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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

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

Northern Europe (Rome, 1970) G. Casali : ‘La cappella musicale della cattedrale di Reggio Emilia all’epoca di Aurelio Signoretti (1567–1631)’, RIM , 8 (1973), 181–224 A. Chiarelli : ‘ L’incoronazione di Poppea o Il Nerone : problemi di filologia’, RIM , 9 (1974), 117–51, esp. 149ff L. Bianconi and T. Walker : ‘Dalla Finta pazza alla Veremonda : storie di Febiarmonici’, RIM , 10 (1975), 379–454 I. Mamczarz : ‘Francesco Berni, Benedetto Ferrari e l’opera comica veneziana’, Venezia e il melodramma nel Settecento , ed. M.T. Muraro (Florence, 1978), 103–30

Article

Folke Bohlin

he entered Lund University, where he studied humanities while earning a living as a private teacher. He received his essential musical training from Mathias Lundholm, Ole Bull’s teacher, who lived in Lund from 1832 to 1836 . In 1836 Lindblad played in the orchestra of the Heuser opera company and toured with part of it as orchestra leader. He also directed the Lund University Male Chorus (founded 1831 ) for more than ten years, soon making it famous abroad and stimulating the organization of similar choruses in Copenhagen and Christiania. In 1841 Lindblad took

Article

John Brackett

structured compositional environment yet are free to interpret and realize these rules according to their own strengths and abilities. In works such as Lacrosse ( 1977 ) and Archery ( 1979 ), performers improvise according to a predetermined timeline based upon all of the available instrumental combinations. When all of the combinations are exhausted, the piece ends. In Fencing ( 1978 ), performers improvise according to particular musical genres or styles that are superimposed upon one another based on the performing forces, a technique Zorn relates to the music of Charles

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

Barry S. Brook

strict control of all copying rights; the contract to last for the lifetime of the composer and his widow, with works becoming the dealer’s property when the composer’s orphaned children came of age. Thomas’s Bekantmachung and Kurzgefasster Entwurf further describe his copying and distribution practices, proposing an ingenious manuscript subscription scheme and developing his grandiose but naive vision of a conservatory – not a music school, but the expansion of his musical storehouse idea – which would serve as a permanent musical depository for all of Europe for

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

Graeme Skinner

Before Time Could Change Us ( 2005 ), to lyrics by Dorothy Porter. His first opera, The Mercenary ( 1999 ), a monodrama to a libretto by Janis Balodis, was commissioned for Lyndon Terracini, and was based on the personal history of an Italian settler in the Lismore district of northern New South Wales in the 1890s. The two-act contemporary domestic drama Love in the Age of Therapy ( 2002 ), to a libretto by Joanna Murray-Smith, was given its première by Opera Australia’s Oz Opera company at the Melbourne International Festival. Grabowsky has also produced incidental

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