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"comic-opera" Definitions
  1. not to be taken seriously
  2. opera of a humorous character with a happy ending and usually some spoken dialogue
"comic-opera" Synonyms
bouffe musical genre opera bouffe opera comique Savoy opera musical comedy musical light opera comedy farce slapstick burlesque humor(US) humour(UK) pantomime sitcom satire vaudeville comic film comic play situation comedy light entertainment travesty parody caricature pasquinade skit play More

1000 Sentences With "comic opera"

How to use comic opera in a sentence? Find typical usage patterns (collocations)/phrases/context for "comic opera" and check conjugation/comparative form for "comic opera". Mastering all the usages of "comic opera" from sentence examples published by news publications.

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PATCHOGUE "Der Rosenkavalier - Opera in Cinema," screening of comic opera performance.
" Instead, he began work on a comic opera, "The Young Lord.
Mr. Carsen sees Verdi's bustling comic opera as overcast with melancholy.
Donald Trump is the undisputed hero of this comic opera in three acts.
He specialized in Italian comic opera, building up Vienna's resources in that genre.
Fortunately he's still more a comic-opera demagogue than a clear and present danger.
This 70-minute comic opera had its premiere at the 2014 Ojai Music Festival in California.
To devotees of British comic opera, "The Mikado" is one of the pinnacles of the genre.
" One of his opponents remembered the primary race as "something between a comic opera and depressing satire.
Batala is easily read as a comic-opera fascist, and Lange as an unwitting working-class hero.
She began the tribute with a reference to Scalia/Ginsburg, a recent comic opera about their famous friendship.
Even as artificial and stylized as Twitter is, the excitement there rarely seems like a comic opera to users.
Here, they offer Rossini's comic opera "Le Comte Ory" at a space that is home to a circus school.
That office was a comic-opera patronage swamp, and Mr. Cooney set a land-speed recording for draining it.
Here, they offer Gioachino Rossini's comic opera "Le Comte Ory" at a space that is home to a circus school.
He has spoken of "Mozart Dances" as his "Così Fan Tutte" — a comic opera about the bitter aftertaste of betrayal.
Venezuela's tragic decline, first under Hugo Chavez's comic-opera regime and now under Nicolas Maduro, his dimwitted successor, accelerated in 2017.
But the new version of "Ecce Homo" became known as the "Monkey Christ" and inspired memes and even a comic opera.
The Met's new production of Così fan tutte stages the comic opera at a Coney Island-style amusement park circa the 1950s.
Nearby vineyards have squabbled over the right to use the image on wine labels, and the story has even inspired a comic opera.
In the spirit of the Enlightenment, and within the genre of comic opera, Mozart really could imagine a brotherhood of Christians and Muslims.
His dialogue is as deliberately over-the-top as John Williams's comic-opera blasts of sinister brass whenever we see the bad guys.
Even "Un Giorno di Regno," Verdi's comic opera once debunked as an embarrassment for the composer of "Falstaff," is not the obscurity it once was.
But does an adaptation of Euripides' "The Bacchae" — the story of a dull king who loses his head to Dionysus — belong at a comic opera house?
Four years after the fresco was repainted, the episode was celebrated in the town with a comic opera performed by professional singers and a local choir.
There are also two small watercolors and a large triptych, "Sketch for an American Comic Opera with 20th Century Race Riots" (2012) in pastel and graphite.
The novel was so popular that "Pamela"-inspired merchandise, from teacups to fans, quickly sprang up, as did spurious sequels, a theatrical version, and even a comic opera.
The liberal 83-year-old justice will make a one-night appearance in the non-singing role of the Duchess of Krakenthorp when the comic opera opens on Nov.
Four years after turning into a mocking meme, the work has helped turn its home, the small city of Borja, into a tourist mecca and even inspired a comic opera.
Justice Ginsburg is a frequent operagoer, and has even been portrayed in Derrick Wang's comic opera "Scalia/Ginsburg," featuring her and her friend on the court, Antonin Scalia, who died this year.
Andrew Lloyd Webber's musical "The Phantom of the Opera," for example, contains a nod to Mozart in the song "Poor Fool, He Makes Me Laugh," a pseudo-aria from an imaginary comic opera.
Michèle also has to deal with her mother (Judith Magre), a comic-opera narcissist who offends all of her daughter's principles of etiquette and taste, and with Vincent's selfish, abusive girlfriend (Alice Isaaz).
"Comic" does not here mean superficial or laugh-out-loud hilarious: as Rossini so superbly demonstrated in "The Barber of Seville", comic opera combines a sophisticated analysis of human interactions with a light touch.
A brief report in the Front Burner column last Wednesday about the comic opera "Das Barbecü," using information provided by a publicist, misstated the price of a seat at the bar for the performance.
Britain looks increasingly unlikely to leave the European Union; the wheels are coming off Donald Trump's comic opera quest for the presidency; and the Federal Reserve may prove simply unable to raise the price of credit.
That philosophy perhaps extended to the men's room line during the second intermission of the New York Gilbert & Sullivan Players' production of the comic opera at New York University's Skirball Center over a weekend in May.
He gave a news conference at the Met, where he declared that he would like to write a comic opera — "No more heart throbs," he said — and gave his views of the future of the art.
Considered to be a "comic" opera in three acts, Der Rosenkavalier has waltzes, glamour, a love story, fantastic arias, and humor, as well as a darker dimension of social commentary that simmers beneath all that Viennese charm.
The pair is currently working on a comic opera about Giménez's life and how the mistake that initially horrified her (and the internet) ended up saving her small town from an economic slump, The New York Times reports.
Today, the stunning Baroque building, with an ornate trompe l'oeil ceiling, continues to host a variety of stage and dance performances (including a production of Mozart's comic opera "Le Nozzi de Figaro," set to open early next year).
In "Sketch for an American Comic Opera," it's plain to see who is doing what to whom, as plantation owners waft up from Hell to blast a group of African-Americans with a fire hose, Bull Connor-style.
Similarly, the comic opera surrounding Trump's threat that he possesses White House tapes of meetings with former FBI Director James Comey would be interpreted by many legal authorities as an attempt to intimidate and influence the testimony of a key witness.
This choice, I think, is a nod to the 18th-century operatic convention that comic opera should be played "today" (as opposed to the more sober form of opera seria, which was traditionally set in classical antiquity or during the Crusades).
The danger for Democrats is overconfidence leading to overshoot, with a nominating process that could appear to voters like comic opera with far too many candidates elbowing and criticizing each other, and trailing candidates saying outrageous things in desperate efforts to get attention.
PARIS — Four years after a well-meaning widow in a Spanish town botched the restoration of a century-old fresco of Jesus crowned with thorns, the episode is being celebrated there with a comic opera performed by professional singers and a local choir.
The widening dispute has no doubt had its comic-opera overtones, with its outlandish insults from the Italians — the far-right leader and interior minister, Matteo Salvini, recently said France should get rid of its "very bad president" — and the injured dignity of the French.
Putin is undoubtedly a rich target for ridicule: his bare-shirted, bareback horsemanship, his bald lies of no troops being in Ukraine, his palaces, his comic-opera inaugurations, his claims of no Russian intervention in foreign elections, his alleged cosmetic surgery, and his annihilation of hapless judo opponents.
Let's look at one work, Richard Strauss's 1911 comic opera, "Der Rosenkavalier," that peddles this lie to enduring popular acclaim, and then at a far superior work, Shakespeare's "Antony and Cleopatra," which undermines the stereotype and illuminates some special attributes, even advantages, of sexual love between the aging.
Town and church officials there were quick to capitalize on the controversy, installing an arts center for Beast Jesus in 2016 months before the the mangled, monkey Jesus became the subject of a comic opera that premiered in the courtyard of the fresco's church, Sanctuary of Our Lady of Mercy.
Mr. Slavin is not only a clever, and possibly sly, persuader with a gift for color and lighting, but also a talented stage manager who can position any group as a lucid explanation of what it does, or as a symbol of itself, as a comic opera, or as a bundle of unexpected redundancies.
The uncertainty veiling even a small detail like this one is an indicator of the power that ambiguity bestows on the silhouettes, which is the reason why I find conventionally fleshed out images like "Sketch for an American Comic Opera with 63th Century Race Riots" less compelling, even if they are more emotionally expressive in their drawing and brushwork.
A comic opera titled "Behold the Man" will grace the courtyard of the 19th-century fresco's home, the Sanctuary of Our Lady of Mercy in the Spanish town of Borja, telling the entire saga of the work's transformation: how Giménez's amateur hands ruined Elias Garcia Martinez's original portrait of Jesus; the international outrage that ensued; the artwork's inevitable meme-ification; and how the Beast, with its fuzzy face and goggle-eyed expression, apotheosized to tourist destination and eventually saved the small village.
While the plot might suggest a comic opera with beautiful music — an amusing matinee — underneath the 18th-century Viennese schlag (in German, to strike a blow and a shortened versions of schlagobers — whipped cream) is a much darker story encoded with early 20th-century themes of social change and the end of the Habsburg Empire: the relentless passage of time; the position of women in society; the construction of gender; the fall of the aristocracy and rise of the bourgeois; the meaning of love; the inevitability of change; and the masquerade of social rules and roles embedded in disguised desires.
In 1908, Siedle, along with Charles Campbell, wrote the book and lyrics to Julian Edward's comic opera, The Gay Musician.The Gay Musician: A Comic Opera. Music by Julian Edwards. Book and Lyrics by Edward Siedle and Chas.
He conducted the premiere of the comic opera Père des Amours by Eugène Lapierrein 1942.
The Oolah is an 1889 comic opera which starred Francis Wilson and Marie Jansen on Broadway.
In 1950, the Soviet composer Tikhon Khrennikov produced a comic opera Frol Skobeev based on the story.
Comic opera was relatively rare during the Baroque era in France and the musicologist Cuthbert Girdlestone expresses his surprise that none of Rameau's contemporaries seem to have remarked on the innovative nature of Platée.Girdlestone p.336 Rameau may have been inspired by a revival of an earlier comic opera, Les amours de Ragonde by Jean-Joseph Mouret, in 1742,Ivan A. Alexandre p.28 or by Joseph Bodin de Boismortier's comic opera-ballet, Don Quichotte chez la Duchesse from 1743.
Tom Pollard. Tom Pollard (28 April 1857 - 30 August 1922) was a New Zealand comic opera producer and manager.
He composed songs and comic opera scores, and was associated with Percy Anderson and other theatrical figures in London.
In 1876, D'Auban arranged the dances for the Gilbert and Frederic Clay comic opera Princess Toto, starring Kate Santley.
Giovanni Battista Casti (29 August 1724 – 5 February 1803) was an Italian poet, satirist, and author of comic opera librettos.
"Too little bold and witty are we – Comic Opera". The Times, 10 April 1991. See also, Walters, Michael. "Gilbertian Gossip".
"Opera to change nightly". Amarillo Globe- News. October 23, 2013.Speed Dating Tonight: Comic Opera in One Act – About. Facebook.
The difficulty was more pronounced in comic opera which lacked the music to assist a performer. Trentini had never spoken lines at this point in her opera career. Herbert's comic opera, Naughty Marietta (1910), was set in New Orleans in 1750. In the second act Trentini was given an opportunity to portray a boy.
In a long article in Le Figaro in July 1856, Offenbach traced the history of comic opera. He declared that the first work worthy to be called opéra-comique was Philidor's 1759 Blaise le savetier, and he described the gradual divergence of Italian and French notions of comic opera, with verve, imagination and gaiety from Italian composers, and cleverness, common sense, good taste and wit from the French composers. He concluded that comic opera had become too grand and inflated. His disquisition was a preliminary to the announcement of an open competition for aspiring composers.
He continued to create new music, and in 1851 he composed a Messa da Requiem which was extremely successful all over Europe and a comic opera Il venturiero (performed in Livorno in 1851). For the Pergola, he composed a sacred drama Baldassarre in 1852, and in 1857 he wrote, with the collaboration of Luigi Gordigiani, the comic opera Fiammetta. This final comic opera marked the end of his compositions for the theater. From that moment on he sacrificed his operatic career, and dedicated himself to composing sacred music, organizing events, orchestral conducting, and teaching.
Stinkfoot, a Comic Opera is in pre-production as part of a major part of a film called The Last Showboat.
He also composed the comic opera Der Ritterschlag (The Knight's Dubbing), as well as a series of works of chamber music.
His last opera of this period was Harvest Home, a two-act comic opera first performed at the Haymarket in 1787.
The influence of the Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating the Italian and French models along with their own musical traditions. Examples include German singspiel, Viennese operetta, Spanish zarzuela, Russian comic opera, English ballad and Savoy opera, North American operetta and musical comedy.
Veach will star in the Indianapolis Opera's production of Gaetano Donizetti's comic opera Elixir of Love, to be held in November 2019.
GLOW is Greenville's professional opera, operetta and musical theatre company and produces a summer festival season of comic opera, operetta and musical theatre.
In 2020, Mattila played a parody of herself as an opera diva stuck in Finland, in the new comic opera Covid fan tutte.
In 1930 he completed his comic opera 'The Tailor'Gazzoni, Giovanni and John Goss (1930). "Bernard van Dieren's 'The Tailor'," The Musical Times, Vol.
Prodaná nevěsta is a 1975 Czechoslovak film starring Josef Kemr. It is based on the comic opera The Bartered Bride by Bedřich Smetana.
Sadie Martinot c. 1880s Martinot made her London debut on Boxing Day, 1880, at the Alhambra Theatre as the Spirit of the Bracken in the three-act comic opera Mefistofele II.by Hervé (composer), with book by Georges Jacobi and Alfred Maltby Mefistofele II: Grand Spectacular Comic Opera in Three Acts accessed 6.9.13 At the same theatre the following March, she played Celine in the Opéra bouffe Jeanne, Jeannette, et Jeanneton.Paul Lacôme(composer) with book by Charles Clairville and Alfred Delacour On October 14, 1882, she created at the Royal Comedy Theatre, London, the role Katrina in the comic opera Rip Van Winkle.
