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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

Marie Louise Pereyra

revised by George Biddlecombe

not certain whether they are all by Martin Joseph or by his two brothers. One brother, whose forename is unknown ( c 1768– c 1824 ), was probably the Adrien identified by Wild as chef des choeurs at the Théâtre Feydeau in 1791 . According to Fétis, the other, Ferdinand ( c 1770– c 1830 ) taught singing in Paris, but Fétis’s statement that he was maître des choeurs at the Opéra between 1798 and 1801 is not confirmed by Wild. One of the brothers may have written the opera Le fou ou La Révolution , produced at the Antwerp opera on 3 December 1829 .

Article

Robert Wangermée

revised by Lewis Reece Baratz

into the Brussels Conservatory. Van Helmont's known religious works (all autograph manuscripts) include a Requiem ( 1791 ) and two motets ( 1797 ) of mediocre workmanship ( B-Bc ), a responsorium graduale for Corpus Christi and a setting of Homo quidam ( B-Br ); three other motets are attributed to him by the priest and copyist Franciscus Haseleer and dated 1803–4 . An additional motet, a Missa solemnis for chorus and orchestra (before 1783 ) and many other works are lost. His opéra comique , L'amant légataire , produced in Brussels in 1808 , had no success

Article

Susan Pratt Walton

established a music and dance school called Penyuarga (Penyuara Gamelan) with the help of two prominent musicians in Surakarta, Sutarman and Prawotosaputro. The leading singer and dancer in the Mangkunegaran palace, she was particularly acclaimed in the genres of langen driyan (all-female dance-opera), tetembangan (classical sung poetry), and wayang kulit (shadow puppet theatre); she also composed her own vocal cèngkok (melodic patterns) and wangsalan (two-line vocal texts). Her vocal style was marked by intelligence, deep feeling, and elegant simplicity. During

Article

used the name ‘Seranus’ for both music and literary publications as well as ‘Gilbert King’ or ‘G.R. King’ for songs and piano music. In 1883 she wrote the words and arranged the music of the Address of Welcome to Lord Lansdowne . Her opera Pipandor was completed in 1884 but has not been performed. This work, the first opera written by a Canadian woman, incorporates French-Canadian folktunes, a genre on which the composer frequently lectured. In addition to her work as a composer Harrison edited the first anthology of Canadian English, French and Amerindian verse

Article

Sophie Fuller

Square, conducted by Sir George Smart. She wrote at least two operas, The Kellerin and The White Wreath, which were never published. She is best known for her copies of famous paintings worked in embroidery that were exhibited in London from the late 1780s until her death in 1845 ; they were admired by Napoleon, the British royal family and Empress Catherine of Russia. Works The Kellerin (opera); The White Wreath (opera); David’s First Victory (oratorio) (London, ?1840) Songs (all pubd in London) Let us hence!, in The Harmonicon , vi/2 (1828)

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

Barbara Coeyman

(tragédie lyrique, prol., 5, J.-L.-I. de La Serre), Paris, Opéra, 11 April 1741 (Paris, 1741) Les quatre parties du monde (opéra-ballet, P.-C. Roy), Versailles, 1745 Bouquet (romance, L. Fuzelier), pubd in Mercure de France (1746), July L’année galante (opéra-ballet, prol, 4, Roy), Versailles, 13 Feb 1747 (Paris, 1747) Julie et Ovide (ballet héroïque, after L. Fuzelier: Les amours déguisés ), Paris, 11 June 1753 Sacred vocal Motets, all perf. Paris, Concert Spirituel: Magnus Dominus, 7 Feb

Article

Robert Stevenson

stipends until July 1699 , indicating the esteem in which he was held. Melgaz's extant compositions in cathedral archives at Évora and Lisbon, some of them duplicates, are all Latin liturgical works. Of the four incomplete vilhancicos in Évora Public Library, two have Spanish texts, one a Galician text and one a Portuguese text. Melgaz also edited a plainchant hymnal containing 152 melodies, all barred in either binary or ternary metre. He was the first Évora composer to use bar-lines in his polyphonic works, to write functional harmony and to provide independent

Article

Elizabeth Forbes

He composed several operas, of which three were produced in Prague: Pygmalione , 1845 ; Consuelo , 1846 (in which the 20-year-old Marietta Alboni sang the part of Anziletto) and Loscrivano pubblico , 1850 . He also wrote church music, marches and songs. His brother Luigi ( b Modena, 21 June 1806 ; d Florence, 1 May 1860 ) sang in the boys' choir of the Pitti Chapel in Florence and studied the piano and composition. For a time he was employed by Count Demidoff to produce music for entertainments. His compositions include ten operas, eight of which were

Article

Hanns-Bertold Dietz

Durante, Cotumacci never composed an opera; he concentrated on church music, but his works are undistinguished. Works Sacred vocal Messa nel 6° tuono, 2 S/T, bc; Messa della Beata Virgine a canto firmo; Messa a canto firmo, S, bc; Ky, Gl in pastorale, 2 S, bc; Messa funebre, 5vv, insts: all I-Mc Missa di Requiem, S, B, org, 20 Oct 1727 Requiem, 5–8vv, insts; Sequentia for Pentecost, 4vv, insts; Responsori for Holy Week, 4vv, bc; TeD, 4vv, insts, autograph; Cogitavit Dominus, lesson for Good Friday, S, insts: all Nc Nunc dimittis, 4vv in canon, formerly

