell , 1921) ii. Catàleg dels manuscrits musicals de la Collecció Pedrell (1921) iii, vii. J. Pujol: Opera omnia (1927–32) iv, viii, xiii, xvii. Musici organici Iohannis Cabanilles: Opera omnia (1927–56) vi. El còdex musical de Las Huelgas (1931/ R ) ix. A. Soler: Sis quintets per a instruments d’arc i orgue o clave obligat (with R. Gerhard , 1933) x. La música a Catalunya fins al segle XIII (1935/ R ) xv, xviii

Article

James W. McKinnon

chant of his time, both Roman and Frankish. His own antiphoner is lost but has been reconstructed by Hanssens (iii, 110–224); curiously it appears to be closer to the usage of Lyons than that of Metz (see Hesbert). Bibliography J.M. Hanssens , ed.: Amalarii episcopi opera liturgica omnia , Studi e testi, 138–140 (Rome, 1948–50) A. Cabaniss : Amalarius of Metz (Amsterdam, 1954) W. Lipphardt , ed.: Der karolingische Tonar von Metz (Münster, 1965) R. Evans : Amalarius of Metz and the Singing of the Carolingian Offices (diss., CUNY, 1977)

Article

Claude V. Palisca

revised by Dolores Pesce

Both the Prologus and Regulae rhythmicae describe the new notation, of which, on the other hand, there is no trace in the Micrologus . The Epistola , written immediately after the trip to Rome, mentions all of these previous works. The date of the trip to Rome, which must have taken place before Pope John XIX’s death in 1033 , is thus the key to dating all Guido’s works. The Micrologus must have been written after 1026 , because in the letter dedicating it to Bishop Theodaldus, Guido praised him for having ‘created by an exceedingly marvellous plan the church

Article

Michel Huglo

le nom de Sylvestre II (Clermont-Ferrand and Paris, 1867) J. Havet : ‘L'écriture secrète de Gerbert’, Comptes-rendus de l'Académie des inscriptions et belles-lettres , 4th ser., 15 (1887), 94–112 J. Havet , ed.: Lettres de Gerbert (Paris, 1889) N. Bubnov , ed.: Gerberti … opera mathematica, 972–1003 (Berlin, 1899/ R ) B. Lefèvre : Notes d'histoire des mathématiques dans l'antiquité et au Moyen-Age (Leuver, 1920), 37, 83–90 M. Manitius : Geschichte der lateinischen Literatur des Mittelalters , 2 (Munich, 1923/ R ), 729–42 J. Leflon : Gerbert, humanisme

Article

Ronald Woodley

and court tutor in the theory and practice of music. (Besides singing, he played the rebec and bowed vihuela enthusiastically.) He was perhaps drawn to Naples partly by the reputation for law of the University there, but all other details of the recruitment process or material enticements offered to Tinctoris by Ferrante have been lost. Almost all his writings and compositions date from his two decades in Naples. Throughout this time he was involved with the highest intellectual levels of Italian humanism; in 1478–80 he was particularly close to and influential upon

Article

Alcuin  

Jane Bellingham

including for instruction in ‘cantilenae’. This advice reflects the practice at the Frankish court where, according to one of Alcuin's poems, boys were taught ‘modulamine sacro’ by the cantor (MGH, Poetae latini , i, Berlin, 1881 / R , p.246). Bibliography Alcuin : Opera omnia , PL , c–ci E. Dümmler , ed.: Poetae , MGH , Poetae latini aevi Karolini , 1 (Berlin, 1881/ R ) E. Dümmler , ed.: Epistolae , MGH , Epistolae , 4 (Berlin, 1895/ R ) J. Szövérffy : Die Annalen der lateinischen Hymnendichtung (Berlin, 1964) J. Dehusses : ‘Le supplément

