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as conductor of a ballet company, but in 1848 returned to Madrid as director of the Teatro Español, where his first zarzuela, La mensajera , had its première in December 1849 . This began a series of successes for Gaztambide as a conductor of opera and zarzuela companies in Madrid. For several seasons he conducted operas at the Teatro Real, and he directed the first performance in Spanish of Meyerbeer’s Le prophète . In 1862 he was appointed director of the concert society at the Madrid Conservatory, which was later, under Francisco Barbieri, to become the Madrid

Article

Alfred Loewenberg

revised by Andrew Lamb

almost certainly Genée wrote the lyrics, as usual. Genée also wrote many partsongs, among which one for male voices, Italienischer Salat , is most amusing in its satire on the older style of Italian operas, being sung to nonsense words. His brother Rudolf ( b Berlin, 12 Dec 1824 ; d Berlin, 19 Jan 1914 ) also wrote some librettos. Works ( selective list ) all stage works, in order of first performance; for more detailed list and for list of librettos see GroveO Polyphem [Ein Abenteuer auf Martinique] (komische Oper), 1856 Der

Article

Guy Bourligueux

Subiza ( 1870 ), which had 300 performances in one year. The jota he wrote for Lombía’s play El sitio de Zaragoza has remained a popular favourite. After 1867 he conducted Italian opera in Madrid, in 1870 becoming director of the Teatro Real, where he died suddenly during a rehearsal of Mignon . Works complete list of stage works in Peña y Goñi 88 zars, all first performed in Madrid, incl. La venta del puerto, o Juanillo el contrabandista (1, M. Fernández), Príncipe, 16 Jan 1847 La pradera del Canal (1, Azcona), Cruz, 1847, collab. S

Article

‘Sweet Annie Moore’ ( The Casino Girl ) was by John H. Flynn; ‘Under the Bamboo Tree’ ( Sally in our Alley ) by Bob Cole and J. Rosamond Johnson; and ‘Any Old Time at All’ ( The Rich Mr Hoggenheimer ) by Jean Schwartz. Englander’s last work, Madam Moselle ( 1914 ), was a failure, and he died in relative obscurity. Works ( selective list ) unless otherwise stated, all are comic operas; dates are those of first New York performance 1776 (L. Goldmark), 1884 The Passing Show (revue, S. Rosenfeld), 12 May 1894 The 20th Century

Article

Andrew Lamb

Royalty, Globe, Her Majesty’s and other theatres in London and New York. He wrote numerous parlour pieces for the piano and comic songs, and as a composer of comic operas he was one of the most accomplished contemporaries of Sullivan. Solomon’s melodies are usually in an English ballad or a march style with repeated melodic phrases and simple rhythms. His comic operas, many of which echo Sullivan’s, were all performed in London and include Billee Taylor (Imperial, 30 October 1880 ), Claude Duval (Olympic, 24 August 1881 ), The Vicar of Bray (Globe, 22 July 1882

Article

David Ades

Roger, Roger ( b Rouen , Aug 5, 1911 ; d France , June 12, 1995 ). French arranger , composer and conductor . The son of Edmond Roger, a well-known Paris opera conductor and friend of Debussy, he was attracted more to popular music and at 18 formed his first small group for a music hall. This encouraged him to develop his arranging skills, although he also showed a flair for composing. During a long career he accompanied almost every French singer, and his ‘Paris Star Time’ radio series was heard worldwide. He once claimed to have made over

Article

Walter Aaron Clark

and finally conductor at the Teatro Principal. Eventually he confined himself to teaching and composition. Despite their settings, dialogue and costumes, his Catalan zarzuelas evince the influence of Italian opera so pervasive in Spain during that epoch. He was a gifted orchestrator and made effective use of colour to project dramatic situations. Works all zarzuelas; first performed in Barcelona unless otherwise stated La romería de Recasens (2), 1867 L’ultim rey de Magnolia (1, S. Pitarra), Romeo, Dec 1868 Els pescadors de

Article

Steven Ledbetter

the Metropolitan Opera after half a dozen performances, though G. Schirmer published the work in full score, an unprecedented distinction for an American opera. 3. Instrumental music. Herbert’s instrumental music fell out of favour after his own time, though it has begun to reappear in concert and recordings. The one substantial exception was the Second Cello Concerto, in E minor, first performed by the composer with the New York PO under Anton Seidl in 1894 . The work is Lisztian in its thorough-going employment of thematic transformation in all three movements

