1-2 of 2 results  for:

  • All: Opera for all x
  • Composer or Arranger x
  • Dance and Music x
Clear all

Article

Stephen Walsh

concerts, which introduced new music from the West (Strauss, Elgar, Debussy, Mahler) and were by far the best played. Stravinsky would also sometimes go to the Mariinsky with his teacher, but only ever to opera (Rimsky-Korsakov and his entire circle despised ballet). Rimsky-Korsakov himself was writing mainly operas at the time, and his own premières were red-letter days for all his pupils. Stravinsky went to Pan Voyevoda (in the Conservatory) in October 1904 , and The Legend of the Invisible City of Kitezh , another score on which he himself had worked, at the Mariinsky

Article

Peter Kemp

aus der Geschichte der “Fledermaus” in Wien’, ÖMz , 28 (1974), 217–25 P. Kemp : ‘Der Schelm von Bergen: [Johann] Strauss’s Other Opera’, Tritsch-Tratsch , 28 (1975), 12–21 F. Racek : ‘Zur Entstehung und Aufführungsgeschichte der “Fledermaus”’, ÖMz , 30 (1975), 264–72 N.A. Godel : ‘The Operetta Wiener Blut : an Analysis of its Score’, Tritsch-Tratsch , 30 (1976), 8–20 A.M. Lamb : ‘ Die Fledermaus : from Vaudeville to Opera House’, About the House [Journal of the Friends of Covent Garden], 5/4 (1977), 4–9 P. Kemp : ‘ Aschenbrödel : Johann’s Cinderella