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Article

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

Article

Max Loppert

Curphey, Margaret ( b Douglas, Isle of Man , Feb 27, 1938 ). British soprano . She studied at the Birmingham School of Music. After touring with Opera for All, she joined Sadler’s Wells in 1965 . A full and flexible lyric soprano enabled her to play a wide range of parts, from Mimì, Pamina and Violetta to Ellen Orford, Elisabeth de Valois and Santuzza, all sung with taste and distinction and acted with reserve. In Wagner, however, she progressed from a capable, vocally well-projected Eva (notably at the first Coliseum performances in August

Article

I.M. Yampol′sky

and led the viola section of the opera studio. After a period in the orchestra of the Malïy Opera Theatre, Leningrad, he turned to conducting in 1935 . In 1938 he was appointed principal conductor at the Erevan Opera and Ballet Theatre, where he played an important part in the development of Armenian national opera. Displaying a fine instinct for music drama and operatic character, T’avrizyan aimed at blending all the constituent elements of opera, so that the stage and musical characterizations were closely linked. Among the operas he conducted were Tchukhatjian’s

Article

Dennis Libby

Cortoni, Arcangelo ( fl 1756–77 ). Italian tenor . He made his opera seria début at Bologna in May 1756 , but did not then begin a sustained career. During the period 1760–68 he was with Jommelli’s company at Stuttgart (except for 1762 , when he sang in Florence, Venice and Genoa). From autumn 1769 he appeared in major Italian theatres, including four seasons at the S Carlo, Naples, where he sang in all three of Jommelli’s late Neapolitan operas. He is not found after 1777 . Jommelli praised his technical skill (as did Burney), mentioning

Article

David Cummings

composition, piano and choral singing at the Milan Conservatory, graduating in 1933 . He was successful in Italy for more than 20 years, giving a wide range of operas at all the major houses. He conducted Rigoletto at the end of the 1955–6 season at Covent Garden, returning early the following season for a Ballo in maschera that was described as ‘noisy and violent’ (H. D. Rosenthal, Two Centuries of Opera at Covent Garden , 1958 ). Quadri conducted Italian repertory in Vienna (Volksoper and Staatsoper) from 1957 . Don Pasquale , Tosca and Fedora are among

Article

Harold Rosenthal

l and John Coates. He joined the D’Oyly Carte Opera in 1915 and sang with the Carl Rosa Opera Company, 1919–22 . He made his Covent Garden début with that company in 1921 as Turiddu, and later sang with the British National Opera and the Covent Garden English companies. He took part in the first English performances of Wozzeck ( 1934 ), Busoni’s Doktor Faust ( 1937 ) and Hindemith’s Mathis der Maler ( 1939 ), all concert performances for the BBC. From 1949 to 1953 he was a member of the Covent Garden Opera, where he sang such character roles as Shuysky

Article

Elizabeth Forbes

David Björling, and made his début in 1937 at Göteborg. From 1940 until his death he was engaged at the Royal Opera, Stockholm, where he sang both lyric and character roles. His repertory included Don Ottavio, Pedrillo, Monostatos, Missail, David, the four comic tenor roles in Les contes d’Hoffmann and Bob Boles, which he sang in the first Swedish performance of Peter Grimes ( 1945 ). His finest part was Mime, evil in characterization, but sung with all the considerable sweetness of tone at his command.

Article

Simon McVeigh

harpsichord at the Little Theatre. He left England for the last time in 1792 . Giardini’s importance for opera in London lay primarily in his role in improving orchestral standards. Burney observed that ‘he had not sufficient force or variety to sustain a whole opera’, but his contributions to pasticcios were often enthusiastically applauded. Some surviving arias do indeed add a distinctive melodic piquancy to the bland lyricism of the Italian style. Works all first performed in London; some arias published in London Rosmira (os, 3, S. Stampiglia)

Article

Hans Joachim Marx

husband, the bass Johann Ferdinand Koulhaas, were in the Kapelle of Duke August Wilhelm in Brunswick. In 1722 she went to the Hamburg Gänsemarkt Opera as a substitute for one of the Hamburg singers engaged by the Copenhagen court. She sang the roles of Statira in Orlandini’s Arsace , Placidia in Telemann’s Sieg der Schönheit and Lucinda in F. B. Conti’s Don Chisciotte , all in 1722 . She was re-engaged by the Gänsemarkt Opera for six months in 1726 , at a salary of 400 Reichsthalers, and probably sang in Handel’s Ottone (in the German translation by J. G. Glauche)

Article

Dennis Libby

. He is first found in opera in 1705 but did not begin a sustained career in Italy until 1711 . In 1722–4 he was in service at Munich; he then resumed Italian engagements until 1729 , after which he was in the imperial service in Vienna, creating the title role in Metastasio’s first Vienna opera, Demetrio ( 1731 ; music by Caldara). He retired from the stage after singing at Genoa and Bologna in 1735 and is said to have become a monk. His singing (range approximately g to e ″) was praised for its finish and its mastery of all the vocal genres, and this

Article

Desmond Shawe-Taylor

Burrian was a leading and much-admired tenor at the Dresden Opera, where he made a powerful impression in the première ( 1905 ) of Strauss’s Salome as Herod, repeating this role in the first productions of the opera in both New York and Paris in 1907 . Wagner was the mainstay of his international repertory; as well as singing Tristan in the Hungarian première of Tristan und Isolde , he sang several of the chief Wagner roles at Covent Garden in four seasons between 1904 and 1914 , and virtually all of them ( Die Meistersinger excepted) during seven seasons at

