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John Beckwith

letters, legal proceedings, shipping lists, and other documents. Central to both works (Anhalt calls them operas, though their performances have not included staging) is the episode of the voyage itself. In both, moreover, religious themes – French Catholic or Church of England – intrude significantly. In the late 1970s and early 80s Anhalt’s work took two new directions. Firstly, his interest in extended vocal techniques (exhibited in Cento , Foci and the two operas) led to a period of research in the works of other composers (especially Berio, Ligeti, Lutosławski


Michal Ben-Zur

Exiles’, 1952 ). His most performed work, Symphonic Suite on Greek Themes ( 1943 ), received the 1951 Engel prize. Works ( selective list ) Operas Nedarim [Vows] (Salomon), 1954–5 David and Goliath (A. Bär), solo vv, chorus, ob, str qt, 1965 Four Times Methuselah: Methuselah Laughs Last (ob, Salomon), 1965–6 Vocal The Tone (cant., A. Nedel), 1933 Adon olam [Lord of All], T, chorus, org, 1949 Kibbutz ha’galuyot [Gathering of Exiles] (cant., Bible), 1952 Le’ma’an Yerushalayim [For the Sake of Jerusalem] (cant., Bible), 1958 Halo


Edward Greenfield

well as of Barber’s Knoxville: Summer of 1915 , but generally Previn’s unashamedly eclectic idiom owed more to Walton and Britten than to American models. September 1998 brought a landmark in his composing career, with the première in San Francisco of his biggest work to date, the opera A Streetcar Named Desire , based on Tennessee Williams’s play with a libretto by Philip Littell. A recording of the work was issued the following year. Following the pattern set by Bernstein, Previn throughout his career defied the cult of specialization predominant in the modern world


Martin Eastick

45; 2 Etudes de Concert, op.48 Suite, G, op.50 (1892) Frühling, 5 Stücke, op.57 (1896) [8] Tristesses et Sourires, op.58 (1896) 3 Mazurkas, op.60 (1898) 4 Morceaux, op.68 (1902) Valse de concert, F, op.69 (1902) 15 Etudes de virtuosité, ‘Per aspera’, op.72 (1903) Chanson bohème de l'opéra ‘Carmen’ de G. Bizet, transcription de concert (1906) 10 Pièces mignonnes, op.77 (1907) Grande valse de concert, G♭, op.88 (1912) [5] Tanzmomente, op.89 (1912) Isolden's Tod, Schluss-Szene aus Tristan und Isolde von Richard Wagner, paraphrase (1914) 6 Morceaux, op.93 (1916)