She next sang the role of Phyllis in Iolanthe."Last Week of Iolanthe at the Museum", Boston Daily Globe, February 22, 1885, p. 10 In May 1885, with the McCaull Comic Opera Company, Jansen played Rosetta in Sydney Rosenfeld's adaptation of the Millöcker comic opera Der schwarze Husar (The Black Hussars).Millöcker, Rosenfeld, Wittmann and Wohlmuth. The Black Hussars, 1885.
The Beggar's Opera has had an influence on all later British stage comedies, especially on nineteenth century British comic opera and the modern musical.
A Wedding is a comic opera based on Altman's film, composed by William Bolcom, with a libretto written by Robert Altman and Arnold Weinstein.
A comic opera with a similar plot is taking place on stage when Christine hears the news that Fritz has been killed in a duel.
Based on the English comedy Our Wife by John Maddison Morton, it premiered on May 1, 1884 at The National Theater, Washington D.C. It was one of the first American operettas and was billed as "America's First Comic Opera", although it was based on an English comedy set in France. It also marked the comic opera debut of DeWolf Hopper, who sang the role of Pomaret.
She performed in comic opera and pantomime in London and the British provinces for eight years before venturing into theatre management with the Avenue Theatre in 1885."Miss Violet Melnotte: Death of London Theatre Owner", The Singapore Free Press and Mercantile Advertiser, 30 September 1935, p. 11 She was manager of the Comedy Theatre when her Miss Violet Melnotte's Comic Opera Company launched the original British production of Edward Jakobowski's comic opera Erminie (1885), which went on to become an international sensation."Erminie", Victoria and Albert Museum, East London Theatre Archive Collection, accessed 25 April 2014 Melnotte played the role of Cerise Marcel in the production.
552 She left this show when America's top musical manager, John McCaull, invited her there to star in comic opera, vaudeville, variety musicals, and, briefly on Broadway with his McCaull Comic Opera Company, as Oudarde in an adaptation of a French melodrama, Lorraine (1887). Soldene wrote a play, Jeanne Fortier, the Bread Carrier, that premiered at Niblo's Garden on 10 June 1889. She then settled in San Francisco, where she played heavy ladies in comic opera from 1890 to 1892 at the Tivoli and the Orpheum theatres. In 1892, she played again for a season in Australia, but the trip was a financial disaster for her and completely depleted her funds.
His comic opera style served as a model for generations of musical theatre composers that followed, and his music is still frequently performed, recorded and pastiched.
Sviatoslav Richter called it "the greatest comic opera of the century"Personal diary, published in Bruno Monsaingeon Sviatoslav Richter: Notebooks and Conversations. London: Faber, 2001: p.
In 2014, Ager's comic opera "Casanova" was premiered by Ottawa's "Seventeen Voyces", directed by Kevin Reeves, and was produced again in Toronto by COSI the same year.
2 Jansen played the title role in a four-month run at the Boston Museum of the comic opera Fantine, by Firmin Bernicat and André Messager that was adapted by B. E. Woolf and R. M. Field (manager of the Boston Museum), with additional music supplied by Woolf.Boston Museum (advertisement), Boston Daily Globe, January 31, 1885, p. 9Bernicat, Firmin and André Messager. "Fantine: A Comic Opera in Three Acts", 1884.
Especially valued are the recordings that De Lucia made of Almaviva's arias and duets from Rossini's bel canto comic opera Il barbiere di Siviglia (The Barber of Seville).
Following a custom of the period, the show took its theme music from the classical repertoire, in this case the overture to Emil von Reznicek's comic opera Donna Diana.
Sarolta is an 1862 Hungarian opera by Ferenc Erkel. The comic opera Sarolta (1862) in Three Acts, was completed and first performed a year after the opera Bánk bán.
The two appeared extensively with the McCaull Comic Opera Company in Gilbert and Sullivan, Offenbach and many other comic operas. Throughout her career, she also appeared in comic plays and dramas.
"The Comic Opera Season", The Graphic, 17 September 1892, p. 349 For the Alhambra, known for its popular ballets, he wrote the score of one of the most successful, Psyche (1909).
7 In 1912, she was a featured dancer in the comic opera The Grass Widows at the Apollo Theatre."The Apollo Theatre. The Grass Widows." The Times, 9 September 1912, p.
Speed Dating Tonight!, a comic opera in one act, was commissioned and premiered in 2013 by the Janiec Opera of the Brevard Music Center."UCF Opera Presents: Speed Dating Tonight!" . SFGate.
Wang is a musical (the sheet music indicates "comic opera") with music by Woolson Morse and book and lyrics by J. Cheever Goodwin. It was first produced in New York in 1891 by DeWolf Hopper and his company and featured Della Fox.Smith, Cecil Michener and Glenn Litton, Musical Comedy in America: From The Black Crook Through Sweeney Todd (London: Routledge, 1981), 55-57 . The show mixed comic opera material with burlesque and was set in Siam.
The first opera presented in Russia, in 1731, was a comic opera (or "commedia per musica"), Calandro, by an Italian composer, Giovanni Alberto Ristori. It was followed by the comic operas of other Italians, like Galuppi, Paisiello and Cimarosa, and also the Belgian/French composer Grétry. The first Russian comic opera was Anyuta (1772). The text was written by Mikhail Popov, with music by an unknown composer, consisting of a selection of popular songs specified in the libretto.
The company was renamed San Diego Comic Opera. The company expanded its repertoire from Gilbert and Sullivan to include musical theatre, song revue programs, comic operas, and operettas. The mission statement was revised: “To provide a regional model for the production of Comic Opera, Operetta, and Musical Theater that develops new generations of artists and audiences by producing a season of fully mounted productions and education programs.” In 2003 the name was changed again, to Lyric Opera San Diego.
Together they subsequently went on to found the Great Books of the Western World program and the Great Books Foundation. Erskine co-wrote the 1900 Varsity Show at Columbia, writing the musical score for The Governor's Vrouw (1900), a two-act comic opera by Henry Sydnor Harrison and poet Melville Cane, who also wrote the lyrics.The Governor's vrouw : a comic opera in two acts, by John Erskine, Henry Sydnor Harrison, Melville Cane. Publisher: New York : Luckhardt & Belder, 1900.
Advertisement, The Guardian (27 July 1918): 1. via Newspapers.com In 1917 a comic opera was based on her life, and named Paulette del Baye."Inside Life, Opera's Plot" Variety (June 1917): 4.
He wrote two plays: Dido, a comic opera produced at the Haymarket Theatre in 1771, with music by James Hook; and The Dutchman (1775), a musical entertainment also with music by Hook.
Nutt quit. He joined Harry Deakin's Lilliputian Comic Opera Company. This company toured America in an operetta called Jack, the Giant Killer. Nutt and his brother Rodnia put together a variety show.
It rechristened its territories > As the "Banana Republics", > And over the sleeping dead, > Over the restless heroes > Who brought about the greatness, > The liberty and the flags, > It established a comic opera ...
Cover of Jakobowski's Erminie – New York (1887) Edward Jakobowski (17 April 1856 – 29 April 1929) was an English composer, especially of musical theatre, best known for writing the hit comic opera Erminie.
Joseph Reed (March 1723 – 15 August 1787) was an English playwright and poet known for his 1761 farce The Register Office and the 1769 comic opera adaptation of Henry Fielding's Tom Jones.
Villanova University. Library record 807456: "L'avaro; a new comic opera in two acts. As performed at the King's Theatre, in the Hay- Market. The music entirely new, by the celebrated Signor Anfossi".
Many classic works were translated into ottava rima. It was later used in Italian libretti; perhaps the most famous example ends with the title of the comic opera Così fan tutte (1789).
Die schweigsame Frau (The Silent Woman), Op. 80, is a 1935 comic opera in three acts by Richard Strauss with libretto by Stefan Zweig after Ben Jonson's Epicoene, or the Silent Woman.
Musical theatre was developed in the West in the 19th and 20th Centuries, from music hall, comic opera, and Vaudeville; with significant contributions from the Jewish diaspora, African-Americans, and other marginalized peoples.
Contemporary Canadian Composers ed. by Keith MacMillan and John Beckwith. Toronto : Oxford University Press, 1975 Quesnel was the subject of the comic opera Le Père des amours, written by Eugène Lapierre in 1942.
The vendor is documented in the Russian Lubok prints. Sbitenshchik became 1783 the main theme of the popular comic opera The Sbiten Vendor by Yakov Knyazhnin with music by Czech composer Antoine Bullant.
Stepchildren of Music. G T Foulis & Company Ltd, London, 1923. XVI. The Tragedy of a Comic Opera, p173-179. However, the music has been greatly admired by composers including d'Indy, Ravel and Stravinsky.
Rowell, G. & Mobbs, K. (1962) Engaged! or Cheviot's Choice. A comic opera in three acts. Written by W. S. Gilbert. Chappell & Co. Rowell, G. (ed.) (1968) Late Victorian plays, 1890-1914 (World's Classics).
The entire script of the original Stinkfoot: An English Comic Opera with an introduction by Ki Longfellow-Stanshall and illustrations by Vivian Stanshall was published in 2003 by Sea Urchin Editions based in Rotterdam.
The work was not without its detractors. Padre Martini criticised its light, operatic style in 1774, and believed it was too similar to Pergolesi's comic opera ' to adequately deliver the pathos of the text.
In 2014, the librettist Jeremy Denk and the composer Steven Stucky created the comic opera The Classical Style in honor of the work. The piece premiered June 13, 2014 at the Ojai Music Festival.
Die Abreise (The Departure) is a comic opera in one act by composer Eugen d'Albert. The libretto was written by Ferdinand Sporck, a friend of the composer, after a play by August Ernst Steigentesch.
His comic opera Whistle for it was produced in 1807, and his adaptations of Timon of Athens in 1816. His most important work, a translation of the poems of Catullus, was published in 1821.
Kelly, ed. Thal 1972, 24–26. Kelly also made his stage debut in Dublin. A promoter, Pedro Martini, brought an Italian company (including Peretti) to perform comic opera at the Smock Alley Theatre. Sig.
Le stravaganze del conte (meaning The Eccentricities of the Count) is the first opera by Italian composer Domenico Cimarosa. The comic opera was first performed at the Teatro de' Fiorentini at Naples in 1772.
Romulus is a 2007 comic opera in one act by Louis Karchin based on an 1854 play by Alexandre Dumas, père; the libretto is by Barnett Shaw, based upon his own translation of the play.
Three's Company is a 1958 comic opera by Antony Hopkins broadcast by the Australian Broadcasting Corporation in 1958. Australian TV drama was relatively rare at the time. It aired in Sydney on August 13, 1958.
His comic opera The Beautiful Bridegroom, based on the play "Den forvandlede Brudgom" by Ludvig Holberg, was awarded first prize in the National Opera Association's Chamber Opera Composition Competition in 2009. Written for a cast of six sopranos, it has been produced over thirty times. Another comic opera, An Embarrassing Position, based on a sketch by the same name by Kate Chopin, received a Big Easy Entertainment Award in 2011. It also received first prize in the National Opera Association's Chamber Opera Composition Competition, in 2013.
Poster for original production of Les cloches de Corneville Comic opera is a sung dramatic work of a light or comic nature, usually with a happy ending and often including spoken dialogue. Forms of comic opera first developed in late 17th-century Italy. By the 1730s, a new operatic genre, opera buffa, emerged as an alternative to opera seria. It quickly made its way to France, where it became opéra comique, and eventually, in the following century, French operetta, with Jacques Offenbach as its most accomplished practitioner.
Slaves in Algiers, or a Struggle for Freedom is a play written by Susanna Haswell Rowson in 1794. First staged at the Chestnut Street Theatre in Philadelphia, Rowson's comic opera engages with the Barbary captivity crisis.
"The Coquette", The Era, 18 February 1899, p. 15 The Blue Moon (1905) Pounds continued to perform in comic opera and operetta. In 1900 he starred in a revival of Dorothy.The Times, 14 February 1900, p.
Steele's text was so well known and influential that seven decades after his publication, George Colman modified the short story into a comic opera, showcasing three relationships between characters of varying social statuses to reach multiple audiences.
Le diable dans le beffroi (The Devil in the Belfry) is an unfinished comic opera in one act by Claude Debussy to his own libretto, based on Edgar Allan Poe's short story The Devil in the Belfry.
The Secret () is a comic opera in three acts by Bedřich Smetana. The libretto was written by Eliška Krásnohorská. The premiere took place on 18 September 1878 at the Nové České Divadlo (New Czech Theatre) in Prague.
He is also an academic, and the couple have two children, Jennifer and Eric, and three grandchildren. Weis enjoys choral singing and performing in musical theatre and comic opera, including at the International Gilbert and Sullivan Festival.
The music is suggestive of a comic opera; bright and lively, it starts with plenty of percussion and brass instruments. After a while, the ambience changes to suggesting a party, and the overture ends with a finale.
Ero s onoga svijeta (usually translated as Ero the Joker, literally Ero from the other world) is a comic opera in three acts by Jakov Gotovac, with a libretto by Milan Begović based on a folk tale. The genesis of the opera was at Vrlička Česma in the town of Vrlika, a hometown of Milan Begović. According to Croatian musicologist Josip Andreis, Ero s onoga svijeta is "not only the most successful Croatian comic opera to this day, but also the only Croatian opera with a presence in the theaters abroad".
Despite the rift with Garrick, Dibdin's output continued successfully. The dialogue The Imposter, or, All's not gold that glitters, was written for Sadler's Wells in 1776, and his comic opera The Metamorphosis modelled on Molière's Sicilian, but with songs and music his own, was performed at the Haymarket in the same year. His comic opera The Seraglio, incorporating the famous rondeau song 'Blow High, Blow Low' (written during a gale returning from Calais) was first acted at Covent Garden in November 1776.Hogarth (Ed.), Songs of Charles Dibdin (1848), Vol.
