1-5 of 5 results  for:

  • All: Opera for all x
  • Publishing and Recording Industry x
  • Musical Concepts, Genres, and Terms x
Clear all

Article

Desmond Shawe-Taylor

the most assiduous and cosmopolitan opera-going. Not only do more and more of the voluminous works of Rossini, Donizetti and Verdi reach the catalogues, but also the operas of Franz Schreker, George Enescu, Albéric Magnard and many more. A cautious writer now hesitates to describe any opera as inaccessible on disc for fear of being proved wrong by the time his words are printed. As for the standard classics, it is scarcely possible to exaggerate the ‘mushrooming’, during the 1980s, of the record industry and its activities. All this, it may well be thought, is by and

Article

Ronald W. Rodman

broadcast to appeal to the mass viewing market. Eventually, the special broadcasts and commissions for new classical works died out as other TV genres such as dramas, situation comedies, sporting events, and news and current events programs gained popularity. Almost all classical music broadcast in both opera and the concert hall was taken over by such public television networks as PBS, which began in 1961 . The influence of Broadway on television was evident in the NBC broadcast of the Broadway musical Peter Pan starring Mary Martin in the title role. The musical

Article

Nicholas Temperley

narrowest criterion – that opera must be all-sung – is to reduce English opera between 1762 and 1891 to a mere handful of unsuccessful works. One may argue that what was done in English theatres at that time was not opera but something else with its own values and norms. But for the present purpose an ‘English opera’ is a work that attempts to apply the methods of mainstream continental opera to a dramatic libretto in English. No account of English opera can be true or balanced unless it is seen against the native tradition, which at all times has supplied the bulk

Article

Katherine K. Preston and Michael Mauskapf

lectures each week. After the Civil War, the orientation of the lyceum series (now called “star courses”) shifted from education to entertainment; each local series of 10 or 12 events now included concerts (by solo instrumentalists, singers, opera companies, orchestras, and bands) in addition to lectures. But as individual lyceums all over the country attempted to engage performers and lecturers of national reputation, the organizational structure broke down. In the late 1860s, in response to the resulting chaos, two national lyceum booking agencies emerged: the Boston

Article

films made for television. Nearly three decades later, in carrying out the mandate of the 1976 Copyright Act to establish an American Television and Radio Archives, the Librarian of Congress reviewed the status of all of the Library’s broadcast media (both sound recordings and moving image materials) and decided that it was more efficient to combine all visual, audio, and broadcast holdings into a single administrative unit. This resulted in the establishing of the Motion Picture, Broadcasting, and Recorded Sound (MBRS) Division in 1978 . The MBRS is responsible for