Article

Raoul F. Camus

appeared on the Chautauqua circuit from 1910 to 1916 . While pursuing his band activities, he organized an opera company in 1918 that continued for five years. The Depression brought about a decline in professional bands, and in 1936 he became conductor of the New York City Symphonic Orchestra, formed under the auspices of the WPA. A year later he became bandmaster of the New York State Symphonic Band, also a WPA group. In 1939 he brought grand opera to the Bronx, New York, but had to cancel after two successful performances. He continued to make appearances

Article

Philip L. Scowcroft

1926 [incl. The Policeman's Serenade (A.P. Herbert), later perf separately] Midnight Follies (revue), 1927 The Fountain of Youth (comic op, 1, W. Graham Robertson), 1931 Derby Day (comic op, 3, Herbert), 1932 1066 and All That (musical comedy, R. Arkell), 1934 The Bookies' Opera (A.J. Talbot) Other ballad ops and short ops, some for radio Incidental music The Toy Cart, 1918 Leatherface, 1922 The Beaux Stratagem, 1927 The Taming of the Shrew, 1927

Article

Oldřich Pukl

became a leading light in the musical life of Slovakia. He was head of opera at the newly established Slovak National Theatre, director of the Bratislava radio station and a reader at both the university and the music academy. He also conducted concerts for the Cultural Union for Slovakia. His work at the National Theatre included giving the premières of Bella’s Wieland der Schmied ( 1926 ) and Figuš’s Detvan ( 1928 ). In 1930 he committed suicide by jumping from an upper window of the Zagreb Opera House. As a composer Nedbal achieved world renown for his operettas

Article

Philip L. Scowcroft

flute in orchestras in Harrogate, then at Bournemouth under Dan Godfrey. He subsequently conducted at various London theatres (among them the Adelphi, Terry's, Daly's and Drury Lane), for over 30 years. He toured the USA with Messager's Véronique and recorded excerpts from the Savoy operas. He also composed musicals of his own, but these have survived less well than the splendidly scored orchestral works produced for Boosey & Hawkes, both original pieces and arrangements, for whom he was a staff composer. His compositions include suites and separate movements, many

Article

Andrew Lamb

avoid writing numbers for performers who were comics rather than singers. In fact the chief comic role, Njegus, has no solo singing. Lehár was thus more than usually free to follow his own inclination without extraneous influences. Above all, however, he was fortunate in having the good text on which an operetta, far more than an opera, is dependent. The waltzes, which were de rigueur in Viennese operetta, were able to occur as an integral part of the action, and the book strikes an ideal balance between reality and fantasy, with a fine combination of romance and wit

Article

Black, el payaso (opereta), 1942 Don Manolito (sainete madrileño), 1943 La eterna canción (sainete madrileño), 1945 Los burladores (zar), 1948 Entre Sevilla y Triana (sainete andaluz), 1950 La opera del mogollón (zar bufa), 1954 Brindis (revista), 1955 Las de Caín (comedia musical), 1958, collab. P. Sorozábal jr; Juan José (drama lírico popular), unperf. Arrs. (all perf. Madrid) H. Berté: Die Dreimäderlhaus (after Schubert), 1935 Albéniz: San Antonio de la Florida Fuencarral, 1954 F.A. Barbieri: Pan y toros, 1960 Albéniz: Pepita Jiménez, 1964

Article

George J. Ferencz

education are obscure, though an honorary doctorate was awarded by Bethany College (Kansas) in 1935 . Pietro Floridia was his principal teacher of composition and orchestration. A fine clarinettist, Shilkret played with the Russian SO, as well as New York's SO, PO and Metropolitan Opera orchestra. He also performed in bands led by Sousa, Pryor and Goldman. Freelance recording engagements led to employment at the Victor Talking Machine Corporation (later RCA Victor) before 1920 . He is best known for his work at Victor where, as Director of Light Music, he conducted

Article

Andrew Lamb

York, 1983) F. Mailer : Weltbürger der Musik: eine Oscar-Straus-Biographie (Vienna, 1985) W.E. Studwell : ‘In the Tradition of the Strauss Family: … an Essay and Bibliography’, Music Reference Services Quarterly , 3/4 (1995), 45–53 See also from The New Grove Dictionary of Opera : Tapfere Soldat, Der ; and Walzertraum, Ein .