Playfair was born in Ellichpur, India. He first appeared on the London stage in December 1887."Arthur Playfair, Actor, Dead". The New York Times, 29 August 1918, accessed 6 February 2011 He went on to create roles in the Victorian burlesque Cinder Ellen up too Late (1891); the comic opera The Mountebanks (1892) by Alfred Cellier and W. S. Gilbert; as Sir Reddan Tapeleigh, with Jessie Bond, in the musical comedy Go-Bang (1894) by Adrian Ross and F. Osmond Carr; and the comic opera His Excellency (1895) by Gilbert and Carr.
From 1892 to 1895 La Shelle served as general manager and director of the Bostonians, a theatrical troupe previously known as the Boston Ideal Opera Company.Miller, T., Wilmeth, D. B., 1889, p.324, A Hundred Years of Music in America, Retrieved June 9, 2014 It was during this period that La Shelle first met with success as a producer when the Bostonians presented the comic opera Robin Hood. In 1895 La Shelle partnered with Arthur F. Clarke, the Bostonians’ former business manager and advance man, to back the Frank Daniels’ Comic Opera Company.
In 1879 she worked at the Folly Theatre, which she also managed for the time. Dolaro travelled to the United States that autumn, appearing in October at the Academy of Music in New York City in the title role of Carmen, but reviews were mixed, with one critic commenting that she seemed "much more at home" performing in burlesque and comic opera. She then joined a touring comic opera troupe before returning to London. In 1880 she appeared again at the Globe Theatre as Cerisette in Farnie & Genee's The Naval Cadets.
William Luscombe Searelle (1853 - 18 December 1907) was a musical composer and impresario. He was born in Devon, England, and brought up in New Zealand, where he attended Christ's College, Christchurch. Searelle began working as a pianist in Christchurch and graduated to conductor. He sang, wrote, directed, composed and conducted: at the age of twenty-two his comic opera The Wreck of the Pinafore was produced at the Gaiety Theatre in London. The comic opera Estrella, written with Walter Parke, became a smash hit in Australia in 1884.
Il padiglione delle meraviglie is a 1924 comic opera in two parts by Ettore Petrolini. It premiered at the Teatro Verdi in Vicenza on 30 November 1924 and was performed by the Piazza Pepe. The protagonist is Tiberio.
See America First is a comic opera with a book by T. Lawrason Riggs and music and lyrics by Cole Porter. The first work by Porter to be produced on Broadway, it was a critical and commercial flop.
Fricot in The Belle of New York, which had a one-week booking in December 1897.Theatres, New York Times, December 19, 1897, pg. 9. By August 1898, she was receiving offers from English managers of comic opera.
Vlasta Novotna, from a 1914 publication. Vlasta Novotna, from a 1913 publication. Vlasta Novotna (born 1890s) was a Czech dancer billed as a member of the Imperial Russian Ballet, but more often seen in variety and comic opera programs.
Howson as Josephine Emma Howson (28 March 1844 - 28 May 1928) was an Australian opera singer and actress primarily known as the creator of the principal soprano role of Josephine in the Gilbert and Sullivan comic opera H.M.S. Pinafore.
There were two different remodeling projects, one in 1798 and one in 1801. The opening there took place on 6 January 1791, when Sarti's 3-act comic opera Le nozze di Dorina was presented.Sadie 1992, vol. 3, p. 867.
As a librettist, he notably collaborated with Auber and Adam; he was also librettist for Ferdinand Hérold's comic opera Zampa. Ignaz Brüll's most successful opera, Das goldene Kreuz (The Golden Cross), was also based on a story by Mélesville.
Ching's opera Buoso's Ghost is a comedic sequel to Puccini's one-act comic opera Gianni Schicchi.Grover- Friedlander, Michal. "Michael Ching's Buoso’s Ghost: Directing Ghosts and the Impossibility of Canonizing Interpretation". Presented at: Hong Kong Composers' Guild. November 26, 2007.
Lady Bumtickler's Revels is a pornographic book written as a spoof libretto for a comic opera on the theme of flagellation.Chakravorty, Swapan and Gupta, Abhijit (eds.) (2011). New Word Order: Transnational Themes in Book History. p. 85. Worldview Publications.
Helen Bertram, from an 1891 publication. Helen Bertram (born Lulu May Burt; August 30, 1865 – September 24, 1953) was an American actress and singer in comic opera and musical theatre. She was also known for her tumultuous private life.
Poster for the comic opera Half a King (1896) Actors' Equity president Francis Wilson (right) on parade with other leaders during the 1919 strike seeking recognition of the association as a labor union He began his career in a minstrel show with Haverly's United Mastodon Minstrels, but by 1878 was playing at the Chestnut Street Theatre, Philadelphia, and the next year appeared in M'liss with Annie Pixley. After several years in regular comedy, he took up some comic opera, appearing with the McCaull Comic Opera Company and making a great success in Erminie (1886). In 1889, leaving New York's Casino Theatre, he made his appearance as a star in The Oolah. Plays in which he starred subsequently include The Merry Monarch (1890); The Lion Tamer (1891); The Little Corporal (1898); The Little Father of the Wilderness (1905); 'and 'The Bachelor's Baby (1909), which he also wrote.
Volpone is a comic opera written in 1949–52 to a libretto by Alfred Perry based on the play by Ben Jonson, was George Antheil's third opera. It was first performed in Manhattan in 1953 at the Cherry Lane Theatre.
French cultural preferences disliked comic opera for the laughter that it provoked; laughter that signalled loss of self- control and rationality. Italian operatic language tended to favor music and singing, while the French preference was more for the spoken word.
''''' is a comic opera in five acts by Werner Egk, who was also the librettist. It is based on Nikolai Gogol's play The Government Inspector. The premiere on 9 May 1957 at the Schwetzingen Festival was conducted by the composer.
Dibdin, Professional Life (1803), Vol. 1 pp. 53–57. The association with Bickerstaffe continued in Dibdin's music for the play Lionel and Clarissa at Covent Garden in 1767,Lionel and Clarissa, a Comic Opera (W. Griffin, London 1768) Read here.
In 1997, she left the Comic Opera to open her own "Event Design" agency. In 2009, Deutschland choreographed a figure-skating routine for Stefanie Frohberg and Tim Giesen when the award-winning pair began to dance together early in the year.
For example, in 1876, The Era reported that his comic opera Evangeline pleased Boston audiences with its catchy melodies."The Drama in Boston", The Era, July 30, 1876, p. 11 Braham introduced America to the works of Gilbert and Sullivan.
Playbill for the 1869 production at the Royal Gallery of Illustration Cox and Box; or, The Long-Lost Brothers, is a one-act comic opera with a libretto by F. C. Burnand and music by Arthur Sullivan, based on the 1847 farce Box and Cox by John Maddison Morton. It was Sullivan's first successful comic opera. The story concerns a landlord who lets a room to two lodgers, one who works at night and one who works during the day. When one of them has the day off, they meet each other in the room and tempers flare.
The group's express purpose was to produce and commission new English operas and other works, presenting them throughout the country.Wood, Anne. "English Opera Group", The Times, 12 July 1947, p. 5 Britten wrote the comic opera Albert Herring for the group in 1947.
Everard joined Richard D'Oyly Carte's company at the Opera Comique after numerous appearances throughout London. It was for him, in November 1877, that she created the part of Mrs. Partlett in Gilbert and Sullivan's comic opera The Sorcerer.Rollins and Witts, p. 5.
Therefore, he concluded that his financial needs obliged him to continue writing Savoy operas.Ainger, pp. 217–19 In February 1883, he and Gilbert signed a five-year agreement with Carte, requiring them to produce a new comic opera on six months' notice.
The tune of the chorus was closely parodied in "The Burglar's Chorus" ("With cat- like tread") in Gilbert and Sullivan's 1879 comic opera The Pirates of Penzance, and soon after became a popular song with the lyrics Hail, Hail, the Gang's All Here.
She married Charles Van Studdiford in 1897. In 1908 she sued for divorce for desertion.New York Times GRACE VAN STUDDIFORD SUES.;Comic Opera Star Seeks Divorce,...(Sunday August 22, 1909) She died at Fort Wayne, Indiana on January 29, 1927 after an operation.
202–203 Wiesend, Reinhard. 1984. Studien zur opera seria von Baldassare Galuppi: Werksituation und Überlieferung, Form und Satztechnik, Inhaltsdarstellung : mit einer Biographie und einem Quellenverzeichnis der Opern. He was called "the father of comic opera" by musicians of the generation that followed him.
The Musical Times and Singing Class Circular, 14 (335): p. 750. Hugh Macdonald has characterised this comic opera as "the most successful work of its kind before Offenbach".Macdonald, Hugh, "Record Reviews: French Romantics" (1986). The Musical Times, 127 (1715): p. 34.
Stedman, p. 125 Carte remembered Gilbert's libretto and suggested to Gilbert that Sullivan write the music for a one-act comic opera, Trial by Jury, which was quickly composed and added to the Royalty's bill in March 1875.Ainger, p. 108McElroy, George.
Berger, Leon. "George Grossmith" in The New Grove Dictionary of Music and Musicians, Macmillan, 1998 He also wrote the music for Arthur Law's short comic opera, Uncle Samuel (1881), the one-act curtain raiser that preceded Patience on the Opera Comique programme.
Der krumme Teufel (The Lame Devil or "The Limping Devil", ca. 1751), Hob. 29/1a, was Joseph Haydn's first opera. This German-language comic opera in the genre of Singspiel was commissioned by its librettist, leading comic actor Johann Joseph Felix Kurtz.
In the 2000s, she wrote several manuscripts, which remained unpublished. In 2004, Fischer directed Uròboro, a post-modern version of Little Red Riding Hood in the form of a comic opera. Madeleine Fischer died on 8 April 2020 in Gubbio at the age of 84.
Ribáry studied at the Franz Liszt Academy of Music between 1943 and 1947, studying composition with Ferenc Szabó, a later rector. In 1959, the Hungarian State Opera presented the one- act comic opera, The Divorce of King Louis based on the drama by Sándor Bródy.
The Lord of the Manor is a comic opera by the British soldier and playwright John Burgoyne. It was first staged at the Drury Lane Theatre in December 1780.Nicoll p.201 It was written by Burgoyne for his lover, the actress Susan Caulfield.
In 1869, he was appointed assistant librarian to the Conservatory. In 1863, he produced his comic opera Die dreifach Hochzeit im Bäsethal, and in 1879 Der verhäxt Herbst. These were both in Alsatian dialect. In 1877, he brought out the one-act opera Après Fontenoy.
A recording of The Magic Knight was released with Dream City in 2006 by the Comic Opera Guild.Information about Victor Herbert recordings, including The Magic Knight A recording of Dream City and the Magic Knight was released in 2014 by the Ohio Light Opera.
Marie Louise Anna Beaudet (December 5, 1859 - December 31, 1947) was a Canadian actress, singer and dancer for more than 50 years, starred in stage productions ranging from comic opera to Shakespeare, as well as music-hall and vaudeville, and appeared in 66 silent films.
Il trionfo dell'onore (The Triumph of Honour) is an operatic 'commedia' in three acts by the Italian composer Alessandro Scarlatti, with a libretto by . It was first performed at the Teatro dei Fiorentini, Naples, on 26 November 1718. It is Scarlatti's only known comic opera.
Thompson returned to New York following the death of Henderson in 1886 and again in the winter seasons of 1888 and 1891. In 1887 she opened at the Royal Strand Theatre, London, under her own management, in Alfred Cellier's comic opera, The Sultan of Mocha.
Kleider machen Leute (Clothes make the man or Fine feathers make fine birds) is a comic opera in a prologue and two acts by Austrian composer Alexander Zemlinsky. The libretto was written by Leo Feld, based on the 1874 novella of by Gottfried Keller.
L'inimico delle donne (The Enemy of Women) is an Italian-language comic opera in 3 acts by Baldassare Galuppi to a libretto by Giovanni Bertati.Adrienne Ward - Pagodas in Play: China on the Eighteenth-century Italian Opera Stage 2010 0838756964 "THE TITLE OF GIOVANNI BERTATI'S 1771 COMIC opera L'inimico delle donne (The Misogynist) strongly suggests that it falls into that group of theater works which exploited antagonistic relations between the sexes for their entertainment ..." It was Galuppi's first collaboration with Bertali, and premiered autumn 1771 Venice, at the Teatro San Samuele. The opera ran for 10 years.Adrienne Ward Pagodas in Play: China on the Eighteenth-century Italian Opera Stage p.
In September 1857 Smetana visited Liszt in Weimar, where he met Peter Cornelius, a follower of Liszt's who was working on a comic opera, Der Barbier von Bagdad. Their discussions centred on the need to create a modern style of comic opera, as a counterbalance to Wagner's new form of music drama. A comment was made by the Viennese conductor Johann von Herbeck to the effect that Czechs were incapable of making music of their own, a remark which Smetana took to heart: "I swore there and then that no other than I should beget a native Czech music." Smetana did not act immediately on this aspiration.
Ainger, pp. 107-8; Jacobs, p. 84 In late January 1875, The Times ran advertisements for the Royalty Theatre: "In preparation, a new comic opera composed expressly for this theatre by Mr. Arthur Sullivan, in which Madame Dolaro and Nelly Bromley will appear." Reginald AllenAllen 1975b, p.
The Rival Poets, or the Love Charm is an English comic opera in two acts by Edward German to a libretto by W. H. Scott. The opera was first performed under the title The Two Poets at the Royal Academy of Music in London in July 1886.
Traubner, Richard. "The Edwardsian Era", Operetta: a Theatrical History, Psychology Press, 2003, pp. 183–84 Sullivan's music, while containing much to admire, is "reminiscent rather than fresh", while German's contributions to the score, though partly imitative of Sullivan, marked him as a comic opera composer of promise.
In the following years, professional "jubilee" troops formed and toured. The first black musical-comedy troupe, Hyers Sisters Comic Opera Co., was organized in 1876.Southern 221. In the last half of the 19th century, U.S. barbershops often served as community centers, where most men would gather.
