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Article

Philippe Mercier

chamber music avoids theatrical effects. Fétis commented that, in spite of many strong sections and good musical organization, Pauwels’s operas are hindered by their weak librettos. Marie-Anne-Jeanne (or Jeanne-Catherine) Pauwels ( 1795–1839 ), a pianist and composer active in Brussels, was apparently unrelated to this family. Works printed works published in Brussels, unless otherwise indicated Stage All first performed at Brussels, Théâtre de la Monnaie La maisonnette dans les bois (oc, 1), 3 Aug 1796 L’auteur malgré lui (oc, 1, Claparède)

Article

Kostas Kardamis

most of his fellow composers of the time, he actively and creatively participated in the quest for ‘national Greek music’ well before the coinage of the term by Kalomiris in 1908 . In addition to his two operas and three operettas, his works include songs, ballets, orchestral, piano, choral, and wind band music. Nearly all of his compositions, including his last opera Selefkos Nikator (Seleucus Nicator) , have been donated to the Corfu Philharmonic Society.

Article

T. Brown

Canada, and from 1936 he pursued a freelance career. In 1947 he was appointed music adviser to the CBC and organized the CBC Opera Company. As CBC director of music from 1952 his principal responsibility was the CBC SO (formed in 1952 , disbanded in 1964 ), which became one of the foremost in Canada. The orchestra performed numerous works by Canadian composers, including many commissions, and introduced new works by composers from all over the world. In its time it was the only symphony orchestra in North America supported solely by a broadcasting organization

Article

Neal Zaslaw

d his debt in a warm letter of dedication to Chéron in which he stated that, ‘all the world knows that I am your pupil … If some beauties are found here, I owe them to the learned lessons that I received from you’. Chéron joined the Paris Opéra in 1734 as harpsichordist, and five years later was promoted to batteur de mesure , replacing Rebel. To his conducting duties were added in 1750 those of maître de chant of the Opéra, culminating in the position of inspecteur de l’Opéra . His regime saw such important premières as Leclair’s Scylla et Glaucus ( 1746

Article

Francesco Bussi

La trilogia di Dorina , but a serious illness impaired his mind and led to his early death. Bibliography GroveO ( F. Bussi ) R. Celletti : ‘Gli ultimi cent’anni’, Storia dell’opera , ed. G. Barblan and A. Basso (Turin, 1977), 3/1, 282–98 V. Frajese : Dal Costanzi allOpera , i: Cronache, recensioni e documenti (Rome, 1978), 111, 135–6 See also from The New Grove Dictionary of Opera : A basso porto .

Article

I.M. Yampol′sky

1919 to 1928 and from 1948 to 1953 , and chief conductor and artistic director of the Moscow PO from 1926 to 1929 , when he was appointed chief conductor of the Moscow Broadcasting Centre; he was also head of opera there. In 1937 he became chief conductor and artistic director of the USSR All-Union RSO, and in 1938 musical director of the Stanislavsky Opera Theatre. Works of a Russian national epic type most successfully reflected his characteristics as a conductor, including the vocal quality of his phrasing, the dynamism and dramatic tension of his interpretations

Article

Jeffrey Cooper

s, and complimented his well-rounded abilities as conductor, instructor and organizer. Nevertheless the administrators of the Opéra, although pleased with Hainl’s conducting, appointed F.-A. Gevaert as supervisory music director in 1867 . As a cellist, Hainl was praised for his precision and light staccato. He composed several fantasias for the cello and wrote De la musique à Lyon depuis 1713 jusqu’à 1852 (Lyons, 1852 ). Works all published in Paris, dates unknown Chbr/orch Thème original, vc, pf/orch, op.1; Fantaisie sur Norma, vn, vc, pf/orch, op.3;

Article

Richard Crawford and Wayne J. Schneider

stab at opera in the Harlem-based Blue Monday Blues ( 1922 ), Gershwin had been one of three composers approached in November 1924 by Otto Kahn, board chairman of the Metropolitan Opera Company, who hoped to commission “a jazz opera” for New York’s premier opera house. Irving Berlin and Jerome Kern both declined the invitation, but Gershwin had expressed strong interest, reporting that further studies were preparing him for the task. In an interview in the spring of 1925 , he told a music journalist where his thinking on the subject stood. “A jazz opera,” he believed

Article

Ioannis Fulias

guidance of Hans Swarowsky). He has also attended seminars held by the conductors Miltiades Caridis (in Vienna) and Otmar Suitner (in Weimar). He then collaborated, both as soloist and conductor, with all Greek orchestras (in Athens, Thessaloniki, etc.) and numerous others in Europe, Asia, Africa, and America. He was permanent conductor of the orchestra of the Greek National Opera House ( 1985–92 ) and of the Athens State Orchestra ( 1987–2011 ; he also served as its artistic director from 2004 to 2011 ), chief conductor of the Ekaterinenburg State Philharmonic Orchestra

Article

Gerard Béhague

pf, tape, 1971 IV, va, tape, 1972 V, vn, tape, 1972 VI, vn, tape, 1972 VII, str qt, opt. tape, 1973 VIII, pf qt, opt. tape, 1975 IX, vv, objects, unspecified inst, 1976 X, ob/tape, 1976 XI, tape, 1976 XII, str qt/str orch, opt. tape, 1976 Vocal Opera Alma (4, Santoro), 1984 Choral Cantata elegíaca (Camões), chorus, orch, 1970 Aus den Sonnetten an Orpheus (R.M. Rilke), T, chorus, str, 1979 Missa a 6 vozes, solo vv, chorus, orch, 1983 Os Estatutos do Homem (orat), solo vv, chorus, orch, 1984