Article

Hanns-Bertold Dietz

his first opera, L’amor tirannico, ossia Zenobia , and during the carnival season in 1714 Il martirio di S Caterina , a dramma sacro . In the following years he began to gain recognition with noteworthy works for local churches ( Missa defunctorum , 1718 ) and contributed recitatives, arias and comic scenes to Neapolitan performances of operas by other composers. In 1719 he composed La forza della virtù , a commedia per musica , followed by the opera seria Teuzzone in 1720 . Feo’s first true success, however, appears to have been the opera seria Siface

Article

Julian Budden

his operatic career, which he believed to have been blighted by the intrigues of others. More of an all-round musician than most of his colleagues of the ‘giovane scuola’, Cilea shows a lighter touch. Besides Bellini, his chief gods were Bach, Beethoven and Chopin. An accomplished pianist, his keyboard writing is always inventive, and several of his pieces composed between the wars show an attempt to come to grips with the styles of Ravel and Casella. If his operas conform to the manner of Mascagni and his school, they never descend to brutal excess. Thematic recurrence

Article

J. Bunker Clark

tunes from Rossini’s operas, are of high quality. His writing occasionally harks back to late 18th-century style, as in the use of the Alberti bass in The Cossack Rondo ( 1927 ), but the rondo Le songe celeste! (n.d. [1818–21]) shows more imagination in its thematic manipulation and tonal diversions. His best work is to be found in the Russian Dance variations (n.d. [1823–6]), which include a long sequential passage modulating to distantly related keys and several cadenza sections. Works ( selective list ) all for pf.; all were published in New

Article

Kurt Markstrom and Michael F. Robinson

M.F. Robinson : ‘Porpora’s Operas for London, 1733–1736’, Soundings , 2 (1971–2), 57–87 M.F. Robinson : ‘The Governors’ Minutes of the Conservatory S. Maria di Loreto, Naples’, RMARC , no.10 (1972), 1–97, esp. 39, 43–5, 47, 94 E.L. Sutton : The Solo Vocal Works of Nicola Porpora: an Annotated Thematic Catalogue (diss., U. of Minnesota, 1974) R. Strohm : Italienische Opernarien des frühen Settecento (1720–1730) , AnMc, no.16 (1976), 39–42, 63–73, 200–09 Instituzioni di ricovero e di educazione, Venezia: Arte e musica all’ospedaletto: Schede d’archivio

Article

Hugh Macdonald

de chant at the Opéra, with the additional task of revising the repertory for current use. Benoist’s compositions are not numerous; they consist principally of church and organ music and six works for the stage, none of which enjoyed more than modest success. He had considerable skill in improvising fugues, although according to Saint-Saëns he was a mediocre organist. He contributed to the Revue et gazette musicale for a number of years. Works all printed works published in Paris Stage first performed at the Paris Opéra unless otherwise

Article

August Scharnagl

revised by Dieter Haberl

Procopius von Templin, which account for all his other published music and reveal his imaginative and markedly expressive qualities as a song composer. Works all published in Passau Harmonia missarum, 5, 6vv (1642), inc. Mariae Hülff Ehren Kräntzel, das ist himmelische Lobgesänger (1642) Der gross-wunderthätigen Mutter Gottes Mariae Hülff Lob-Gesang, 1v, bc (org) (1659); 11 ed. in Ruhland Eucharistiale, das ist 26 … Predigten von Fr. Procopius … mit 6 Melodien von G. Kopp, 1v, bc (1661) Requiem, 10vv, CZ-KRa Benedicite omnia opera, 8vv, formerly in Breslau, Stadt

Article

Isabelle Henrion-Dourcy

for the reconstitution of lha-mo in India, where he has taught the song texts for six plays from memory and has performed in all the lha-mo recordings made in exile. His brother, Tseten Dorje, remained in the Lhasa official troupe and became a stage director. Bibliography D. Schuh : ‘Der Schauspieler des tibetischen Lha-mo Theaters’, Zentralasiatische Studien , 10 (1976), 339–84 ‘Profile: Norbu Tsering, Opera Master’, Tibetan Institute of the Performing Arts Newsletter (1995), 12–13 N. Tsering : Ache Lhamo is my Life (Turin, 1999)

Article

Ian Denley

favourite in opera houses, and in recordings. Königskinder enjoyed significant stagings in Aachen ( 1978 ) and in London ( 1992 , ENO). Die Heirat wider Willen and much of Humperdinck’s orchestral music (including the overtures to the stage works) was recorded. A three-week Humperdinck Festival in September each year in the composer's birthplace, Siegburg, presents music from all periods, incorporating as much of the smaller-scale music as is practicable. Works many MSS in D-F ehwv number in Humperdinck catalogue (1994) Operas ehwv 4 Perla

Article

Dina Grigor′yevna Daragan

publishers Muzgiz , and also worked for the All-Union Radio as a critic. During World War II he wrote a series of works connected with that event – such as the cantata Rodina velikaya (‘The Great Homeland’) and the opera V ogne (‘In the Fire’) – but these were largely unsuccesful; he had greater success with the 24 Preludes for piano based on Russian folksong which he dedicated to Myaskovsky. These, along with the second and third sonatas (of 1945 and 1946 ), entered the repertories of a few Russian pianists. The opera Sem′ya Tarasa (‘The Taras Family’) also