Other early credits for Marshall included leads in the comic opera Mlle. Modiste, written by Victor Herbert, as well as the musical, The Lady from Lane's. He was also a favorite at the New York Hippodrome. In 1910, Marshall appeared in the musical, The Cash Girl.
"Marie Tempest", The Illustrated American, Vol. 3, 6 September 1890, p. 428 She then toured the United States and Canada for a year with the J. C. Duff Comic Opera Company in such operettas as Carmen, Manon, Mignon,Obituary, The Times, 16 October 1942, p. 7, col.
B As did her sister Beatriz Michelena, a famous actress during the silent film era, Vera received her musical education from her father.Achievement of Comic Opera Star Still Remains Fresh in Mind of Patriot. The San Francisco C>all, February 16, 1902, p. 22Fernando Michelena Obituary.
Cecere set to music at least two librettos by Pietro Trinchera, including La tavernola abentorosa. Trinchera, not Cecere, was punished because La tavernola abentorosa's satirical portrayal of monastic life was considered a buffoonish mockery. It was the first comic opera written specifically for a monastic audience.
At the same time, he continued to compose shows at other theatres, including the comic opera Dandy Dick Whittington (1895), at the Avenue Theatre, with a libretto by George Robert Sims.Adams, William Davenport. A Dictionary of the Drama: a Guide to the Plays, Playwrights, Vol. 1, pp.
Lamb, Andrew. "Comic Opera Goes Latin-American, 1890-92: Part 2" in The Gaiety, Winter 2006, p. 46 The fashion in the late Victorian era was to present long evenings in the theatre, and so producer Richard D'Oyly Carte preceded his Savoy operas with curtain raisers.Lee Bernard.
Penzance is the base of the pirates in Gilbert and Sullivan's comic opera, The Pirates of Penzance. At the time the libretto was written, 1879, Penzance had become popular as a peaceful resort town, so the idea of it being overrun by pirates was amusing to contemporaries.
270 The opera was a success, running for over a year, with strong New York and touring productions. During the run, in March 1889, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write a "dramatic work on a larger musical scale".
The CBCWO was established in 1947 under the leadership of conductor Eric Wild. Wild remained principal conductor for 27 years. During his tenure he conducted the premieres of several works by Canadian composers. He notably recorded Calixa Lavallée's comic opera The Widow with the CBCWO in 1967.
Unlike his predecessor, Offenbach, and his successor, André Messager, Lecocq could not, or would not, alter his style to meet changing public tastes.Harding, p. 208 (Offenbach); Traubner, p. 184 (Messager) Lamb writes that he accepted that fashion in comic opera had changed, and he turned to other genres.
Poo-bah (right), in the comic opera The Mikado, holds many grand titles including First Lord of the Treasury, Master of the Buckhounds, Groom of the Backstairs and Lord High Everything Else. Job title inflation is the increasing number and size of grandiose job titles in corporations and organisations.
The Jew of Mogadore is an 1808 comic opera written by the British dramatist Richard Cumberland. Cumberland had previously written a successful, sympathetic play The Jew about a Jewish moneylender. However The Jew of Mogadore met with critical hostility when it opened at the Theatre Royal, Drury Lane.Schroeter p.
The Mikado is a 1967 British musical film adaptation of Gilbert and Sullivan's 1885 comic opera of the same name. The film was directed by Stuart Burge and was a slightly edited adaptation of the D'Oyly Carte Opera Company's production of The Mikado and used all D'Oyly Carte singers.
Die Opernprobe (The opera rehearsal), also titled Die vornehmen Dilettanten (The distinguished dilettantes), is a comic opera (Spieloper) in one act by Albert Lortzing, to a libretto which he adapted from a play by Johann Friedrich Jünger. The premiere was on 20 January 1851 at the Oper Frankfurt.
"Plays and Players" Broadway Weekly (October 12, 1904): 15. In 1905, she was on vaudeville starring in The Queen's Fan, an operetta. She was in a comic opera, Burning to Sing, on vaudeville in 1907. Worden taught at the summer school of the Petoskey Normal Conservatory in 1899.
Gilbert and Sullivan later produced a popular comic opera, Iolanthe in which two of the characters, Strephon and Phyllis, are "Arcadian" shepherds. Phyllis, like Chloe, is torn between two suitors. The character of Lycidas also anticipates the character of Archibald Grosvenor in Patience, who is cursed with perfect beauty.
Giovanni Bajetti was an Italian violinist, conductor, and dramatic composer. He was born in Brescia circa 1815 and died in Milan in 1876. Bajetti studied at the Milan Conservatory and conducted at La Scala. Upon his death, he left several unfinished works, included a comic opera, La Donna Romantica.
One of Hans Christian Andersen's lesser-known fairy tales is considerably expanded and re-worked by Taylor in a comic opera using the music of Wolfgang Amadeus Mozart. This was completed in 2010. All four comic operas, plus two plays, were published in Britain by Stagescripts Ltd in 2010.
Jakov Gotovac with the National opera of Bulgaria, Sofia, 1940. Osor Jakov Gotovac (11 October 189516 October 1982) was a Croatian composer and conductor of classical music. His comic opera, Ero s onoga svijeta (Ero the Joker), Croatia's best-known opera, was first performed in Zagreb in 1935.
In 1903 Gilman was the heroine in Dolly which she also performed at the Avenue Theatre in London on October 1, 1903. At the Comedy Theatre (the first London theatre she appeared at in 1896) she was seen in a comic opera playing the title role in Amorelle.
The Black Domino () is a 1929 German silent comedy film directed by Victor Janson and starring Hans Junkermann, Vera Schmiterlöw and Max Ehrlich.Bock & Bergfelder p. 440 It is based on the 1837 comic opera Le domino noir. The film's art direction was by Botho Hoefer and Hans Minzloff.
2, p. 765-6. He graduated from Trinity College, Dublin in 1735. In 1757 he was a co-founder member, with the Earl of Mornington, of the Musical Academy in Dublin. His first publicly performed piece was the burletta Midas, stylistically a bridge between ballad opera and comic opera.
William Blaisdell (April, 1865–January 1, 1931) was an American actor of both stage and screen. Among his roles on stage was the Marquis de Pontsablé in the comic opera Madame Favart. He also starred in several comedic short films with Harold Lloyd in 1918. Blaisdell died in 1931.
Hannah D. Pittman Hannah Daviess Pittman (1840-1919) was for sixteen years a member of the staff of the St. Louis Post-Dispatch and during that time was also associated with the St. Louis Spectator, a weekly paper. She is also the author of the first American comic opera.
He was born at Rennes, in Brittany, and educated at a Jesuit college there. He came to Paris in 1772, and wrote criticisms for the Mercure de France. He also composed a comic opera, Pomponin (1777). The Satire des satires (1778) and the Confession de Zulmé (1779) followed.
147–148 and Carte sent out a touring company in March 1878. Sheet music from the show sold well, and street musicians played the melodies.Jacobs, pp. 113–114 The success of The Sorcerer showed Carte, Gilbert and Sullivan that there was a future in family-friendly English comic opera.
He had run through his patrimony, but at that time still figured in fashionable circles. She at once retired from the theatre, and went with her husband to Paris. They returned in 1792 and her husband's comic opera The Magician no Conjuror at Covent Garden was not a success.
New York Times article of 24 April 1887Information about The Highest Bidder from the IBDB database In 1875, he wrote Cattarina, a comic opera with music by Frederic Clay, produced at the Charing Cross Theatre, and in 1879 he wrote the comic opera La Petite Mademoiselle, together with Henry Sambrooke Leigh, for the Alhambra Theatre. Also for the Alhambra, in 1881 he wrote an English-language adaptation of Jeanne, Jeannette and Jeanneton, a grand opera by P. Lacome after an original libretto by Clairville & Delacour. Despite all of his successful work, Reece fell on hard times in the 1880s. He died in London at the age of 53 and was buried in Kensal Green Cemetery.
627 accessed June 24, 2012 Woolf later rose to be become first violinist under the direction of Julius Eichberg at the Boston Museum in Boston, Massachusetts. Woolf and Eichberg would later collaborate on the comic opera Doctor of Alcantara, that was first produced at the Boston Museum in 1879.Benjamin E. Woolf (book), Julius Eichberg (music) The Doctor of Alcantara: Comic Opera in Two Acts accessed June 24, 2012 At some point Woolf left Boston to conduct orchestras in Philadelphia and New Orleans, but returned in 1871 to accept the position of music editor for the Boston Saturday Evening Gazette. Woolf would remain with the Gazette for twenty-three years, where he was eventually elevated to editor and chief.
Pergolesi was one of the most important early composers of opera buffa (comic opera). His opera seria, Il prigionier superbo, contained the two-act buffa intermezzo, La serva padrona (The Servant Mistress, 28 August 1733), which became a very popular work in its own right. When it was performed in Paris in 1752, it prompted the so-called Querelle des Bouffons ("quarrel of the comic actors") between supporters of serious French opera by the likes of Jean- Baptiste Lully and Jean-Philippe Rameau and supporters of new Italian comic opera. Pergolesi was held up as a model of the Italian style during this quarrel, which divided Paris's musical community for two years.
Furthermore, he was unhappy that he had to simplify his music to ensure that Gilbert's words could be heard. But paradoxically, in February 1883, just after Iolanthe opened, Sullivan had signed a five-year agreement with Gilbert and Carte requiring him to produce a new comic opera on six months' notice.
220 The musical establishment, and many critics, believed that this should end his career as a composer of comic opera – that a musical knight should not stoop below oratorio or grand opera.Dailey, p. 28; and Lawrence, pp. 163–64 Having just signed the five-year agreement, Sullivan suddenly felt trapped.
''''' (Anh 5, The Three Pintos) is a comic opera of which Carl Maria von Weber began composing the music, working on a libretto by Theodor Hell. The work was completed about 65 years after Weber's death by Gustav Mahler. It premiered on 20 January 1888 at the Neues Stadttheater in Leipzig] .
Despite this, both he and Elvira's mother are given film contracts, and appear in a comic opera together. Elmer want to tell Elvira that he loves her, but hints at it in such a way that she mistakes it for advice on how to tell Larry that she loves him.
146 Bob was also played by D'Oyly Carte touring companies in 1903-04.Walters, Michael, and George Low. "Bob", the Gilbert and Sullivan Archive, 1996, accessed 20 January 2018 In December 1904 Cellier conducted a short-lived comic opera, Ladyland, by Eustace Ponsonby and Frank Lambert at the Avenue Theatre.Wearing, p.
At the 2004 Wexford Festival, she appeared as Clarissa in a recorded production of Die drei Pintos, a comic opera by Carl Maria von Weber completed by Gustav Mahler. Zechmeister has been a teacher of voice at Dr. Hoch's Konservatorium since 2005. She was awarded the title Kammersängerin in 2011.
205 Fortescue captured the interest of young Arthur William Cairns, Lord Garmoyle (later the 2nd Earl Cairns), who had seen her on stage in Iolanthe. He proposed marriage, and she accepted, leaving the Savoy at the end of August 1883.Ainger, p. 222 Fortescue never appeared in another comic opera.
The BBC produced a documentary program about it, aired in September 1983 as The Bristol Showboat Saga. In 1985, Stanshall and Longfellow wrote, produced, and staged their Stinkfoot, a Comic Opera aboard the Thekla. The orchestra was made up of local musicians and street buskers. The show received excellent reviews.
Kowalski is still a member of the Comic Opera ensemble, and performs in the Volksbühne. One of his favourite singers is Lotte Lehmann; then there are Franz Völker and Fritz Wunderlich. Kowalski lives in Pankow in the north of Berlin. In 2013 a biography was published: Der Countertenor Jochen Kowalski.
Hotten was also a collector, author and clandestine publisher of erotica such as The Romance of Chastisement, Exhibition of Female Flagellants and the erotic comic opera Lady Bumtickler's Revels, some in a series entitled The Library Illustrative of Social Progress. Rachel Potter and others claim these are not erotic but pornographic.
Ciampi studied at the Naples Conservatorio della Pietà dei Turchini with Francesco Durante and Leonardo Leo.Van Boer 2012, p. 131. His first known success was the comic opera Da un disordine nasce un ordine, performed at the Teatro dei Fiorentini in Naples in 1737, when he was only eighteen.Walker 1954.
I disingannati (The Undeceived) is a comic opera in three acts composed by Antonio Caldara to an Italian libretto by Giovanni Claudio Pasquini based on Molière's play Le Misanthrope. It premiered on 8 February 1729 at the court theater in Vienna.Gelli, Piero (ed.) (2005). Dizionario dell'opera 2006, pp. 318–319.
Il Trespolo tutore (Trespolo the Tutor) is a comic opera in three acts by the Italian composer Alessandro Stradella with a libretto by Giovanni Cosimo Villifranchi. It was first performed at the Teatro Falcone, Genoa on 30 or 31 January, 1679. It is considered one of the first Italian comic operas.
"Memories of The Mountaineers", in Music Masterpieces: Gems from the World's Famous Operas and Musical Plays, Percy Pitt (ed.), vol. 3, part 15 (London: Amalgamated Press, 1926), p. 76 Somerville showed The Mountaineers to Workman, who was at once interested. He assembled several financial backers and formed the Comic Opera Syndicate.
3 Carte later said it was "the scheme of my life" to found a school of high-quality, family-friendly English comic opera,Joseph, p. 11 in contrast to the crude burlesques and adaptations of French operettas that dominated the London musical stage at that time.Ainger, pp. 108–109; and Stedman, pp.
Comstock moved quickly to agree on wages with the cast, and forestalled the threat. Chu Chin Chow, staged by Gest, William Elliott and Comstock was a "musical tale of the East". The musical starred Tyrone Power, Sr., Florence Reed and George Rasely. It combined elements of pantomime, ballet, musical comedy and comic opera.
Carte declined this offer, but years later, Gilbert followed through on this idea in Fallen Fairies. A revival of Gilbert's comic opera Princess Toto was also briefly considered, but Gilbert balked at Carte's suggested revisions.Stedman, p. 310 Instead, Gilbert turned to writing a new contemporary drama, The Fortune Hunter, commissioned by Edward Willard.