Article

Zdravko Blažeković

performed mostly dance and popular music. In 1867 Eisenhuth started teaching the violin at the music school of the Hrvatski Glazbeni Zavud, and in 1881 he became the leader of the theatre orchestra, which he also conducted for operettas and operas; in 1873 he was appointed conductor of the Hrvatsko Pjevačko Društvo Kolo. He held all these posts until his death. During the 1870s he also conducted several other Zagreb choral societies (Sloga, Merkur, Hrvatska lira, Crkveno Glazbeno Društvo). Eisenhuth was organist of the church of St Mary in Zagreb, and also performed

Article

Rodney Slatford

conducted the première of his first opera, Cristoforo Colombo . Concert tours and engagements followed, taking him to New Orleans, New York, London and all over Europe. His début in London on 26 June 1849 at Ella’s Musical Union astounded the audience. He played some solos and took the cello part in a quintet by Onslow. He was nicknamed the ‘Paganini of the double bass’, and contemporary writings bear witness to his extraordinary agility, purity of tone, intonation and exquisite phrasing: ‘How he bewildered us by playing all sorts of melodies in flute-like harmonics

Article

Jennifer Spencer

was made an honorary member of the Russian Musical Society. Works all unpublished, unless otherwise stated; MSS in RUS-SPk Vocal Taras Bul′ba (op, after N.V. Gogol), 1860s Vakula-kuznets [Vakula the Smith] (op, after Gogol: Noch′ pered rozhdestvom [Christman Eve]), 1860s Ammalet-bek (op, 4, A.F. Weltmann, after A.A. Bestushev-Marlinsky), St Petersburg, Mariinsky, 11/23 Nov 1870 Sten′ka Razin (op) 5 other operas Pir Petra Velikogo [The Feast of Peter the Great] (cant.), 1860

Article

often performed. Now they are of historical importance only. Works Operas Samuel Zborowski, c 1896 Maria, 1899, Warsaw, 1911 or 1913–14, orch pts. PL-Wtm ; Pojata, c 1900 Choral Samuel Zborowski, poem, chorus, orch, c 1896 Antygona, poem, chorus, orch, c 1900 Instrumental Conc. for orch (Sym.), Wtm ; 4 str qts, F, op.16, f, op.17, D, op.19, A, op.23, all unpubd; Sonata, vn, pf, op.27, unpubd; Sonata, va, pf, op.22 (Kraków, 1953)

Article

Ioannis Fulias

Dimitri Mitropoulos: Una luce che incatena il cielo (Varese, 2007) G. Sakallieros : ‘I opera Sœur Béatrice tou Dimitri Mitropoulou (1918): mousiki yfi, aisthitikes katefthynseis kai istoriko plaisio dimiourgias’ [The opera Sœur Béatrice by D. Mitropoulos (1918): musical texture, aesthetic directions and historical background], Elliniki mousiki dimiourgia tou 20ou aiona gia to lyriko theatro kai alles parastatikes technes [Greek music creation of the 20th century for opera and other performing arts], ed. G. Vlastos (Athens, 2009), 17–29 A. Kostios : Dimitri

Article

Diana von Volborth-Danys

of the Royal Flemish Opera of Antwerp. In 1954 he won conducting competitions at the Théâtre de la Monnaie in Brussels and Belgian Radio, and was conductor at the Monnaie ( 1954–9 ) before returning to the Antwerp Opera House as its conductor and music director. He continued with these functions at the restructured Flanders Opera ( 1981–8 ). As a conductor he has appeared in Belgium, France, the Netherlands, Germany, Spain and the USA, conducting first performances of operas by such Belgian composers as Legley, De Jong and Kersters, almost all Wagner’s works and

Article

Gustave Reese

revised by Michael Meckna

) Music Festival in 1925 ; he held all three posts until his death. He appeared as a guest conductor of the symphony orchestras of Boston, Cleveland and St Louis, among others. From 1923 to 1930 he was head of the music department of New York University. In 1927 he accepted the directorship of the opera and orchestra departments of the Juilliard Graduate School, where he gave the first New York performances of Malipiero's Il finto Arlecchino and Strauss's Ariadne auf Naxos , the world premières of several American operas (including Antheil's Helen Retires

Article

Nicholas Anderson

Oratorio ( 1972 ). A major pioneering project, shared with Gustav Leonhardt, to record all of Bach’s sacred cantatas was launched in 1971 and completed in 1990 . This enterprise established a landmark in Bach recording, both for its overturning of hitherto accepted interpretative conventions and for the almost invariable use of boys’ voices to sing the soprano solos. His other notable Baroque recordings with the Concentus Musicus include Monteverdi’s three surviving operas (which he conducted at Zürich ( 1975–9 ) and later at the Edinburgh Festival and elsewhere)

Article

Andrew D. McCredie

particular renown as a harpsichordist. By that time five of his operas and Singspiele, first produced earlier in Königsberg and Danzig, were attracting performances elsewhere in northern Germany. In 1783 he left Hamburg to join the Grossmann company in Bonn. He then became attached to the court theatre at Mainz in association with which he made highly acclaimed guest appearances in Frankfurt. He sang in the first German-language Don Giovanni (Mainz, 13 March 1789 ), produced or conducted other operas by Mozart, Salieri, Gluck and Gassmann, composed incidental music

Article

Joel Sachs

revised by Mark Kroll

fugal variations. The typical improvisation included a fantasy-like introduction, themes from popular operas or from the evening’s concert or party and a series of free variations, sometimes ending with a paraphrase of the finale of an opera such as Don Giovanni . In his autobiography Spohr described such an improvisation following a party for the Congress of Vienna: Hummel wove the themes of the concert into contrapuntal variations, a fugue and a bravura finale, all in waltz time to permit the last stragglers to dance.The American pianist Louis Moreau Gottschalk related