1-20 of 52 results  for:

  • All: Opera for all x
  • Jewish Music x
Clear all

Article

Edwin Seroussi, Joachim Braun, Eliyahu Schleifer, Uri Sharvit, Sara Manasseh, Theodore Levin, Tang Yating, Kay Kaufman Shelemay, Jehoash Hirshberg, Philip V. Bohlman, Israel J. Katz, Bret Werb, Walter Zev Feldman, Don Harrán, Alexander Knapp, David Bloch and Emily Thwaite

of the French government, he proceeded to reshape the music of the Paris synagogue, aiming to create a model for all the French Jewish communities, which were united under the governmental system of Consistoires israélites . Naumbourg's Zemiroth Yisrael ( 1847–64 ), which contains compositions for ḥazzan and male choir, consists of traditional chants and recitatives in the south-German style and modern compositions influenced by French grand opéra choruses. Naumbourg's influence spread far and wide in France and its colonies. The innovations of Sulzer and Naumbourg

Article

Hugh Macdonald

seen at the Opéra. The Act 1 procession and the Act 3 festival became famous for their splendour. One newspaper thought the procession, with all the leading figures on horseback, was the eighth wonder of the world. Nothing is missing in this prodigious resurrection of a distant century. The costumes of the warriors, civilians and ecclesiastics are not imitated but reproduced in the smallest detail. The armour is not paste-board, it is real metal. One sees men of iron, men of silver, men of gold! The Emperor is a glittering ingot from head to foot! The Opéra may become

Article

Olive Baldwin and Thelma Wilson

little old woman’, but recorded that she sang well. Oxberry wrote of her in 1825 : ‘As a singer, we never heard her equal; she had all the requisites for a first-rate vocalist – compass, power, feeling, taste, flexibility, and sweetness’. (2) James Bland ( b London , March 5, 1798 ; d London , July 17, 1861 ). Bass-baritone and actor , son of (1) Maria Theresa Bland. He sang in the company of the English Opera House at the Lyceum ( 1826–30 ) and then, after a brief period acting minor roles at Drury Lane, achieved fame in J.R. Planché's burlesque

Article

Joseph  

M. Elizabeth C. Bartlet

his identity and forgives them. The pharaoh has granted them sanctuary on Joseph’s request, and all thank God for his goodness and mercy. In writing Joseph , Duval and Méhul sought to capitalize on two current French interests: an Egyptian craze, partly the result of Napoleon’s campaign there ( 1798–9 ), and a marked religious revival, partly in reaction to the anti-clericalism of the Revolution. The result was Méhul’s longest-lasting and most widely performed opera. Duval’s libretto is intentionally austere. Unlike other contemporary theatrical treatments of the

Article

Israel  

Jehoash Hirshberg, Natan Shahar, Edwin Seroussi and Amnon Shiloah

invented folksong, with new art music limited to a handful of works, notably the first Hebrew folk opera, The Pioneers ( 1924 ) by Jacob Weinberg ( 1870–1958 ). The dominating spirit of socialism spearheaded by the idealistic kibbutz (communal village) movement and the idealization of agricultural pioneer work were the backdrop for the Institute for the Promotion of Music among the People, which sponsored lectures, workers' choruses and courses for choral conductors all over the country. The economic depression of the late 1920s and the deterioration of Arab-Jewish

Article

J.A. Fuller Maitland

revised by Robert Philip

He made many recordings, principally with the orchestra of the Berlin Staatsoper, including a famous recording of Beethoven's Violin Concerto with Kreisler. During his lifetime he achieved considerable success with his own operas, particularly Das war ich ( 1902 , Dresden), Alpenkönig und Menschenfeind ( 1903 , Dresden), and, most popular of all, Versiegelt ( 1908 , Hamburg). His stage works were said to show a deft lightness of touch in the tradition of Humperdinck. He also wrote orchestral, choral and chamber works, and songs. Bibliography