He was born at Guebwiller, Alsace. In 1844, he began his musical career, studying singing with Ponchard and composition with Fromental Halévy at the Paris Conservatory. In 1847, he brought out his heroic symphony Roland. In 1853, Weckerlin was most successful in the production of a one-act comic opera, L'organiste dans l'embarras.
Musical taste turned to Italian opera and French comic opera. Scheibe was strongly opposed to this new style, and his employment was terminated in 1748. His replacement was Paolo Scalabrini. Scheibe moved to Sønderborg where he opened a music school for children while continuing to write, compose, and translate Danish texts into German.
The Stubborn Lovers (Czech: Tvrdé palice), Op. 17, is a one-act comic opera in 16 scenes by Czech composer Antonín Dvořák. It was written in 1874 to the libretto of the Czech lawyer and writer Dr. Josef Štolba (1846–1930). In English, the work is also known as The Pig-Headed Peasants.
Van Swieten's strong interest in music extended to the creation of his own compositions. While in Paris he staged a comic opera of his own composition.Olleson (1963, 64) He also composed other operas as well as symphonies. These works are not considered of high quality and are seldom if ever performed today.
''''' (Be still, stop chattering), BWV 211', also known as the Coffee Cantata, is a secular cantata by Johann Sebastian Bach. He composed it probably between 1732 and 1735. Although classified as a cantata, it is essentially a miniature comic opera. In a satirical commentary, the cantata amusingly tells of an addiction to coffee.
Kacerovská played Aida with the National Theatre Opera in Prague in 1901. She also sang with the New German Opera in Prague. In 1906 she moved to Paris. She sang at the Wagner festivals in San Sebastián in 1910, 1911, and 1913, and performed with the comic opera in London, Antwerp, and Madrid.
Pierre Jélyotte in the Role of the Nymph Plataea in Jean-Philippe Rameau's Comic Opera Platée ou Junon jalouse by Charles Antoine Coypel (c. 1745) Paris, Musée du Louvre Pierre Jélyotte (13 April 1713 - 11 September 1797) was a French operatic tenor, particularly associated with works by Rameau, Lully, Campra, Mondonville and Destouches.
6; "Royalty Theatre", The Daily News, 21 November 1883, p. 6; and "A New Comic Opera", The Pall Mall Gazette, 21 November 1883, p. 4 The following year, she played in La Cosaque at the Royalty, and in 1886, she hired Sidney Jones as musical director for the tour of her musical Vetah.
Savoy Theatre programme for the original production, 1888 Mrs. Jarramie's Genie is a one-act comic opera with a libretto by Frank Desprez and music by Alfred Cellier and François Cellier. The piece was first presented at the Savoy Theatre on 14 February 1888,"Mrs. Jarramie's Genie", The Era, 18 February 1888, p.
9 Sept. 2014 He was also made vicar of Santa Maria Maggiore in Rome. Rospigliosi was an accomplished man of letters who wrote poetry, dramas and libretti, as well as what may be the first comic opera, namely his 1637 libretto Chi soffre, speri.Roger Parker (ed.): The Oxford illustrated history of opera.
Chérubin is a 115-minute studio album of Jules Massenet's comic opera, performed by a cast headed by June Anderson, Samuel Ramey, Frederica von Stade and Dawn Upshaw with the Chorus of the Bavarian State Opera and the Munich Radio Orchestra under the direction of Pinchas Steinberg. It was released in 1992.
In 2005 Jerzy Gołos published an anonymous comic opera (found in a manuscript held in Adam Mickiewicz University in Poznań), which he named Heca albo polowanie na zająca. It dates ca.1680. There were also two operas by Michał Kazimierz Ogiński staged before Nędza uszczęśliwiona (in Słonim, 1771): Opuszczone dzieci and Filozof zmieniony.
8 (both in 1886); three orchestral suites; some works for wind instruments alone; some music for the ballet; a comic opera; and some chamber music; he was also commissioned by the Mason and Hamlin company to write a suite of short pieces for the reed organ. Bird died in Berlin in 1923.
Stedman, p. 125 Meanwhile, Sullivan may have been considering a return to light opera: Cox and Box, his first comic opera, had received a London revival (co-starring his brother, Fred Sullivan) in September 1874. In November, Sullivan travelled to Paris and contacted Albert Millaud, one of the librettists for Jacques Offenbach's operettas.
Leumane was born in England, possibly in the Sunderland area, as the words of the song "The Lambton Worm" are from the Mackem dialect. As an actor, in the autumn of 1881, he created the role of Captain Harleigh in Claude Duval, a comic opera by Edward Solomon and Henry Pottinger Stephens, at London's Olympic Theatre. He then joined a tour of the D'Oyly Carte Opera Company from November 1881 to October 1882, playing the leading Gilbert and Sullivan tenor roles of Alexis in The Sorcerer, Ralph Rackstraw in H.M.S. Pinafore and Frederic in The Pirates of Penzance. In 1885, he appeared in London as Sir Lancelot in Dr. D, an English comic opera by C. P. Colnaghi and Cotsford Dick at the Royalty Theatre.
''''' (TVWV 21:9, Hamburg 1721) is a comic German-language opera in three acts by Georg Philipp Telemann to a libretto by . The opera was Telemann's first full length purely comic opera,Donald Jay Grout, Hermine Weigel Williams, A Short History of Opera (203), p. 182: "He excelled in the comic style, as evidenced from his first full-length comic opera, Der geduldige Socrates (1721), his one-act serenata, Don Quichotte auf der Hochzeit des Comacho (1761), and his intermezzo, Pimpinone (1725)," and was performed at the Oper am Gänsemarkt, while Reinhard Keiser was still running the opera. The professional UK premiere was in 1974 by Kent Opera conducted by Roger Norrington, with April Cantelo, Thomas Lawlor and Linda Esther Gray among the cast.
Sarah Frances Marie Martinot (August 19, 1861 – May 7, 1923) was an American actress and soprano singer who performed on stage in dramas, musical comedy and comic opera. Her career began at the age fifteen as Cupid in Ixion; or, the Man at the Wheel and, but for a few years absence, she remained active on stage in America and abroad until 1908. She was the first to play Hebe in an American production of H.M.S. Pinafore, the first Katrina in the comic opera Rip Van Winkle and the first to play the title role in an English adaptation of the operetta Nanon. Late in her life Martinot would fall victim to mental illness and spend her last few years confined to psychiatric institutions.
Le comte Ory is a comic opera written by Gioachino Rossini in 1828. Some of the music originates from his opera Il viaggio a Reims written three years earlier for the coronation of Charles X. The French libretto was by Eugène Scribe and Charles-Gaspard Delestre-Poirson adapted from a comedy they had first written in 1817. The work is ostensibly a comic opera in that the story is humorous, even farcical. However, it was devised for the Opéra rather than for the Théâtre de l'Opéra-Comique and there are structural inconsistencies with the contemporary opéra comique genre: whereas the latter consists of relatively short lyrical numbers and spoken dialogue, Le comte Ory consists of "highly developed, even massive musical forms linked by accompanied recitative".
Bertram sang in comic opera"Rival Queens of Light Opera Are Here for the Season" St. Louis Republic (May 25, 1901): 7. via Newspapers.com with the Emma Abbott Opera Company, the Heinrich Conried Opera Company, the Bostonians, the McCaull Comic Opera Company, Henry E. Abbey's English Opera Company, and the Carl Rosa Opera Company. Her roles included Selena in Mignon, Serpolette in The Chimes of Normandy, Arline in The Bohemian Girl, Adalgisa in Norma, Prince Julius in The King's Fool, Farina in The Tar and the Tartar (for which she danced barefoot),David K. Hildebrand and Elizabeth M. Schaaf, Musical Maryland: A History of Song and Performance from the Colonial Period to the Age of Radio (JHU Press 2017): 110.
Although the phrase originated earlier, it was popularised in Gilbert and Sullivan's 1885 comic opera The Mikado, where it appears in the song near the end of Act I, "I Am So Proud".Bradley, pp. 589–590 It has since been used in popular songs, song titles, and literature, as well as in general speech.
According to Gerald Abraham, Smetana had met Cornelius at Weimar two years previously, while the latter was working on Der Barbier. Reportedly the two composers discussed the need for "a modern type of comic opera as a complement to Wagner." Abraham, p. 29 This work would influence Smetana's own later career as an opera composer.
Original programme cover After All! is a one-act comic opera with a libretto by Frank Desprez and music by Alfred Cellier. It was first performed at the Savoy Theatre under the management of Richard D'Oyly Carte, along with H.M.S. Pinafore and another short piece, Cups and Saucers, from December 1878 to February 1880.
They are discovered and flee, but eventually they fight a battle for the princess's hand. They lose and are wounded, but the women nurse the men back to health. Eventually the princess returns the prince's love. Several later works have been based upon the poem, including Gilbert and Sullivan's 1884 comic opera Princess Ida.
"Apollo", The Times, 16 April 1906, p. 10; and "The Dairymaids at the Apollo", The Observer, 15 April 1906, p. 7 In 1907 Rolyat created the role of Benjamin Partridge in Edward German's comic opera Tom Jones. That Christmas, he played the Baron in a pantomime version of Cinderella at the Theatre Royal, Birmingham.
Donna Diana is a comic opera in three acts by Emil von Reznicek. The libretto, written by the composer, is based on a German translation by Carl August West (Joseph Schreyvogel) titled Donna Diana oder Stolz und Liebe (... or Pride and Love) of the Spanish comedy ' (Disdain with Disdain) by Agustín Moreto y Cavana.
The Viennese comic opera was written by Victor Leon, Franz Lehár and Leo Stern. The production opened first in Syracuse, New York, on September 24, 1907."The Merry Widow Appears", The New York Times, September 24, 1907, p. 11. The three-act opera played the New Amsterdam Theatre for the first time on October 21.
Preußisches Märchen (Prussian Legend) is a 1952 opera buffa with simultaneous ballet by Boris Blacher to a libretto by Heinz von Cramer based on the real life con-man Captain of Köpenick and Zuckmayer's play of the same title. The opera was the composer's first comic opera, premiered in West Berlin 23 September 1952.
In a review of a 2008 revival in Washington, D.C., Anne Midgette described it as "an exuberant sendup of over-the-top comic opera plots, filled with effusive lovers leaping with alacrity to wrong conclusions in floods of extreme vocalism."Midgette, Anne (15 July 2008). "Modest at Best, but No Less Operatic". Washington Post.
''''' (French for The Mason) is an opéra comique (comic opera) in three acts by Daniel Auber to a libretto by Eugène Scribe and Germain Delavigne. It premiered at the Opéra-Comique Salle Feydeau in Paris on 3 May 1825.Le maçon , Bibliothèque nationale de France Among the original cast was the tenor Antoine Ponchard.Elizabeth Forbes.
The Cooper is a comic opera in two acts by composer Thomas Arne. The English libretto by Arne is based on Nicolas-Médard Audinot and Antoine François Quétant’s Le tonnelier. The opera premiered in London at the Theatre Royal in the Haymarket on 10 June 1772.John A. Parkinson: "The Cooper", Grove Music Online ed.
Annie Pixley Annie Pixley (née Annie Shea, c.1848 – November 8, 1893) was an American stage actress. She was born in New York City and grew up in California. She made her debut performing comic opera and, according to her obituary in The New York Times, was well known for her work on stage.
It also hosted W. S. Gilbert and Frederic Clay's comic opera Princess Toto in 1876.Stedman, p. 142 The theatre was rebuilt in 1865, re-opening 18 November 1865, destroyed by fire on 21 October 1866 and again rebuilt. In 1882, the theatre was condemned as having inadequate fire precautions and closed on 29 July.
For the next three decades, Edwardes ruled a theatrical empire including the Gaiety, Daly's Theatre, the Adelphi Theatre and others, and sent touring companies around Britain and abroad. In the early 1890s, Edwardes recognised the changing tastes of musical theatre audiences and led the movement away from burlesque and comic opera to Edwardian musical comedy.
About 1822 Perry was appointed musical director of the Haymarket Theatre in London, where he wrote a number of operas. His comic opera Morning, Noon, and Night, with libretto by Thomas John Dibdin, included Madame Vestris in the cast; its opening night was 9 September 1822.Page 329 Margaret Ross Griffel, Operas in English. Scarecrow Press 2012.
All three volumes were published by Jonathan Cape. According to Nicolas Clifford, for Fleming China "had the aspect of a comic opera land whose quirks and oddities became grist for the writer, rather than deserving any respect or sympathy in themselves".Nicholas J. Clifford. "A Truthful Impression of the Country": British and American Travel Writing in China, 1880–1949.
6; "Royalty Theatre", The Daily News, 21 November 1883, p. 6; and "A New Comic Opera", The Pall Mall Gazette, 21 November 1883, p. 4 He also contributed to the music of the successful 1885 burlesque Little Jack Sheppard. In 1887, he accepted the post of musical director at the Comedy Theatre under the management of Herbert Beerbohm Tree.
During this time he wrote a parody of Gilbert and Sullivan's comic opera H.M.S. Pinafore titled Observatory Pinafore. Then he became an assistant engineer for the U. S. Lake Survey from 1879. In 1880 he was a computer at the U.S. Naval Observatory. He was a computer and assistant professor at the U.S. Signal Service in 1881.
His son did well but his daughter suffered in convent schools. Between 1782 and 1796, O'Keeffe wrote around 28 plays and librettos for comic operas. The Poor Soldier (1783), a comic opera with libretto by O'Keeffe and music by William Shield, was a farce about the lives of British soldiers returning home after the American War of Independence.
In his later years he made an annual custom of publishing a song on his birthday. He produced more than 200 songs, to texts by Horace, Catullus, Metastasio, Byron, and others. He composed a funeral march in memory of Victor Hugo, which was performed at the Albert Hall, and released a comic opera, Pickwick, in 1889.
