1-3 of 3 results  for:

  • All: Opera for all x
  • Music Manager or Administrator x
  • Composer or Arranger x
  • Instrumentalist x
Clear all

Article

John C.G. Waterhouse and Virgilio Bernardoni

fiaba, prol., 3, C.V. Lodovici, after C. Gozzi), op.50, 1928–31, Rome, Opera, 17 March 1932 La favola d’Orfeo (chbr op, 1, C. Pavolini, after A. Poliziano), op.51, 1932, Venice, Goldoni, 6 Sept 1932 Il deserto tentato (mistero, 1, Pavolini), op.60, 1936–7, Florence, Comunale, 19 May 1937 La camera dei disegni (Balletto per Fulvia) (ballet), op.64, Rome, Arti, 28 Nov 1940 [partly after 11 pezzi infantili, op.35, pf] La rosa del sogno (ballet, 1), op.66, Rome, Opera, 16 March 1943 [partly after Paganiniana, op.65, orch] Other

Article

Bálint Vázsonyi

this field are all of a high standard. The rest of his output is variable, but he composed excellent works in almost every genre. They show an unerring mastery of form and instrumentation, fluency, and a rich but utterly natural sense of harmony, which enabled him to make unbridled chromatic excursions without ever losing the tonal centre. He succeeded in blending the ‘Brahmsian’ preservation of classical form with the Lisztian concept of motivic strands binding together a large-scale work. His best opera, Der Tenor , is one of the few true comic operas written in the

Article

Reinhold Sietz

concertos avoid grand soloistic mannerisms, and his own style of playing, with hands still and fingers curved, reflected his belief in classical practice. Of his three symphonies, the first employs small forces, while the second is a cyclically organized work on a grand scale. His operas, despite their Wagnerian trappings, were not successful; his better-known musical fairy tales, based in part on his own texts (written under the name Heinrich Carsten), were composed in a tasteful folk-style. Gifted in many fields, he was also a talented painter and poet. His lucidly