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Article

Thomas Walker

revised by Beth L. Glixon and Jonathan E. Glixon

Faustini-Cavalli collaborations constituted the most constant presence during a highly unstable and formative decade in the history of Venetian opera. Faustini's dramas, the plots and characters of which are usually newly invented, rather than historical or mythological, often develop the entangled relations of two pairs of lovers, cleverly resolving all problems at the last moment to the satisfaction of all (or nearly all) concerned. Some of the later plots are highly intricate, notably L'Eritrea (performed in 1652 ), his last completed work, which may have profited

Article

John Rosselli

Lisbon and Oporto. He developed a theatrical agency on which he concentrated in later life, in addition to acting as Milan representative for leading impresarios. When he was praised as a singer it was for his comic verve and acting ability: in a one-act opera (to his own libretto), Frondoni’s Un terno al lotto , he sang all the parts. Bibliography DBI ( E. Venturini ) ES ( C. Sartori ) Correspondence: I-Fn , Carteggi Vari 351 [also comments on him in 364/153, 365/34–5]; Mt , Spettacoli Pubblici 109, 112/1; Ms

Article

Michael Barnard

are parodies of popular operas by F.-A. Philidor, Piccinni, Rameau, Boieldieu and others. Despréaux and the dancer Marie Madeleine La Guimard performed together in these pieces and were married in 1789 . He may have been the Despréaux who, on attending an opera at Versailles, asked for a seat where he could hear the music but not the words, because ‘I greatly esteem the music of Lully, but have contempt for the verses of Quinault’ ( Almanach des spectacles , 1772 ). Works all printed works published in Paris Parodies all librettos by Despréaux

Article

Lowell Lindgren

Employment he distinguish'd himself by his indefatigable Industry and the general Satisfaction he gave to all the Directors’. His ‘uncommon Modesty, Candour, Affability and all the amiable Virtues of Life’ undoubtedly contributed much to his success in collaborative endeavours. From 1694 to 1700 he was occasionally employed as a cellist by Cardinal Pietro Ottoboni in Rome. He may also have played in the orchestra at the Teatro Capranica, which staged the first two operas he was to adapt for London: Alessandro Scarlatti's Pirro e Demetrio ( 1694 ) and Giovanni Bononcini's

Article

education at Göttingen, he served for a while with the English army before entering Hanoverian service; his opera Glück und Zufall , to his own libretto, was performed at Hanover in 1793 . In 1797 he was appointed manager of the court opera in Dessau, whose new house opened on 26 December 1798 with a performance of his opera Bathmendi . Apart from his administrative responsibilities and the works he wrote, he and his wife frequently performed in operas. His Singspiel Die steinerne Braut proved very successful in 1799 ; a duet from it was published in the

Article

Edward Strickland

revised by Mark Alburger

entries by Christopher Knowles (a 13-year-old autistic boy with whom Wilson was working), and monologues by cast members Lucinda Childs and Samuel M. Johnson. The opera combined some of Glass’s most propulsive music with choreography by Andrew de Groat (Childs choreographed her own solos) and the whole cast wore the surprisingly traditional costumes of shirt, trousers, and suspenders—Einstein’s day to day attire. All this was combined with lighting and stage design in a five-hour performance which the audience was invited to exit and re-enter at their pleasure. Einstein

Article

Barbara A. Petersen

revised by Richard R. Bunbury

Federation of Music Clubs ( 1971–5 ), the National Music Council ( 1975–9 ), and Mu Phi Epsilon ( 1979–84 ). She oversaw the development of the “Parade of American Music Programs” for the US Bicentennial ( 1976 ), giving lectures in all 50 states. Montgomery was the founder and director of New York Philomusica and vice-president of the New York Opera Guild. She was active as a composer, mostly of songs and piano music, some published under the pseudonym M. Aline Campbell.

Article

Ugo Gironacci

by Gennaro Manna, for which he composed the intermezzos. His extant works comprise 18 psalms for eight-part double choir with organ basso continuo, two offertories for two voices and basso continuo (all in I-LT ); the motets Terrae flores , for soprano and strings, and Sum ferita , for soprano and organ, and a sacred cantata for two sopranos and strings (all in Af ); and some sonatas for harpsichord or organ (in AP ). Bibliography F. Grimaldi : Cantori maestri organisti della cappella musicale di Loreto nei secoli

Article

authorities place the number as high as 50) include examples of almost all the genres then familiar, the subjects being taken from Shakespeare, the Old Testament, mythology and history. Among his most successful were Wilhelm Tell ( 1810 ), Samson ( 1811 ) and Die Silberschlange ( 1821 , performed 57 times) for the Theater an der Wien, Alfred der Grosse ( 1820 ), Jeanne d’Arc ( 1821 ), Arsena ( 1822 ) and Ismaans Grab, oder Die bezauberten Instrumente ( 1823 ) for the Vienna Court Opera and Arsinoe e Telemaco ( 1813 ) and Amleto ( 1817 ) for Milan. The

Article

Peter Branscombe

revised by David J. Buch

Reinderl ist all mein Kuchelg’schirr’ from Der Kaufmannsbude ( 1796 ) as a theme and variations for flute and piano (op.105, no.3, 1819 ). In 1804 , owing to his wife’s illness, he left Vienna and settled near the Hungarian border; he became organist to the Esterházys at Eisenstadt and in 1811 succeeded Hummel as Kapellmeister. Following his wife’s death in 1814 he returned to Vienna and became choirmaster at the Kirche Am Hof and, from 24 August 1818 , court organist. His most successful score was his setting of Schikaneder’s Die Waldmänner , a comic opera given