Retrieved 10 September 2020 Putnam GriswoldWyndham and L'Epine, p. 96 and Robert Radford.Wyndham and L'Epine, p. 171 As a composer, in addition to his early works, Randegger wrote a comic opera, The Rival Beauties (1864); a musical play with the dramatist W. S. Gilbert, Creatures of Impulse (1871);"Royal Court Theatre", The Morning Post, 15 April 1871, p.
Among Linley's students were his eight children (Elizabeth Ann, Thomas, Mary, Samuel, Maria, Ozias, William, and Jane), as well as tenor Charles Dignum, singer and actress Anna Maria Crouch, and novelist Frances Sheridan. Linley collaborated with his son Thomas in penning the comic opera The Duenna, with libretto by his son-in- law Richard Brinsley Sheridan.
L'île du rêve is an 1898 comic opera, an idylle polynésienne in 3 acts, by Reynaldo Hahn to a libretto by André Alexandre and Georges Hartmann, adapted from Pierre Loti's semi-autobiographical 1880 novel Rarahu or Le Mariage de Loti set in Tahiti. Hahn's first opera, it premiered on 23 March 1898 at the Opéra-Comique in Paris.
Stradella wrote at least six baroque operas Le gare dell'amor eroico ossia l'Oratio Opera in three acts. Genova, Teatro Falcone 1679; revived Genova 2006. including a full-length comic opera Il Trespolo tutore. He also wrote more than 170 cantatas, at least one of which was based on a poem by Sebastiano Baldini, and six oratorios.
In 2000, T.I.S., Inc. published his songs and song cycles. ECS Publishing published Penhorwood's comic opera Too Many Sopranos, commissioned by the Cedar Rapids Opera Theatre and premiered in June 2000. The opera, now in its fifth printing, has been presented at the NATS Convention and The National Opera Association National Convention in New York City.
Le cantatrici villane (The Boorish Singers) is a comic opera (dramma giocoso) in two acts composed by Valentino Fioravanti to a libretto by Giuseppe Palomba. It was first performed in Naples in 1799.Polzonetti (2011) p. 283 A revised one act version premiered at the Teatro San Moisè in Venice as Le virtuose ridicole in 1801.
Women were actually carrying water from the river Seine to their residences in buckets. Voltaire wrote about it, saying that they "will not begrudge money for a Comic Opera, but will complain about building aqueducts worthy of Augustus". Louis Pasteur himself lost three children to typhoid. Under Napoleon I, the first Parisian vaulted sewer network was built.
To this effect, the libretto, divided into 32 scenes, may also be regarded as a byproduct of a theatrical influence. In addition, it is possible to perceive some elements of comic opera in the male-voice quartet at the end of the second act; while the reference to the Passion play is obvious on the martyrdom figure of Grandier.
Sbitenshchik () was a sbiten vendor in Kievan Rus', Muscovite Rus' and Russian Empire. The tradition began in the 12th century. The comic opera The Sbiten Vendor (Сбитенщик – Sbitenshchik) by Yakov Knyazhnin with music by Czech composer Antoine Bullant, 1783, was very popular in 18–19th centuries in Russia. Sbitenshick played an important role in the development of the samovar.
Yonge enjoyed some reputation as a versifier, some of his lines being even mistaken for the work of Pope, greatly to the disgust of the latter. He wrote the lyrics incorporated in a comic opera, adapted from Richard Brome's The Jovial Crew, which was produced at the Drury Lane Theatre in 1730 and had a considerable success.
McCay's work was very popular. It was adapted to film by McCay and others, and was optioned for Broadway. A "comic opera or musical extravanganza" called Dream of the Welsh Rarebit Fiend went unproduced, though McCay signed a contract to collaborate on it with music by Max Hirschfeld and lyrics by George Henry Payne and Robert Gilbert Welch.
He and his wife then travelled to Australia, where they performed in French operettas for the rest of the decade. They returned to Britain in 1880, continuing in operetta roles. In 1884, Bracy originated the role of Hilarion, after which he further built his reputation in British comic opera and operetta. In 1888, the Bracys returned to Australia.
A sainete (farce or titbit) was a popular Spanish comic opera piece, a one-act dramatic vignette, with music. It was often placed at the end of entertainments, or between other types of performance. It was vernacular in style, and used scenes of low life. Active from the 18th to 20th centuries, it superseded the entremés.
"On and Off the Stage." Table Talk (Melbourne), Fri 7 February 1896, Page 6. Accessed 5 May 2017 After successfully understudying in 1897 and 1898, Moore performed for Williamson's "Royal Comic Opera Company" in a number of leading roles. In a highly publicized case she took Ernest Tyson to court alleging "breach of promise", in August 1901.
Advertorial of Hong Kong Philharmonic Society's Ruddigore on Hong Kong Telegraph (1938) Hong Kong Philharmonic Society was an amateur music groups founded by a group of British music lovers in the colonial Hong Kong. Aim at producing various kind of musical performance by the British, later it focus on comic opera and made itself a quasi-theatrical group.
After this, Cook created the role of Squire Bantam in the hit comic opera, Dorothy, by Cellier and librettist B. C. Stephenson in September 1886. In the show, he was assigned the song 'Here's a welcome to all at Chanticleer Hall.'Coffin, C. H. Hayden Coffin's Book – Packed with Acts and Facts (Alston Rivers, London, 1930), pp. 71, 247.
Opéra bouffon is the French term for the Italian genre of opera buffa (comic opera) performed in 18th-century France, either in the original language or in French translation. It was also applied to original French opéras comiques having Italianate or near-farcical plots.M. Elizabeth C. Bartlet: "Opéra bouffon", in: The New Grove Dictionary of Opera, ed. Stanley Sadie.
The Bartered Bride () is a 1932 German musical comedy film directed by Max Ophüls and starring Jarmila Novotná, Otto Wernicke, and Karl Valentin. It is based on the comic opera of the same name by Czech composer Bedřich Smetana. It was shot at the Bavaria Studios in Munich. The film's sets were designed by the art director Erwin Scharf.
"Blauvelt In Comic Opera", New York Times, November 16, 1905, pg. 11. In 1906, she starred in Victor Herbert's The Magic Knight. In December 1912 she returned from Europe and performed in a solo quartet in Messiah at the Aeolian Hall. This marked her first participation in a New York City concert for a number of years.
Engle, Sherry Darlene."Madeleine Lucette Ryley", New Women Dramatists in America, 1890–1920, pp. 55–79, Macmillan, 2007 In 1875, Ryley played Fernando in the comic opera Cattarina by Robert Reece and Frederic Clay at the Charing Cross Theatre and later on tour. In Manchester in 1876, he played Captain Flint in The Sultan of Mocha by Alfred Cellier.
In 1890, De Koven wrote his most successful comic opera, Robin Hood. After opening night, the contralto playing Alan-a-Dale, Jessie Bartlett Davis, demanded a song to better show off her voice, threatening to walk out of the production. De Koven inserted "Oh Promise Me" into the score for her."Enduring American Song Hits", Parlorsongs.
Cunningham was born in New South Wales, Australia. A tenor, he made his London debut in 1895 in the opéra bouffe Dandy Dick Whittington at the Avenue Theatre."An Australian Tenor", The Sydney Morning Herald, 6 March 1895, p. 7 In 1892, he appeared in the comic opera Toto and Tata, composed by Antoine Banes, as Gaston Manners.
When he received a grant from the Belgian government in 1840 to study music of Belgian composers in Italy, he instead used his time in Rome and Naples to study compositional techniques of the comic opera. His Parisian works of the late 1840s and early 1850s were particularly well received by audiences. He died in Asnières near Paris.
Mirandolina (H. 346) is a comic opera in three acts by Bohuslav Martinů, with a libretto (in Italian) by the composer after Carlo Goldoni's 1751 comedy La locandiera (The Mistress of the Inn). Salieri had an opera (dramma giocoso) on the same subject premiered at the Vienna Kärtnertortheater in 1773. The opera was written in 1953-4.
They accomplish this with help from the Marschallin, who then yields Octavian to the younger woman. Though a comic opera, the work incorporates some weighty themes (particularly through the Marschallin's character arc), including infidelity, aging, sexual predation, and selflessness in love (or the lack thereof). There are many recordings of the opera and it is regularly performed.
"Edward Jakobowski and Comic Opera", Kate Field's Washington, vol. 9, no. 3, pp. 300–01, 17 January 1894, accessed 24 April 2014 Jakobowski's most successful work by far, Erminie, opened in 1885 in London. It was revived extensively and toured internationally,Information about UK and other productions of Erminie playing with extraordinary success on Broadway from 1886.
This synopsis is based on Falka.Note that one version of the vocal score for Falka (Falka: Comic opera of Leterrier & Vanloo. English version by H.B. Farnie, published in London by Alfred Hayes) gives the Governor's name as "Kolback", as in the French version. However, the London and later productions called the Governor "Folbach", rather than "Kolback".
The Swing Mikado is a musical theatre adaptation, in two acts, of Gilbert and Sullivan's 1885 comic opera, The Mikado, with music arranged by Gentry Warden. It featured a setting transposed from Japan to a tropical island. The show was first staged by an all-black company in Chicago, Illinois, in 1938. Later that year, it transferred to Broadway.
After that time, Riesenfeld worked mostly for independent productions. Away from the film industry, he was orchestra conductor of the Los Angeles Symphony and as a composer in the classical sector. He composed the ballet Chopin's Dances (1905), the comic opera Merry Martyr (1913), the musical Betty Be Good (1921), Children's Suite (1928) and overtures, orchestral music, and songs.
Huré died in Paris. In addition to a number of organ works Huré composed a comic opera and a ballet, three symphonies and chamber works. In 2010 a CD with works by Huré was recorded, featuring a four-movement sonata for violin and piano and a piano quintet performed by the Quatuor Louvigny and pianist Marie-Josephe Jude.
Maconchy wrote three one-act operas, including the erotic comic opera 'The Sofa', based on an eighteenth century novel, and stylistically in "dialogue with Mozart",Beer, 'Sounds', op. cit., p. 323. which shocked the audience for its explicitness when it premiered in 1959. In 1943 she responded to war with "The Voice of the City", for women's chorus.
From then on Hillard is full forty fathoms deep in > love and curiosity. Then the scene shifts to Italy, with the shifting > fortunes of an American comic opera company, stranded at Venice. The > beautiful singer becomes the prima donna of this company. The soubrette is > one Kitty Killigrew, and around her flourishes a most enticing, exciting and > enlivening subplot.
I quatro rusteghi (The Four Curmudgeons, The Four Ruffians, in Edward J. Dent's translation School for Fathers) is a comic opera in three acts, music by Ermanno Wolf-Ferrari to a libretto by and Giuseppe Pizzolato based on Carlo Goldoni's 18th-century play I rusteghi. The opera is written in Venetian dialect, hence "quatro" instead of "quattro".
In its revised (and shortened) version, La fedeltà premiata is designated a dramma pastorale giocoso (a comic opera with pastoral elements). The opera was revived twice in Eszterháza after 1782. In December 1784, Mozart attended a German-language production at the Theater am Kärntnertor in Vienna,Robbins, Landon H. C. Mozart – the Golden Years. London, Thames and Hudson, 1989.
"Queen of my Heart", Dorothy's hit song, was very popular as a parlour ballad. Dorothy is a comic opera in three acts with music by Alfred Cellier and a libretto by B. C. Stephenson. The story involves a rake who falls in love with his disguised fiancée. It was first produced at the Gaiety Theatre in London in 1886.
Cellier, who had been a lieutenant of Arthur Sullivan, re-purposed much of the music for Dorothy from his unsuccessful comic opera of ten years earlier, Nell Gwynne, the music of which had been praised."Mr. Alfred Cellier", The Times, 30 December 1891, p. 4, col. B Stephenson wrote new lyrics and a libretto to fit the music.
Deutsche Grammophon CD 423 934-2. Wolf included an orchestrated version of "In dem Schatten meiner Locken" (Weltliche Lieder No. 2) in his comic opera Der Corregidor (1895). "In dem Schatten meiner Locken" and "Nun wandre, Maria" (Geistliche Lieder No. 3) are among Wolf's best-known Lieder. A complete performance takes about 1 hour 45 minutes.
It was with this play that actress Marie Jansen first appeared on the professional stage.The Nation; October 7, 1880; pg. 255 accessed June 24, 2012 In 1894 Woolf collaborated with Richard Darwin Ware in Westward Ho, a comic opera about an English aristocrat posing as a Wild West gunslinger and a town in Wyoming run by women.
The Duchess of Athens () is a German comic opera with music by Friedrich Lux and the libretto by writer Wilhelm Jacoby.Parsons p. 357 Jacoby, who was well known for his farces, based the work on a play by the Greek writer Aristophanes. The work was first published in 1884, and received its première in Mainz in 1896.
This work was also successful, and the fame of the young composer began to spread all over Italy. In 1774, he was invited to Rome to write an opera for the stagione of that year; and there he produced another comic opera called L'italiana in Londra. In 1777 he married Constanza Suffi, who died the following year.
Vivian Stanshall and Ki Longfellow-Stanshall in the hold, early days Many of the Old Pro's employees worked the bar or the box office or ship's maintenance to find themselves one day treading her stage. After two years of waiting, Ki felt they could wait no longer. No matter how much it cost to stage an original show, the time had come to reward their hard work and dedication. Co-written by Vivian Stanshall and Ki Longfellow-Stanshall, Stinkfoot, a Comic Opera was a three-hour-long musical comedy (Vivian called it a "comic opera"), produced by Ki, directed by Vivian (working with both actors and orchestra at the same time), and performed on the Old Pro over a two-week run up to Christmas in December 1985.