Article

were not sufficient to ensure immortality and even La Juive has now all but vanished from the stage. Works printed works published in Paris unless otherwise stated Stage first performances in Paris unless otherwise stated PO Opéra POC Opéra-Comique Les bohémiennes, 1819–20, unperf., lost Marco Curzio, 1822, unperf. [finale only] Les deux pavillons, ou Le jaloux et le méfiant (oc, J.B.C. Vial), c 1824, unperf. Pygmalion (opéra, 1, Patin and Arnoult), c 1824, unperf. Erostrate (opéra, 3, Arnoult and L. Halévy), c 1825, inc. L’artisan (oc, 1, J.-H.V. de

Article

Winton Dean

Galli, Caterina ( b ? Cremona , c 1723 ; d Chelsea , Dec 23, 1804 ). Italian mezzo-soprano . After singing in Bergamo in 1742 , she was engaged for the 1742–3 Italian opera season in London, appearing at the King’s Theatre in Brivio’s Mandane , Galuppi’s Enrico and Sirbace and Porpora’s Temistocle (she took male parts in all four operas). In 1745 she was in a pasticcio, L’incostanza delusa , at the New Haymarket Theatre, but she made her name in Handel’s Covent Garden oratorio seasons from 1747 to 1754 . She appeared first in revivals

Article

Hugh Macdonald

oratorio!’, he said, ‘no, let’s make it an opera!’, and he began to dig through the Bible while I outlined the plan of the work, even sketching scenes, and leaving him only the versification to do. For some reason I began the music with Act 2, and I played it at home to a select audience who could make nothing of it at all. Despite many precedents, most people expressed alarm at a biblical subject on the stage. After one more hearing of Act 2 Saint-Saëns abandoned his opera. Only after the appearance in 1872 of his third opera, La princesse jaune , did he feel sufficiently

Article

Jürgen Maehder

revised by Antonio Rostagno

Pompei , written in collaboration with Giordano on a posthumous libretto by Illica ( 1921 , Rome), which Giordano described as a ‘satirodia’, to the pre-Fascist opera Glauco ( 1922 , Naples), containing some ingredients typical of later propaganda operas on subjects connected with the glory of ancient Rome. Works Operas first performed at Milan, La Scala, unless otherwise stated; all printed works published in Milan Asrael (leggenda, 4, F. Fontana), Reggio nell’Emilia, Municipale, 11 Feb 1888 (1888) Cristoforo Colombo

Article

James Freeman

composer-in-residence for the Delaware Valley Opera Company. Among his commissions are works for the Fromm Foundation, the Memorial Foundation for Jewish Culture, the Pennsylvania Council on the Arts and Orchestra 2001 . Finko’s Russian-Jewish heritage is an important aspect of his music, often providing the subject matter (especially for his operas and tone poems) as well as motivating the thematic content. Musorgsky and Shostakovich, the music of the Russian Orthodox Church and Jewish folksong and synagogue music are all clear influences on his style. He has been

Article

Matthias Brzoska

other grand operas, Le prophète retained its place in the repertories of all the major international opera houses for decades, and was in the repertory of the Paris Opéra until 1912 . The spectacular Paris première of L’Africaine was created by Marie Sasse (Sélika), Marie Battu (Inès), Emilio Naudin (Vasco), and Jean-Baptiste Faure (Nélusko), in a production directed by Alexis Colleville and conducted by Georges-François Hainl ( see fig.5 ). Being so clearly conceived as a work for soloists, it was the most frequently performed of Meyerbeer’s operas in the 20th

Article

Edward Garden and Stuart Campbell

been less coherent; the opera’s historical gaffes could scarcely have been more glaring; nor, despite the composer’s claims, was it at all short on conventional operatic trappings or formal numbers, many – especially the folklike ones – of a triviality it was only too easy to expose. Vrazh′ya sila (‘The Power of the Fiend’) occupied the composer for more than five years, but remained unfinished because of the huge, paralysing rift that developed between the cantakerous composer and his librettist Ostrovsky. It was a great pity, for the opera was on its improbable