Article

Alain Louvier

Rome to hear the première of his String Quartet. Works ( selective list ) Stage La femme à barbe (op bouffe, 2, A. de la Tourrasse), Versailles, 1938 Oedipe-roi (incid music, Sophocles), Orange, 1939 Lucifer (mystery, 1, R. Dumesnil, after Byron: Cain ), Paris, Opéra, 1948 Le bourgeois gentilhomme (incid music, J.-B.P. Molière), Paris, 1948 Orchestral Typhaon, sym. poem, 1914 L'offrande à Çiva, choreographic poem, 1921 Pamir, suite, 1935 Radio-Sérénade (1938) Choral and vocal Faust et Hélène (cant.), 1913 La source, chorus

Article

Christoph Keller

( 1974 ), Cercles ( 1978–9 ), Centres mobiles ( 1980 ) and Lichter und Schatten ( 1982 ) replaced the generic descriptions of earlier compositions, but his musical language did not change substantially. Beck was able to create an extensive body of works, comprising all genres except opera, even though for much of his life he did not compose full-time. Some of his compositions are inspired by local topics. These include the Festspiel for the 500th anniversary of the battle of St Jakob an der Birs ( 1943–4 ) and the cantata Der Tod zu Basel ( 1950–52 ), on the

Article

Patrick O’Connor

director and as artistic director of Skylight Opera in Milwaukee, where his first production was L’incoronazione di Poppea ( 1982 ), followed by Orfeo and Il ritorno d’Ulisse in patria . For Bernstein he wrote the libretto of A Quiet Place ( 1983 ), which he also directed at La Scala and in Vienna. His productions of Gluck’s Orphée ( 1988 , Seattle), and Handel’s Xerxes ( 1985 , Milwaukee), Alcina ( 1987 , St Louis) and Partenope ( 1988 , Omaha) all furthered his concern with the modern interpretation of Baroque opera. He has also translated Monteverdi’s

Article

Michael A. Keller

revised by Elisabeth Cook

director and removed all his manuscripts), new artists were introduced to the orchestra and chorus, and Pierre Gaviniès was appointed leader-conductor. Dauvergne’s sacred works were all written for this organization, mostly in the earlier part of his 11-year term there. His tenure passed without notable incident until administrative and artistic misfortunes beset his final two years. In 1769 Dauvergne became, with Joliveau, P.-M. Berton and J.-C. Trial, a director of the Opéra. Perhaps the most significant aspect of his first term as director of the Opéra was his involvement

Article

Fredric Woodbridge Wilson

Robert Reece and Arthur Law. In 1867 Reed leased the new St George’s Hall, Langham Place, for the production of comic opera. Here he produced full-length musical pieces, with full cast and orchestra, including Sullivan’s The Contrabandista ( 18 December 1867 ), Auber’s L’ambassadrice , and The Beggar’s Opera . This endeavour, however, was not a commercial success. Reed also played an important role in the development of the ‘Savoy opera’. He produced six early pieces by W.S. Gilbert, whose Ages Ago ( 1869 , music by Frederic Clay) was one of Reed’s longe

Article

Erik Levi

revenge by locking her husband in the cupboard to share her lover’s fate. As the story is somewhat insubstantial, the action is framed by a prologue and epilogue in which the three characters are identified with a modern honeymoon couple and their lay-brother tourist guide. Of all Schillings’s operas, Mona Lisa enjoyed the greatest longevity on the stage and became a notable vehicle for his second wife Barbara Kemp, as well as Maria Jeritza. The score is a typical late-Romantic effusion which perhaps lacks thematic distinction, but demonstrates considerable expertise

Article

C.F. Pohl

revised by John D. Drake and Stephan Hörner

piano duet, which was favourably mentioned by Gerber ( Neues Lexikon ). But Abeille was best known for his vocal music. With Zumsteeg, Dieter, Eibenbenz and Christmann, who had all been students at the Karlsschule, he was a member of the ‘Swabian Liederschule’, where the primary concerns were ease of singing, simplicity and communication of the text, as well as displaying some affinity with opera. Several collections of his songs were published, including the Vermischte Gedichte von Hübner ( 1788 , 1791 ), Zwei Hirten-Lieder aus Florians Estelle von Schwan ( 1795

Article

Nigel Yandell

probably appeared anonymously in the Journal de musique pour le clavecin ou pianoforte, dédié aux dames , first published in St Petersburg in 1785 . By the early 1790s Kozłowski's output had increased dramatically. Many of his keyboard polonaises were based on themes from popular operas of the day and were arrangements of orchestral originals. They were performed at official functions and festivities celebrating important military successes, while some were composed as choral works, often based on the verses of the eminent poet G.R. Derzhavin. The leading St Petersburg

Article

Rudolf Schnitzler and Herbert Seifert

October 1698 until his death he was one of the large number of court organists. He wrote several arias for some late secular works by his father, including the operas L’Arsace and La forza dell’amor filiale and the Terza accademia (all 1698 ), and for the 1697 revival of Sulpitia (all are in A-Wn ). 2. Operas and other secular works. Of Draghi’s about 170 secular works, some 120 are operas or other stage works, and the remaining 50 are vocal chamber works. In the stage works he collaborated especially with the court poet Nicolò Minato and the court

Article

one definitiva a Giovanni Battista Fasolo’, Seicento inesplorato: Lenno, nr Como 1989 , 481–96 E. Rosand : ‘The Opera Scenario, 1638–1655: a Preliminary Survey’, In Cantu et in sermone: for Nino Pirrotta , ed. F. Della Seta and F. Piperno (Florence, 1989), 335–46 E. Rosand : Opera in Seventeenth-Century Venice: the Creation of a Genre (Berkeley, 1991) See also from The New Grove Dictionary of Opera : Andromeda (opera by Manelli) .