Church in Wachow, where Kowalsky grew up After completing his studies in 1983, Jochen Kowalski was engaged as soloist at the Komische Oper (Comic Opera) in Berlin. In 1984 he sang the title role in Georg Frideric Handel’s Giustino, staged by Harry Kupfer. The artist drew international attention through his performance of Orpheus in Gluck’s Orfeo ed Euridice in a new staging of the work in December 1987, and in the travelling production by the Comic Opera in August 1989 in London. Kupfer's Orpheus wears a leather jacket and carries an electric guitar in this innovative interpretation. In 1984, Jochen Kowalski made his debut with the State Opera of Hamburg singing the role of Daniel in G.F. Handel’s oratorio Belshazzar in Harry Kupfer’s staged realization under the musical direction of Gerd Albrecht.
The 21st- century editor and musicologist Francesco Luisi writes that although this description is not strictly accurate, the Galuppi–Goldoni operas were "a genuinely new beginning for musical theatre". In Luisi's view these works fundamentally changed the nature of opera by making the music part of the drama and not merely a decoration. Galuppi's contemporary Esteban de Arteaga wrote approvingly that the composer was able to "illumine the personalities of the characters and the situations in which they find themselves by selecting the most appropriate type of voice and style of singing". As well as his general contribution to the essentials of comic opera, establishing the music as at least as important as the words, Galuppi's (and Goldoni's) more specific legacy to comic opera was the large-scale buffo finale to end the acts.
He studied composition with César Franck, and was a music critic for Le Monde and L'Echo de Paris. He served as director of the Institut National des Jeunes Aveugles (National Institute for Blind Children) from 1891-99\. Coquard completed Edouard Lalo's opera, La jacquerie (1895). He also wrote the opera Jahel (1899) and the comic opera La troupe Jolicoeur (1902).
The text of this aria is of unknown origin. It has been speculated that the libretto was from the comic opera ' (1784), written by Giambattista Neri; however, the two libretti are completely unrelated. The only similarities that they share are the opening four words "per questa bella mano", in Neri's libretto "per questa mano bella".Guglielmi, Pietro Alessandro and Giovanni Battista Neri.
By the time he wrote The Ne'er-do-Weel, W. S. Gilbert had produced 50 previous works for the theatre and was one of England's leading playwrights.Knight, p. 206 Successes the previous year had included a comedy, Engaged, and a comic opera with composer Arthur Sullivan, The Sorcerer. Comic actor Edward Sothern had asked Gilbert, in 1875, to write a play for him.
Moruzi's comic opera in three acts, Pescarii din Sulina ("Fishermen of Sulina"), was performed at the National Theater Bucharest in February 1902. By 1903, his last hope of being hired lay in Natalia's son, King Alexander of Serbia, but the latter was assassinated that year. Natalia bought him a house in the Tătărași quarter of Iași, located just outside Eternitatea cemetery.
"The Drama in America", The Era, 1 June 1889, p. 10 Clifton continued to appear in comic opera in New York until 1897.Stone says that Clifton wrote a textbook, A Theory of Harmony, published by Boosey, but he may be confusing the subject with John C. Clifton, who wrote such a textbook in 1816. He also composed incidental music for plays.
Balzac's first project was a libretto for a comic opera called Le Corsaire, based on Lord Byron's The Corsair. Realizing he would have trouble finding a composer, however, he turned to other pursuits. In 1820 Balzac completed the five-act verse tragedy Cromwell. Although it pales by comparison with his later works, some critics consider it a good-quality text.
Florentine and Lizzie, according to the press, had fallen on hard times and were being helped by The Salvation Army. The press made Brocolini seem wealthy and heartless while his ex-wife starved. Florentine, however, was working as a church musician in 1888, so it appears that the press coverage was unfair. Brocolini next joined a comic opera company in Montreal.
Johnson, p. 129; and Curzon, p. 53 In 1873 he produced at the Opéra-Comique a comic opera in three acts, Le Roi l'a dit (The King has Said It). Le Figaro thought the libretto weak, but praised Delibes' music: "his melodic vein, his impeccable taste, his scenic skill, his beautiful humour saved a work which, without him, would have gone unnoticed".
While many of his comedies enjoyed success, some of his dramas, particularly the later ones, did not. After his 1888 flop, Brantinghame Hall, Gilbert vowed never to write another serious drama again.Stedman, pp. 252–58 During the production of Gilbert and Sullivan's 1889 comic opera, The Gondoliers, Gilbert sued producer Richard D'Oyly Carte over expenses of the Gilbert and Sullivan partnership.
Goldberg, Isaac. The Story of Gilbert and Sullivan or The 'Compleat' Savoyard, (London: John Murray, 1929), pp. 424–29 By March 1897, Gilbert was ready to get back to work. He suggested to producer Richard D’Oyly Carte and his wife Helen Carte that he write a libretto for a new comic opera based on his earlier play, The Wicked World.
Woolf composed piano pieces and songs for theatrical productions. A review of her opera Carina in the New York Times described it as: > "Carina," the new comic opera produced at the Opera Comique to-night, gives > every indication of achieving a pronounced success: The story is light and > good, the comedy opportunities are numerous, and the music is artistically > firm and popularly pleasing.
Several of his comic opera libretti were subsequently re-set by other composers. According to Edward Dent, their influence can also be seen in the libretti which Carlo Goldoni later wrote for Baldassare Galuppi. Very little of his music has survived, apart from a book of sonatas for violin and cello and a few individual arias and cantatas.Dent, Edward J. (January–March 1912).
Soon after she left for Salzburg where she was perfecting herself at the Mozarteum University of Salzburg. From 1931 to 1934, Fišer worked as violinist at the Croatian Music Institute orchestra. As a conductor, Fišer debuted in 1933 while directing the comic opera Bastien und Bastienne with Zagreb philharmonic orchestra. From 1939 to 1941, she led the Zagreb Red Cross orchestra.
The Gurneys were a well known Quaker family that had founded Gurney's Bank in Norwich.Gurney family wealth: In Gilbert and Sullivan's 1875 comic opera Trial by Jury, a character describes his accumulation of wealth until at length I became as rich as the Gurneys. Elliott, p. 235 The bank's core business was the buying and selling of bills of exchange at a discount.
Initially successful, the opera was given at His Majesty's Theatre in London in April 1823, followed a month later at the then-named Théâtre royal Italien in Paris on 22 November. The US premiere occurred on 18 October 1832 in New York City.Rose 2001, p. 565 Elisa is the only Mercadante comic opera to have been presented in recent years.
For the conference, the Solarians insisted that Palmer dress in a costume they supplied. This is a comic-opera military uniform festooned with gold braid, ribbons and medals. Palmer feels ridiculous, especially compared to the Solarians, who have dressed in costumes of uniform black with only a sunburst emblem on the left breast. He compares them to priests of some dark cult.
Polish magnates (1697-1795) painting by Jan Matejko, circa 1893 Verbum nobile (The word of a nobleman) is a one-act comic opera by Polish national composer Stanisław Moniuszko written to a libretto by , and set in 18th century Poland before foreign partitions of the country. It was first performed at the Teatr Wielki, Warsaw, on 1 January 1861 to instant popularity.
Francis Wilson as King Anso IV Opening night bill, August 18, 1890 The Merry Monarch is an 1890 comic opera that debuted at the Broadway Theatre in New York City. It is an English adaptation of the L'étoile with a book by J. Cheever Goodwin and new music by Woolson Morse.(14 July 1890). Notes, New York Amusement Gazette, p.
Entente Cordiale is a comic opera in one act by Ethel Smyth with an English- language libretto by Smyth, who describes the work as "a post-war comedy in one act (founded on fact)".Smyth, Ethel (1925). Entente Cordiale. J. Curwen and Sons It was first performed by students at the Royal College of Music in London on 22 July 1925.
439 The reason for this praise may be because these critics saw Platée, a comic opera, paving the way for the lighter form of opera buffa they favoured.Girdlestone p.440 Pierre Jélyotte in the Role of the Nymph Plataea by Charles Antoine Coypel (c. 1745) Paris, Musée du Louvre The work received one performance at the marriage festivities at Versailles in 1745.
In 1850 he was invited to Weimar by Franz Liszt, where his comic opera Das Korps der Rache was written. His Stockholm years were particularly important in his career once several of his early works and a number of new ones were written. He died after a few years of infirmity contracted during a summer stay in the Swedish island of Dalarö.
The New York Times interviewed her in September 1910 at her West 10th Street apartment. She was in the company of Victor Herbert, with whom she was preparing the music of a new part. Hammerstein wanted to change her from a grand opera singer to comic opera vocalist. When he suggested this she confessed to the writer that she cried for two days.
Charles Millward (1830–1892) was an English musician, composer, actor, and journal proprietor. Millward was a prolific composer of pantomimes and comic opera. He collaborated with W. S. Gilbert (1836–1911) on "Hush A Bye, Baby, on the Treetop; or, Harlequin Fortunia, King of Frog Island, and the Magic Top of Lowther Arcade" (1866). Charles Millward was a member of the Savage Club.
In 1966 Walton successfully underwent surgery for lung cancer.The Times, 9 February 1966, p. 12 Until then he had been an inveterate pipe-smoker, but after the operation he never smoked again.Kennedy, p. 229 While he was convalescing, he worked on a one-act comic opera, The Bear, which was premiered at Britten's Aldeburgh Festival, in June 1966, and enthusiastically received.
George Bentham George Bentham (9 December 1843 - 25 March 1911) was an English tenor best remembered today for creating the role of Alexis in the Gilbert and Sullivan comic opera The Sorcerer in 1877. As Giorgio Bentami he pursued a professional opera and concert career in Europe and Britain from 1868 to 1877. Alexis proved to be his last role.Gänzl, Kurt.
Le Rosier de Madame Husson Le Rosier de Madame Husson is a novella by Guy de Maupassant, published in 1887. The hero is a young virtuous boy, the equivalent of a Rose Queen. The story was adapted by the English composer Benjamin Britten for his comic opera Albert Herring with a libretto by Eric Crozier who transposed it entirely to an English setting.
Eugène Hus, creator of the role of Colas, staged Dauberval's La Fille mal gardée in 1803 at the old Paris Opéra, the Salle de la rue de Richelieu, predecessor of the Salle Le Peletier. Prior to this production, Hus utilised the ballet's libretto in 1796 for a comic opera titled Lise et Colin, which was set to the music of Pierre Gaveaux.
MacKellan, Greg. "Dearest Enemy (1925)" , 42nd Street Moon, accessed December 7, 2014 Ultimately George Ford, husband of Helen Ford, a star of the show, agreed to produce it. The musical had been variously described as an operetta and a genuine comic opera in the press. Ford presented a tryout of the musical, titled Dear Enemy at the Ohio Colonial Theatre in July 1925.
Although Leichtentritt was primarily known as a musicologist, he was both an avid composer and composition teacher. His works include a comic opera Die Sizilianer (1920), concertos, song cycles, piano and chamber music, and a symphony. His pieces enjoyed a measure of success in Germany, although many cannot be found. He was a good friend of Ferruccio Busoni and Max Reger.
Bill Robinson in The Hot Mikado The Hot Mikado was a musical theatre adaptation of Gilbert and Sullivan's 1885 comic opera The Mikado with an African-American cast. It was first produced by Mike Todd on Broadway in 1939. It starred Bill "Bojangles" Robinson in the title role, with musical arrangements by Charles L. Cooke and direction by Hassard Short.
The Salzburg Marionette Theatre was founded in 1913 by Professor Anton Aicher. The original production was Bastien and Bastienne, a marionette version of Mozart's famous comic opera of that name. The company repertoire expanded the following year to incorporate thirteen additional productions. The Salzburg Marionette Theatre grew more adventurous and started to tour its productions abroad, starting in Hamburg, Germany in 1927.
Warren's Opera House is a historic building in Friend, Nebraska. It was built by John Lanahan for Joshua Warren in 1885–1886. With Inside, there is an auditorium with a proscenium and a balcony supported by four columns. It hosted performances by "touring stock companies; comic opera; companies; musical concerts; dialect comedies" as well as local performers and Memorial Day celebrations.
Sullivan revels in the atmosphere of the premiere, while Gilbert, as usual, is nervous and apprehensive. At the opening, Carte demonstrates the safety of the theatre's innovative electric lighting. Sullivan conducts the performance, but Gilbert escapes the theatre to walk the streets, returning just in time to take a triumphant curtain call before the enthusiastic crowd. Nevertheless, Sullivan is unhappy writing comic opera.
Theatre Royal in Edinburgh Erminie is a comic opera in two acts composed by Edward Jakobowski with a libretto by Claxson Bellamy and Harry Paulton, based loosely on Charles Selby's 1834 English translation of the French melodrama, Robert Macaire. The piece first played in Birmingham, England, and then in London in 1885, and enjoyed unusual international success that endured into the twentieth century.
Emily Soldene, c. 1875 Emily Soldene (30 September 1838 – 8 April 1912) was an English singer, actress, director, theatre manager, novelist and journalist of the late Victorian era and the Edwardian period. She was one of the most famous singers of comic opera in the late nineteenth century, as well as an important director of theatre companies and later a celebrated gossip columnist.
His last works were the three- act comic opera Mon oncle Benjamin and the symphony Hannibal. Mon oncle Benjamin premiered at the Théâtre de l'Opéra-Comique on 10 March 1942 with Roger Bourdin in the title role. Hannibal premiered on 30 November 1942 in Paris. Bousquet died in Roubaix at the age of 52, three weeks after the Hannibal premiere.
The American composer Henry Kimball Hadley adapted it as a one-act comic opera called Bianca, which was first performed in 1918.Boardman (1932, 131-132). Bohuslav Martinů also produced an operatic version, his three-act Mirandolina, which was first performed in 1959. The play was also adapted into several films, notably Paolo Cavara's La locandiera and Tinto Brass' Miranda.
The Agreeable Surprise is a 1781 comic opera to music by Samuel Arnold and a libretto by John O'Keeffe. The work in two acts was first performed at the Theatre Royal, Haymarket (London), on 3 September 1781.White (1983), p. 48. It was one of the most performed works of its kind in London in the last quarter of the 18th century.