Article

Sylvan Suskin

Works Stage all first performed in Paris all published in Paris in year of first performance, unless otherwise indicated MSS in F-Pn, Po Sémiramis (tragédie lyrique, 3, P. Desriaux, after Voltaire), Opéra, 4 May 1802 Les artistes par occasion (opéra bouffon, 1, A. Duval), OC (Feydaeu), 22 Jan 1807 L’Auberge de Bagnères (opéra bouffon, 3, C. Jalabert), OC (Feydaeu), 23 April 1807 Alexandre chez Apelles (ballet, 2, Gardel), Opéra, 20 Dec 1808 Les bayadères (op, 3, E. Jouy), Opéra, 8 Aug 1810

Article

Rosemary Williamson

Codice Pluteo 29.1 della Biblioteca Laurenziana di Firenze: storia e catalogo comparato , ed. M. Masani Ricci , Studi musicali Toscani, viii (Pisa, 2002), 9–15 ‘Speaking with the Supernatural: E.T.A. Hoffmann, George Bernard Shaw and Die Oper aller Opern ’, MJb 2002 , 115–34 ‘Fromental Halévy: de l’opéra comique au grand opéra’, Actes du colloque Fromental Halévy, Paris, Novembre 2000 , ed. F. Claudon , G. de Van and K. Leich-Galland (Weinsberg, 2003), 93–116; Eng. trans. in Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (Aldershot, 2005) with

Article

Paula Morgan

Monteverdi to the operas of Verdi. He has also prepared the seven-volume facsimile edition, Italian Secular Song 1606–1636 (New York, 1986–7 ). Tomlinson was one of the first musicologists to be named a MacArthur Fellow ( 1988–93 ). Writings ‘Ottavio Rinuccini and the favola affettusoa ’, Comitatus , 6 (1975), 1–27 Rinuccini, Peri, Monteverdi, and the Humanist Heritage of Opera (diss., U. of California, Berkeley, 1979) ‘Madrigal, Monody, and Monteverdi's via naturale all immitatione ’, JAMS , 34 (1981), 60–108 ‘Music and

Article

Jean Gribenski

music, as well as a subsidiary on the 18th-century orchestra. He was subsequently given a government grant to do research in Italy on opera buffa , but this was interrupted by the outbreak of war, his conscription and his death from influenza at the Grenoble military hospital. He established his reputation as a major scholar of 18th-century music in his many articles, his dissertations and his book on the origins of French comic opera, all based on thorough knowledge and full of detailed information, expressed with elegance and concision. He left an account of 18th-century

Article

Eric Blom

revised by Alec Hyatt King

taking the PhD at the latter in 1925 . He at first intended to make his career as a lecturer in philosophy, but took a lively interest in the cultivation of opera, then at its height in Berlin. While attending every operatic performance he could, he began to accumulate voluminous data about operatic history: details of opera titles, composers, librettists, places and dates of production and subsequent performances all over the world. This mass of material was incomplete when the Nazi regime compelled Loewenberg to leave Germany in 1935 . Having settled in London, he undertook

Article

melodies from serious operas) was unnotated, though the notated airs in Zéphire et Flore may be his. In his Théorie de la musique (Paris, 1764 ) he developed a system based on the harmonic series of the hunting-horn; a similar system, evidently unknown to him, had been presented by G.A. Sorge in 1741 . The Théorie had some followers (notably Canon Jamard and Abbé Feytou) and won Rousseau's praise, but was harshly criticized by later theorists, in particular J.-B. de La Borde. Works unless otherwise stated, all are opéras comiques in 1 act, with

Article

Salzburg 1991 [ MJb 1991 ], 580–93 ‘Il “grande finale” nell'opera buffa e nell'opera seria: Paisiello e Rossini’, RIM , 27 (1992), 225–55 ‘Tendenzen der italienischen Opera seria am Ende des 18. Jahrhunderts – und Mozart’, Studi musicali , 21 (1992), 307–58 ‘Romani e Bellini: i fatti e i principi della collaborazione’, Felice Romani: melodrammi, poesie, documenti , ed. A. Sommariva (Florence, 1996), 83–113 ‘Mozart und Paisiello in der Opera buffa’, Mozart, Paisiello, Rossini e l'opera buffa: Rome 1993 [ AnMc , no.31 (1998)] ‘Rossini 1815: “Elisabetta

