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Danica Petrović

Austria and in Serbian cities, was the conductor of the oldest Belgrade singing society ( 1863 ), composed music for the theatre, and was involved in the founding of a music school in Belgrade. With the Vienna opera choir he gave the first concert performances of Serbian church music, in the hall of the Musikverein in Vienna in 1855 and 1861. Works all published works printed in Vienna Complete Works, general editor D. Petrović: Piano Music, vol. 1 (Belgrade–Novi Sad, 2004) Songs for Voice and Piano, Male and Mixed Choir, vol. 2


Leah Dolidze

Association for the Staging of Operas in the Georgian Language. During an eight-year period he travelled throughout almost the whole of Georgia, notating approximately 300 traditional songs. He took an active part in the country’s musical life, and from 1919 was a professor at the Tibilisi Conservatory, at various times serving as its director ( 1919 , 1923 , 1929–32 ). In 1925 Paliashvili was named ‘People’s Artist’, the first Georgian composer on whom this Soviet title was conferred. His operas were staged by the leading opera theatres of the former Soviet Union


Ferenc Bónis

principally in his compositions. His works, which include three operas, two masses, sacred and secular oratorios, a melodrama, songs and piano pieces, show him as a cultivated creator, with good taste but little originality. He did, however, perceive the cultural demands and possibilities of his time and country, and was enterprising as a teacher and organizer, as a collector and publisher of folksongs, as a theatre director and as the author of books on music theory; the initiative which he took in all these fields helped form the basis for progressive musical life


Josiane Bran-Ricci

revised by Hervé Lacombe

Academia Imperial das Bellas Artes, Rio de Janeiro, and was appointed professor of harmony at the Paris Conservatoire in 1862. Apart from an unsuccessful attempt at serious opera with Jeanne la folle (given eight performances at the Opéra), Clapisson was essentially a composer of opéra comique. Initially known in the salons for his nocturnes in several parts, he hoped to make his name at the Opéra-Comique, where his first work, La figurante , attracted much attention and had 46 performances. Despite some promising experiences, for instance with La perruche , which


Bruce Alan Brown

Durazzo, Count Giacomo ( Pio Francesco Antonio Maria ) ( b Genoa , April 27, 1717; d Padua , Oct 15, 1794 ). Italian diplomat , theatre director , librettist and art collector , and one of the principal catalysts of reform in 18th-century opera and ballet. The francophilia that coloured nearly all Durazzo's theatrical endeavours was largely the result of his birth into a noble Genoese family (of Albanian origin) with a long history of commercial and political dealings with France. The Durazzos (who produced several doges, including Giacomo's older brother


Linda Troost

italianate arias like ‘When William at eve’ and ‘Light as Thistledown’. Unlike some earlier comic opera composers, he did not fall into the habit of assigning traditional ballads to rustics and italianate arias to the gentry: in Rosina , all the principal characters sing both types of music, and the blend seemed to please audiences. According to the Covent Garden accounts, Shield received £100 for the music (not £40, as Parke claimed in his memoirs) six months after the opera opened. After Robert Burns’s death a folk melody in the overture to Rosina (played by bassoons


Andrew D. McCredie

revised by Samantha Owens

and Handel. He produced almost all of Handel’s operas and oratorios, either in concert or on the radio. His extensive library, owned since 1960 by the Fisher Library, University of Sydney, included many Handel first editions. Dalley-Scarlett’s work promoting Handel’s music – which included two Handel Festivals held in Brisbane in 1933 and 1934 , respectively – resulted in the town of Halle awarding him their prestigious Handel Medal for his services to Handel research. His compositions, which number around 300 works (almost all in manuscript), remain relatively


David Brown

In 1833 and 1834 he published his three-volume collection of Russian folksongs, Russkiye narodnïye pesni , which contains arrangements of 108 tunes, some of which had appeared in his earlier Journal of National Music. It is difficult to judge Kashin as an opera composer, since the music of all except Natal′ya, the Boyar’s Daughter is lost, like much of his other music. In what has survived he shows himself to have been a typical Russian composer of the early 19th century, depending on foreign styles and writing in a characterless manner; his compositions


Owain Edwards

violinist , composer and collector. His earliest compositions were songs and incidental music for the Lincoln’s Inn Fields Theatre, where he also played. In 1705 he was engaged to play in the orchestra at the new Queen’s Theatre in the Haymarket, where the following year the semi-opera The British Enchanters , or No Magick like Love , with music mostly by Corbett, had 11 performances. He was greatly admired as a solo performer, often being billed as the chief attraction at the benefit concerts of colleagues in London. He also appeared further afield: he played at


Kerala J. Snyder

revised by Geoffrey Webber

amalgamation of complementary texts found in much Lutheran church music of this period. The latter include Aller Augen warten auf dich (which follows the order biblical verse–aria–chorale–biblical verse, repeated) and extended multi-sectional works such as Alle Menschen müssen sterben. Several developments may be noted in the compositions dating from the mid-1690s onwards including the increasing prominence of the trio of two oboes and bassoon, the use of all violins in unison, the tendency towards distinct formal sections (including non-strophic aria movements with


John Tyrrell

church music, and from 1845 Valachian folk music elements began to appear in his music. Although he wrote an opera to a Russian text ( Tamara , unperformed) and some Russian romances (to texts by A.J. Pukarov and N.A. Nekrasov) his contacts with Russian composers and his long stay in Russia left little trace. In spirit and idiom his works hardly go further than his early patriotic Moravian music and by later years were all but forgotten. In addition to two operas (including the one-act Zajatá , ‘The Woman Captive’, given in Prague in 1869 ), he wrote two cantatas, marches


Roger J.V. Cotte

depleted estate, and has since been untraced. Several portraits of Bagge are known, one of them engraved by Nicolas Cochin (reproduced in Terry) and another portraying him with a violin ‘comme un ménétrier’. Works all printed works published in Paris Orchestral 3 sinfonie (1788) 4 vn concs., all (n.d.) vn conc., F-Pn; 2 symphonies concertantes, D-B Chamber 6 quatuors concertants, str qt, op.1 (1773) 6 trio, 2 vn, b (n.d.) Airs de Marlborough variés