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Sigalia Dostrovsky, Murray Campbell, James F. Bell and C. Truesdell

royale des sciences et des belles lettres de Berlin , 20 (1764), 165–73; repr. in Opera omnia , III/i (Leipzig, 1926), 508–15 L. Euler : ‘De motu vibratorio tympanorum, Novi commentarii Academiae scientiarum imperialis petropolitanae , 10 (1764), 243–60; repr. in Opera omnia , II/x, ed. F. Stüssi (Leipzig, 1947), 344–59 L. Euler : ‘Du véritable caractère de la musique moderne’, Mémoires de l Académie royale des sciences et des belles lettres de Berlin , 20 (1764), 174–99; repr. in Opera omnia , III/i (Leipzig, 1926), 516–39 L. Euler : Eclaircissements plus détaillés


Ronald Lewcock, Rijn Pirn, Jürgen Meyer, Carleen M. Hutchins, J. Woodhouse, John C. Schelleng, Bernard Richardson, Daniel W. Martin, Arthur H. Benade, Murray Campbell, Thomas D. Rossing and Johan Sundberg

seating towards the stage act as acoustic reflectors, diffusing the sound effectively. The important influence of studies of ancient Greek theatres on the acoustical success of this opera house has been demonstrated by Izenour ( 1992 ). Section of the Festspielhaus, Bayreuth, 1876: from Sachs and Woodrow, ‘Modern Opera Houses and Theatres’, i (1896) Not all concert halls were acoustically satisfactory. The Royal Albert Hall ( 1871 ) in London was regarded as disastrous from its opening when ‘The Prince of Wales’ … welcoming address … in


Arthur W.J.G. Ord-Hume, Jerome F. Weber, John Borwick and D.E.L. Shorter

significant. A few complete operas were recorded before World War I. In the early electrical era, many popular Italian operas were recorded in Milan by both HMV and Columbia, and some French operas in Paris. To keep the large sets affordable they were made without star singers and conductors and sold at a moderate price. From the beginning of the LP era operas recorded with the foremost singers and conductors became a feature of all the major record labels. The recorded repertory now ranges from newly composed operas to the lesser-known operas of Handel and the earliest


Paul Griffiths, Mark Lindley and Ioannis Zannos

1920s onwards. Hába also used smaller intervals, particularly the sixth-tone, and wrote a great many microtonal works, from piano pieces and string quartets to a full-scale opera. The capacity of string instruments to play microtones is limited only by the player’s ear, but Hába’s music required the construction of special instruments, including quarter-tone pianos, harmonium, clarinet and trumpet, all made in the 1920s and 30s. In the 1950s Carrillo had pianos built to play in every integral division of the whole tone down to the sixteenth-tone. Ives and Vïshnegradsky


Laurence Libin

wind instruments carries an aura of irrational, beastial behaviour. Reflecting this, Castiglione ( Il Cortegiano , 1528 ) recommended that men play recorders and flutes only privately and with tact and good judgement, especially in the presence of women, ‘for it is, after all, impossible to imagine all the things that can happen’. The danger of playing the aulos or bagpipe (at risk of hyperventilation and intoxication) is further exemplified by the myths of Marsyas and Dionysus. Equally ancient beliefs colour gender attitudes towards many instruments in Asia. In China