Article

Heinz Zirnbauer

very important account of the subject and provided the basis for texts by Jean Paul and E.T.A. Hoffmann, as well as the text, and the musical substance too, of Wagner’s opera. Bibliography G.A. Will : Nürnbergisches Gelehrten-Lexicon , 4 (Nuremberg, 1758), 144–55; see also vol. viii by C.C. Nopitsch (Altdorf, 1808), 368ff A.M. Bowen : The Sources and Text of Wagner’s Opera ’Die Meistersinger von Nürnberg’ (Munich, 1897/ R ) H. Thompson : Wagner and Wagenseil (London, 1927)

Article

James R. Anthony

théâtre françois . The Dictionnaire des théâtres de Paris treats alphabetically all plays (including operas) which ‘from the year 1552 up to the present have been performed on the stages of the different theatres of Paris’ (preface). Cast lists, revival dates, cross-references to the Mercure de France and the Recueil général des opéra , and anecdotes concerning authors, composers, actors and actresses, dancers and stage designers make this a valuable source for any study of French opera of the period. Equally important is the manuscript Histoire de l’Académie royale

Article

works by Menestrier that have particular relevance to music are among the earliest publications to combine what was, for the time, a thorough study of the history and aesthetics of theatrical performance with practical and detailed descriptions of actual events (chiefly ballet and opera in France and Italy). As such they are valuable documents bearing on the development of theatre and dance, as well as of music, from the time of the ancient Hebrews and Greeks to that of Louis XIV. His works in general remained current through much of the 18th century.

Article

Larisa Kazanskaya

Russian Literature, Leningrad, 1962) Russkiy sovetskiy opernïy teatr (1917–1941): ocherki istorii [The Russian Soviet opera theatre (1917–41): essays on its history] (Leningrad, 1963) Opernïy slovar′ [A dictionary of opera] (Moscow, 1965) Russkiy opernïy teatr XIX veka , i: 1836–1856 (Leningrad, 1969); ii: 1857–1872 (1971); iii: 1873–1889 (1973); iv: Russkiy opernïy teatr na rubezhe XIX–XX stoletiy i Shalyapin (1890–1904) [The Russian opera theatre at the turn of the 19th century and Chaliapin (1890–1904)] (1974) Dostoyevskiy i muzïka (Leningrad, 1971)

Article

Heinrich Hüschen

revised by Joseph Dyer

Gümpel : ‘Das Tastenmonochord Conrads von Zabern’, AMw , 12 (1955), 143–66 K.W. Gümpel : Die Musiktraktate Conrads von Zabern (Mainz, 1956) [incl. edns of all four treatises] F. Müller-Heuser : Vox humana: ein Beitrag zur Untersuchung der Stimmästhetik des Mittelalters (Regensburg, 1963) B. Ulrich : Concerning the Principles of Voice Training during the A Cappella Period and until the Beginning of Opera (1474–1640) (Minneapolis, 1973) J. Dyer : ‘Singing with Proper Refinement from De modo bene cantandi (1474) by Conrad von Zabern’, EMc , 7 (1978), 207–27

Article

Dennis Libby

revised by Emanuele Senici

Monferrato Cathedral, and remained there until his death. Boucheron composed two operas ( Ettore Fieramosca and Le nozze al castello ) and some farces, none of them performed. Three of his songs and an organ fantasia were published by Ricordi, and four symphonies are in the Milan Cathedral archives. His Inno per le cinque giornate , to a text by Pasquale Contini, was well known during the period of the struggle against Austria. His main output was church music, a large amount of which in all genres is in the cathedral archives of Voghera and, especially, Milan. In this