Article

Elizabeth Forbes

début there with the City Opera in 1972 as Micaëla. She also sang Liù, Violetta and the Queen of Shemakha ( The Golden Cockerel ) with the company. She appeared with the Washington Civic Opera as Violetta and Gounod’s Juliet ( 1973 ), and for Opera South in Jackson sang Desdemona ( 1974 ) and Adina ( L’elisir d’amore , 1975 ). In 1975 she scored a great success at Aix-en-Provence in a double bill of Mozart’s Der Schauspieldirektor and Pergolesi’s La serva padrona , and sang the title role in Lucrezia Borgia at Houston. She took all three soprano roles in

Article

Péter P. Várnai

árhely , June 18, 1927 ). Hungarian tenor . He studied under Andor Lendvai at the Budapest Academy of Music, and made his début at the Budapest Opera in 1954 in the title role of Erkel’s Hunyadi László . An international career has taken him to San Francisco, New York, Vienna, and all over Germany; at Covent Garden in 1968 he was Des Grieux in Puccini’s Manon Lescaut . He was a member of the Cologne Opera from 1966 to 1982 . A voice of both lyric grace and dramatic power equips him for Tamino, Rodolfo, Dick Johnson ( La fanciulla del West ), Don Alvaro

Article

Max Loppert

Dean, Stafford ( Roderick ) ( b Kingswood, Surrey , June 20, 1937 ). English bass . He studied with Gordon Clinton at the RCM and privately with Howell Glynne and Otakar Kraus. After touring with Opera for All, he made his Glyndebourne début in 1964 (Lictor in L’incoronazione di Poppea ). His first role at Sadler’s Wells the same year was Zuniga ( Carmen ), followed by, among others, Daland, Sparafucile, Colline and Pluto in Monteverdi’s Orfeo . At Covent Garden he has played Masetto (début 1969 ), the He-Ancient ( The Midsummer Marriage ),

Article

Patricia Lewy Gidwitz and Betty Matthews

‘quite the rage’ and when ‘she announced a benefit, the first ever given to any performer at Venice … the kind-hearted and liberal Venetians not only paid the usual entrance money, but left all kinds of trinkets, watch chains, rings, &c., to be given her’. This celebrity caused the Viennese ambassador to Venice, Count Giacomo Durazzo, to engage her for the newly-organized Italian opera in Vienna the same year. For her début she sang the role created for her at the S Samuele, the Countess in Salieri’s La scuola dei gelosi . During her first season at the Burgtheater,

Article

Elizabeth Forbes

Adams, Donald ( b Bristol , Dec 20, 1928 ; d Norwich , April 8, 1996 ). English bass . He was a chorister at Worcester Cathedral and later became an actor. After singing in the D’Oyly Carte Opera chorus, from 1953 to 1969 he was principal bass of the company. In 1963 he co-founded ‘G&S for All’, with whom he toured extensively in Australia and the USA. In 1983 he sang the Mikado in Chicago, returning for Baron Mirko Zeta and the Theatre Director/Banker ( Lulu ). He made his Covent Garden début in 1983 as a Frontier Guard ( Boris

Article

Elizabeth Forbes

she strongly influenced the operas that Rossini composed for Naples. Elisabetta, regina d’Inghilterra ( 1815 ), Otello ( 1816 ), Armida ( 1817 ), Mosè in Egitto , Ricciardo e Zoraide ( 1818 ), Ermione , La donna del lago ( 1819 ), Maometto II ( 1820 ) and Zelmira ( 1822 ) all contained parts written to display her special vocal and dramatic gifts. Colbran and Rossini, who had lived together for some years, were married at Castenaso in 1822 . Semiramide , the final opera that he composed for her, was produced at La Fenice in 1823 . The following year

Article

Anne-Marie Riessauw

Muziek-school in Antwerp. In 1884 he was made director of the Ghent Opera. Waelput’s works include three operas in a high Romantic style (all in B-Gc ): La ferme du diable (V. Wilder and E. Houdet; 1865 , Ghent), Berken de diamantslijper (K. Versnayen; 1868 ) and Stella (I. Teirlinck and R. Stijns; Brussels, Alhambra, 14 March 1881 ). Bibliography P. Bergmans : Notice biographique sur Henri Waelput (Ghent, 1886) E. Callaert : Levensschets van Hendrik Waelput (Ghent, 1886) E. De Vynck : Henry Waelput (diss., U

Article

Philip Weller

of the early 1760s. She appeared in numerous other operas, among these Bertin de la Doué’s Ajax ( 1742 ; Cassandra), Lully’s Thésée ( 1744 ; Medea), Marais’ La mort d’Hercule ( 1744 , as restaged under Berger; Dejanira) and Campra’s Tancrède ( 1750 and 1764 ; Clorinde). She retired in 1766 . La Borde ( 1780 ) said she had ‘une belle représentation, un jeu noble, et une manière aisée de chanter la musique de son temps’. She bridged the gap between the generation of Antier, Lemaure and Pélissier (all of whom disappeared from the scene in the 1740s) and

Article

Winton Dean

and made his début at the Queen’s Theatre in Haym’s arrangement of Scarlatti’s Pirro e Demetrio . He enjoyed a great personal triumph and was largely responsible for the increasing popularity of Italian opera in London. In 1709 he signed a three-year contract with Owen Swiney, in which he undertook to arrange operas for the London stage. He sang in all the operas during that period, many of them pasticcios arranged by Haym or himself: Camilla (G. Bononcini), Clotilda and Tomiri in 1709 , Almahide and Mancini’s Idaspe fedele (including his notorious scene