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Svetlana Sarkisyan

called him ‘the eastern Offenbach’) and above all Armenian urban folklore – the last is particularly noticeable in The Balding Elder and The Pea Seller. The historical-heroic opera Arshak II occupies an important place in Armenian music because of its high level of artistry; with a libretto based on 4th-century Armenian history it is national in its general tone, though conceived on the scale of grand opera. Its monumental proportions, especially the choral prologue and finale, present a contrast to his comic operas which, with their social awareness, stereotyped


Juan María Veniard

performed at the Colón. (Its libretto was also set to music at the same time by another Argentine, E. M. Casella). El manto mágico , a comic opera in three acts, was not performed. Schiuma was also active as a conductor: he founded the Teatro Lírico Argentino ( c 1930 ) to promote operas by native composers, many of which received their first performances there (for example Casella’s Latapera , 1934 ). Works all premières in Buenos Aires Biancafiore (2, A. Magno), Politeama Argentino, 8 Jan 1915 Amy Robsart (4, after W. Scott), Coliseo, 24 April


Bryan Gilliam and Charles Youmans

were hardly cheerful times. During work on the new opera, Die Liebe der Danae ( 1938–40 ), Strauss's daughter-in-law was placed under house arrest in Garmisch, and Strauss appealed to Heinz Tietjen, the Berlin Intendant, who had high political connections, to help ensure her and his grandsons' safety. Danae was scheduled for a 1944 première in Salzburg, but cancelled after a dress rehearsal by an order from Goebbels to close all theatres in preparation for total war. In the meantime Strauss composed his final opera, Capriccio ( 1940–41 ), which had its première