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Composers --- Songwriters --- Musicians --- Meyerbeer, Giacomo, --- Beer, Jakob Liebmann Meyer --- Operas --- Compositeurs --- Opéras --- Discography --- Discography. --- Discographie
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A comprehensive guide to Saint-Saens' SAMSON AND DELILAH, featuring insightful and in depth Commentary and Analysis, a complete, newly translated Libretto with French/English side-by side, and over 25 music highlight examples.
Operas. --- Burlettas --- Comic operas --- Intermezzos (Operas) --- Light operas --- Opera buffas --- Opera serias --- Opéras comiques --- Operettas --- Puppet operas --- Singspiels --- Dramatic music --- Saint-Saëns, Camille, --- Saint-Saens, Camille,
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Meyerbeer's third Italian opera, Emma di Resburgo (Emma of Roxburgh) was premiered at the Teatro San Benedetto in Venice on 26 June 1819 only three months after Semiramide had appeared at Turin, and scored a success that far surpassed that of both of its predecessors. It was indeed the work that established Meyerbeer's reputation in Italy, and extended it even beyond the Alps into Germany. It was also the opera that brought him into close contact Other Rossini, the most important figure of t...
Operas. --- Ballets --- Burlettas --- Comic operas --- Intermezzos (Operas) --- Light operas --- Opera buffas --- Opera serias --- Opéras comiques --- Operettas --- Puppet operas --- Singspiels --- Dramatic music
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Daniel-François-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point ...
Operas --- Burlettas --- Comic operas --- Intermezzos (Operas) --- Light operas --- Opera buffas --- Opera serias --- Opéras comiques --- Operettas --- Puppet operas --- Singspiels --- Dramatic music
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This book reproduces the Ricordi vocal score of Meyerbeer's last Italian opera (Milan, c. 1825). More than hardly any other opera of the first third of the nineteenth century, Il Crociato in Egitto (Venice, 1814) appears as work standing between the epochs. In its engagement Other the traditions of the melodramma, Meyerbeer exploited here to the full all the possibilities offered by the form, Otherout actually questioning its nature. Whereas Rossini in his Neapolitan operas had undertaken a...
Operas. --- Burlettas --- Comic operas --- Intermezzos (Operas) --- Light operas --- Opera buffas --- Opera serias --- Opéras comiques --- Operettas --- Puppet operas --- Singspiels --- Dramatic music
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A comprehensive guide to Puccini's 12 operas, featuring insightful and in depth Commentary and Analysis, Story Narratives with over 120 Music Highlight Examples, and a newly translated Libretto of each opera (exclusing Turandot) with Italian English side-by-side.
Operas. --- Burlettas --- Comic operas --- Intermezzos (Operas) --- Light operas --- Opera buffas --- Opera serias --- Opéras comiques --- Operettas --- Puppet operas --- Singspiels --- Dramatic music --- Puccini, Giacomo,
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This study seeks to explore universal issues relating to the production of opera, based on the very specific example of Opera North. Containing extensive archival materials, it is a resource for opera scholars, opera workers and opera lovers, which examines the fields of opera studies through history, ethnography, and production analysis.
Operas. --- Burlettas --- Comic operas --- Intermezzos (Operas) --- Light operas --- Opera buffas --- Opera serias --- Opéras comiques --- Operettas --- Puppet operas --- Singspiels --- Dramatic music
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The Politics of Opera in Handel's Britain examines the involvement of Italian opera in British partisan politics in the first half of the eighteenth century, which saw Sir Robert Walpole's rise to power and George Frideric Handel's greatest period of opera production. McGeary argues that the conventional way of applying Italian opera to contemporary political events and persons by means of allegory and allusion in individual operas is mistaken; nor did partisan politics intrude into the management of the Royal Academy of Music and the Opera of the Nobility. This book shows instead how Senesino, Faustina, Cuzzoni and events at the Haymarket Theatre were used in political allegories in satirical essays directed against the Walpole ministry. Since most operas were based on ancient historical events, the librettos - like traditional histories - could be sources of examples of vice, virtue, and political precepts and wisdom that could be applied to contemporary politics.
Opera --- Comic opera --- Lyric drama --- Opera, Comic --- Operas --- Drama --- Dramatic music --- Singspiel --- Political aspects --- History --- History and criticism --- Burlettas --- Comic operas --- Intermezzos (Operas) --- Light operas --- Opera buffas --- Opera serias --- Opéras comiques --- Operettas --- Puppet operas --- Singspiels
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L'Opéra de Paris, loin de l'uniformité qui règne aujourd'hui entre tous les opéras du monde, a longtemps fait cavalier seul : en jouant majoritairement des œuvres anciennes, en se refusant aux langues étrangères, en cultivant jalousement sa propre tradition. Les études réunies ici explorent les principales options qui structurent son répertoire pendant plus de trois siècles : l'ancien et le nouveau, l'équilibre entre opéra et ballet, l'inclusion progressive d'autres genres et d'autres styles, la montée en puissance de la mise en scène. Ce répertoire forme un continent en grande partie englouti, mais il suffit d'en chercher la problématique sous-jacente pour qu'il nous apparaisse sous un jour étrangement familier.
Music --- Theatrical science --- Opéra de Paris Garnier --- Opera programs --- Opera --- Opéras --- Opéra --- Congresses --- Programmes --- Congrès --- Opéra national de Paris --- Congresses. --- History --- théâtre --- XIXe siècle --- danse --- histoire --- histoire de l'art --- XXe siècle --- lyrique --- XVIIe siècle --- XVIIIe siècle --- Opéra de Paris --- répertoire --- analyse --- XXIe siècle --- musique
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Musique, littérature, théâtre, opéra - loin de s’ignorer, ces domaines de l’activité artistique s’inspirent mutuellement, échangent et partagent des thèmes et des procédés. Plus qu’une simple référence, la citation - musicale en littérature, littéraire en musique - est un apport fécond. Venus des mythes, les dieux habitent le monde de l’opéra, le parlé devient chanté dans un même élan poétique et, suprême synesthésie, la musique est image. La question de ces relations complexes et incessantes est à l’origine des travaux interdisciplinaires réalisés lors d’une université d’été européenne baptisée « Rencontres Sainte Cécile », du nom de la sainte patronne des musiciens. Cette manifestation a été organisée à l’initiative d’Élisabeth Rallo Ditche et en collaboration avec Aude Locatelli et Éric Lecler, en lien avec le prestigieux Festival d’art lyrique d’Aix‑en‑Provence.
Music and literature --- Music and language --- Operas --- Music and mythology --- Musique et littérature --- Musique et langage --- Opéras --- Musique et mythologie --- Congresses --- Literary themes, motives --- Congrès --- Thèmes, motifs littéraires --- Studies --- Musique et littérature --- Opéras --- Congrès --- Thèmes, motifs littéraires --- Congresses. --- Music and literature - Congresses
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