Article

Nicholas Temperley and Nigel Burton

Rise of English Opera (London, 1951/ R ) E.D. Mackerness : ‘Leigh Hunt's Musical Journalism’, MMR , 86 (1956), 212–22, esp. 217 B. Carr : ‘The First All-Sung English 19th-Century Opera’, MT , 115 (1974), 125–6 G. Balanchine and F. Mason : Balanchine's Complete Stories of the Great Ballets (New York, 1977), 603–4 N. Temperley , ed.: Music in Britain: the Romantic Age 1800–1914 (London, 1981/ R ) E.W. White : A History of English Opera (London, 1983) E.W. White : A Register of First Perfomances of English Operas and Semi-Operas (London, 1983)

Article

Jehoash Hirshberg

Jerusalem, with its division into culturally self-contained ethnic, national and religious quarters, and the all-Jewish, middle-class extrovert Tel-Aviv soon became conspicuous and is still acknowledged. With the foundation of Israel in 1948 Jaffa was integrated with Tel-Aviv and thenceforth the city grew, connecting with adjacent towns to form the country's largest metropolitan area. Also in 1948 the soprano Addis de Philippe founded the Israeli Opera, which lasted until 1982 . The Palestine Orchestra, renamed the Israel PO, moved in 1957 to its permanent home

Article

arrangements into operas as separate numbers – the operas of the 1930s were, in their first versions, essentially conversational dramas with aria-songs and instrumental dance episodes – and then (from about 1940 ) to the harmonic enriching of folk melodies and their organic development into large-scale sonata-symphonic forms. The experiment of introducing a kyui into the symphony proved particularly successful; apart from the Third, the Sixth, on a theme by the folk musician Kurmangaza, is notable in this respect. Works ( selective list ) all first performed in

Article

Wilhelm Pfannkuch

revised by Gerhard J. Winkler

an monarchy in the last third of the 19th century. His next opera, Merlin ( 1886 ), to a libretto by Mahler’s mentor Siegfried Lipiner, was also a great success. After this Goldmark composed the fairy tale opera Das Heimchen am Herd (after Dickens’s The Cricket on the Hearth ); it owes a debt to Humperdinck’s Hänsel und Gretel and looks back to the comic operas of Lortzing. Its music employs a deliberate simplicity (one of the choruses even quotes the beginning of a German folksong). His next opera, Die Kriegsgefangene ( 1899 ), probably prompted by Bungert’s

Article

Nelli Grigor′yevna Shakhnazarova

employed for the first time in the Trombone Concerto, and, interpreted freely, they gave added expressivity to Frid's tragic voice. The high point of Frid's art are the two opera monologues – Dnevnik Annï Frank (‘The Diary of Anne Frank’) ( 1969 ) and Pis′ma Van Goga (‘The Letters of Van Gogh’) ( 1975 ) – which are both distinctive for their documentary style and chamber proportions. Both operas and the song cycle Federiko Garsiya Lorka (‘Federico García Lorca’) strikingly present the composer's preoccupations with tragedy and the ability to retain one's faith in

Article

Robert Henderson

revised by Thomas S. Hansen

librettos. During the 23 years of his collaboration with Richard Strauss, Hofmannsthal not only restored the words in opera to their former position of creative equality with the music, but wrote librettos which number among the few that can be read with pleasure as literature. Hofmannsthal was born into a cultured Viennese family of mixed Austrian, Italian, Swabian and Jewish origins. He inherited a naturally cosmopolitan spirit and an instinctive sympathy with all that was best in the arts. A boy of precocious literary gifts and of abnormally sensitive intelligence, by the

Article

Buxton Orr

production was in a remarkable output of symphonies, a form which he unfashionably held to remain ‘a wholly viable vehicle for the expression of the most compelling musical thought’. Eight symphonies appeared between 1958 and 1971 , all concerned in a variety of ways with serial techniques. A single 12-note series is employed in all movements of both the Second and the Sixth; in the other symphonies individual movements tend to have their own series, to be freely diatonic or to apply serial techniques to other than 12-note material. The second movement of the Fifth