Le crescendo (The Crescendo) is a comic opera (opéra-buffon imité de l'italien) in one act by Luigi Cherubini with a libretto by Charles Augustin [de Bassompierre] Sewrin.Wild and Charlton (2005), p. 205. The libretto is based on the opera buffa L'Angiolina ovvero Il matrimonio per sussurro with music by Antonio Salieri (Vienna, 1800) and by Valentino Fioravanti (Lisbon, 1803).
Der Bäbu (The Baboo) is a Comic opera in three acts by Heinrich Marschner. The German libretto by Wilhelm August Wohlbrück (Marschner's brother-in-law) is based on the book The Baboo and Other Tales Descriptive of Society in India. Smith, Elder, and Co., London 1834 by Augustus Prinsep. The first performance took place on 19 February 1838 in Hanover.
Soon afterwards, the theatre was leased by Thomas German Reed, who initially produced and conducted The Contrabandista (a comic opera by Arthur Sullivan and F. C. Burnand), The Beggar's Opera and other English operas in small-scale productions. In 1874, Reed's wife, Priscilla German Reed, moved the German Reed Entertainments to St. George's Hall. Like their earlier theatre, the Gallery of Illustration, St. George's had a small stage, and musical works were presented with only piano and harmonium. Thomas retired in 1871, and his son Alfred continued to run the theatre with his mother until her retirement in 1879 and, beginning in 1877, in partnership with Richard Corney Grain, until both their deaths in 1895. The pieces premiered there included W. S. Gilbert's farce, A Medical Man (1872) and his one-act comic opera, Eyes and No Eyes (1875).
Mr Federici achieved considerable success both in England and > America in comic opera, but he was also an excellent musician and the > composer of several songs of more than average merit, and before his > association with comic opera had successfully appeared as a vocalist at some > of the best concerts in London, including the Monday Popular Concerts at St. > James's Hall. It seems an act almost of irreverence to criticise the > performance of an actor who has only just been carried to his grave. > Nevertheless, it is only his due and his proper tribute to say that he both > sang and acted on Saturday night in a truly artistic manner and that he has > never been seen to greater advantage than he was on that occasion. ... The > theatre was closed on Monday evening out of respect to the memory of the > deceased artist.
He served a second term as Covent Garden's house composer during 1797–8 and began collaborating with other composers. In 1802 he wrote the music for Thomas John Dibdin's comic opera, Family Quarrels. From 1803 until his death Reeve also served as co-proprietor, director of music, and shareholder of Sadler's Wells Aquatic Theatre, where he set about 80 librettos, many written by co-proprietor Charles Dibdin the younger. Because of the success at Drury Lane of Reeve's comic opera The Caravan (1803), which featured an on-stage water tank into which Carlos the wonder dog leaped to rescue a drowning child, Sadler's Wells installed an irregularly shaped 8000-gallon tank, three feet deep, beneath the stage. Reeve wrote music for the new specialty, ‘aquadrama’: all-sung musicals featuring pirates, waterfalls, nautical battles, ocean fiends and other watery terrors.
4 In 1880, the couple returned to Britain, where they continued to build their reputations in comic opera and operetta. In 1888 the Bracys returned to Australia, performing in concerts and then at the Sydney Opera House for a season, conducted by Henri Kowalski, in Kowalski's Moustique, The Beggar Student In 1890, they led their own company in productions of The Sultan of Mocha, The Beggar Student, and The Lady of the Locket at the Criterion Theatre. They then joined J. C. Williamson's Royal Comic Opera Company, performing in Gilbert and Sullivan and other comic operas.Moratti, Mel. Down Under in the 19th Century , accessed 10 February 2010 The couple had two sons, one of whom, Sidney Bracy, became an actor, appearing on stage with Williamson and then in Britain and America before becoming a successful film actor.
Mon oncle Benjamin (My Uncle Benjamin) is a 1969 French film directed by Édouard Molinaro, starring Jacques Brel and Claude Jade. The film is based on a once-popular French comic novel ' by (1842). The 1969 film Don't Grieve, directed by the Georgian Georgi Daneliya, is also based on Tillier's novel as was Francis Bousquet's 1942 comic opera Mon oncle Benjamin.Yoken, Melvin B. (1978).
The start of a performance of Love's Labour's Lost at the Globe Theatre. Alfred Tennyson's poem The Princess (and, by extension, Gilbert and Sullivan's comic opera Princess Ida) is speculated by Gerhard Joseph to have been inspired by Love's Labour's Lost. Thomas Mann in his novel Doctor Faustus (1943) has the fictional German composer Adrian Leverkühn attempt to write an opera on the story of the play.
Hoyt was born in Concord, New Hampshire (USA) in 1859. In the 1870s, Hoyt became musical and dramatic critic of The Boston Post. Beginning in 1883, he began a career as a playwright, producing a series of twenty farcical comedies (roughly one per year until his death) and a comic opera. Hoyt had his own theater, the Madison Square Theater, where A Trip to Chinatown was performed.
As a composer, Daussoigne-Méhul produced several works for solo piano, some symphonic music, a few operas, and some chamber music. His comic opera Aspasie et Pericles was premiered at the Paris Opera in 1820. He also completed his uncle's unfinished opera Valentine de Milan, which premiered at the Opéra-Comique in 1822. He also composed new recitatives for his uncle's opera Stratonice in 1821.
One of Gilbert's illustrations for "Gentle Alice Brown" The Bab Ballads is a collection of light verses by W. S. Gilbert, illustrated with his own comic drawings. The book takes its title from Gilbert's childhood nickname. He later began to sign his illustrations "Bab". Gilbert wrote the "ballads" collected in the book before he became famous for his comic opera librettos with Arthur Sullivan.
Pocock's Miller and his Men, a popular romantic melodrama with music by Henry Bishop, was still playing in 1835. For England Ho!, a melodramatic opera, produced at Covent Garden on 15 December 1813, and acted some 11 times, was published in 1814. John of Paris, a comic opera adapted from the French, was produced at Covent Garden on 12 October 1814, and performed 17 times.
The Flitch of Bacon public house, of which the protagonist of Ainsworth's novel is the publican, still exists in Little Dunmow.The Flitch of Bacon pub website. The Flitch of Bacon is a comic opera from 1779 by William Shield and Sir Henry Bate Dudley. Made in Heaven is a 1952 film starring David Tomlinson and Petula Clark about a married couple attempting to win the Dunmow flitch.
In 2007, NYGASP presented, at City Center, a performance of The Rose of Persia, a comic opera by Sullivan and Basil Hood that had not been performed by a professional company for over seventy years.Dale, Michael. "The Rose of Persia: Sullivan Without Gilbert", BroadwayWorld.com, 14 January 2007 NYGASP continues to present broadly traditional productions of Gilbert and Sullivan, usually with a number of topical references added in.
During his baseball career, Scott was also an expert handball player. He was nicknamed "Mikado Milt". Gilbert & Sullivan's "The Mikado", a satirical comic opera set in Japan, opened in March 1885; by February 1886, The Sporting Life reported that "the 'Mikado' craze has invaded base ball, and we hear of amateur 'Mikado' clubs in all directions." Scott was married in approximately 1886 to Mary (or May) Zell.
The Times, 31 December 1957, p. 6 With his inherited wealth, he could afford to defend such suits. Labouchère's claims to being impartial were ridiculed by his critics, including W. S. Gilbert (who had been an object of Labouchère's theatrical criticism) in Gilbert's comic opera His Excellency (see illustration at right). In 1877, Gilbert had engaged in a public feud with Labouchère's lover, Henrietta Hodson.
They returned to America rich beyond their dreams after appearing before royalty around the world. Nutt left Barnum's employ after a disagreement with the showman. He toured with a comic opera company, put together a variety show on the United States West Coast, and operated western saloons in Oregon and California. He returned to New York City, and died there of Bright's disease in May 1881.
During the Second Empire, Jacques Offenbach had dominated the sphere of comic opera in France, and Lecocq had struggled for recognition.Andrew Lamb. "Lecocq, (Alexandre) Charles", Grove Music Online, Oxford University Press. Retrieved 20 September 2018 Defeat in the Franco- Prussian War in 1870 brought the Empire down, and Offenbach, who was inextricably associated with it in the public mind, became unpopular and went briefly into exile.
Colder by the Lake, a theater company in Duluth, Minnesota, produced an original comic opera based on the life of Daniel Greysolon, entitled Les Uncomfortabled (a play on the title of the musical Les Misérables), the music was composed by Tyler Kaiser and the libretto written by Margi Preus and Jean Sramek, all of Duluth. The work was performed in 2001, 2002, and 2016.
Whittington, with music by Jacques Offenbach and English text by H. B. Farnie was first produced at the Alhambra Theatre over Christmas 1874–75,Gänzl, Kurt. "Jacques Offenbach", Operetta Research Center, 1 January 2001Elsom, H. E. "And his cat", Concertonet.com (2005) and in 1895 the comic opera Dandy Dick Whittington written by George Robert Sims and composed by Ivan Caryll played at the Avenue Theatre.Adams, William Davenport.
The opera, written when the composer was only 22, is his first attempt at comic opera. (It was followed in 1733 by his better-known short opera, La serva padrona). The first performance was on 27 September 1732, at the Teatro dei Fiorentini, Naples. A successful run was halted by a severe earthquake, which closed the theatres in Naples until the autumn of 1733.
Composer Charles-Gaston Levadé adapted the novel into a four-act lyric comic opera in 1934. Tenor Jean Marny of the Opéra-Comique recorded an aria from the work, "Reverie de Jacques," on Pathé sapphire disc 3175. Traktér U královny Pedauky (1967) is a Czechoslovak television film directed by Zdeněk Kaloč, starring Josef Karlík, Leopold Franc, Libuše Geprtová, and Václav Postránecký. Running time 84 min.
Opéra bouffon is the French term for the Italian genre of opera buffa (comic opera) performed in 18th-century France, either in the original language or in French translation. It was also applied to original French opéras comiques having Italianate or near-farcical plots.Bartlet, M Elizabeth C: "Opéra bouffon" in The New Grove Dictionary of Opera, ed. Stanley Sadie (London, 1992, Volume three, p.
During the Second Empire, Jacques Offenbach had dominated the sphere of comic opera in France, and Lecocq had struggled for recognition.Andrew Lamb. "Lecocq, (Alexandre) Charles", Grove Music Online, Oxford University Press. Retrieved 20 September 2018 Defeat in the Franco- Prussian War in 1870 brought the Empire down, and Offenbach, who was inextricably associated in the public mind with it, became unpopular and went briefly into exile.
This list does not include terms that are vague and merely descriptive, such as "comic opera","A general name for an operatic work in which the prevailing mood is one of comedy." Warrack John; Ewan West, The Oxford Dictionary of Opera, (1992), "sacred opera", "tragic opera" or "one-act opera" etc. Original language terms are given to avoid the ambiguities that would be caused by English translations.
At first, comic operas were generally presented as intermezzi between acts of more serious works. Neapolitan and then Italian comic opera grew into an independent form and became the most popular form of staged entertainment in Italy from about 1750 to 1800. In 1749, thirteen years after Pergolesi's death, his La serva padrona swept Italy and France, evoking the praise of such French Enlightenment figures as Rousseau.
England traces its light opera tradition to the ballad opera, typically a comic play that incorporated songs set to popular tunes. John Gay's The Beggar's Opera was the earliest and most popular of these. Richard Brinsley Sheridan's The Duenna (1775), with a score by Thomas Linley, was expressly described as "a comic opera"."The Duenna", Mary S. Van Deusen, accessed 4 January 2009Gillan, Don.
In November 1877 Bentham was engaged by Richard D'Oyly Carte to create the role of Alexis in Gilbert and Sullivan's comic opera, The Sorcerer, at the Opera Comique in London.Rollins and Witts, p. 5 His singing on the opening night was hampered by a bad cold, but even after he had recovered, the critics found his performance disappointing, marked by wooden acting and pallid characterisation.
Richard D'Oyly Carte In 1875 a company organized by Richard D'Oyly Carte started a tour of England and Ireland. Carte's company performed La Périchole, La fille de Madame Angot, and Trial by Jury, by Gilbert and Sullivan. After ten weeks in England, the company opened at the Gunns' Gaiety Theatre on 5 September 1875. Michael Gunn became enthusiastic about Carte's plans for comic opera in England.
The Theatre, Joan of Arc at > the Gaiety. London St James Gazette, 1 October 1891, p. 7 On 6 February 1892 at the Prince of Wales's Theatre, Seymour danced in the debut of Blue-Eyed Susan, a comic opera by George R. Sims, Henry Pettitt and Frank Osmond Carr based on Douglas Jerrold's Black Eyed Susan."Prince of Wales", London Standard, 26 February 1892, p.
She replaced Ella Russell in a solo quartet at a Christmas 1904 performance of The Messiah. It was presented by the Oratorio Society at Carnegie Hall."The Christmastide Messiah", New York Times, December 31, 1904, pg. 9. In 1905 Blauvelt signed a six-year contract with Fred Whitney to appear in comic opera. She reportedly received $504,000 for her services or $2,000 per week.
She appeared at the Lyceum Theatre in Rochester, New York, in November 1905, for the first production of The Rose of the Alhambra. The comic opera was written by Charles Emerson Cook and directed by F. C. Whitney. It was her first work in light opera after working for years in grand opera. Blauvelt received encores until she was compelled to refuse further acknowledgements.
2 opus 43 in C minor. This does not preclude more, of course. string trio (1928), a flute sonata, four woodwind quintets, a string quartet (in G minor, his opus 51), \- description of Blumer's string quartet in G minor, Op.51 (composed 1923-24). a comic opera Die Fünfuhrthee (The Five-o'Clock Tea) (produced in Berlin and in Bremen in 1912); and a symphonic poem Erlösung.
The opera was a hit, and Hales would write four more plays/librettos in the coming years. In 1777 he wrote a short fiction entitled Le roman de mon oncle. In 1778, he worked with Gréty on Le jugement de Midas, which was based on Midas by the Irish playwright Kane O'Hara (1762). The same year, the two produced Les fausses apparences as a comic opera.
The composer Richard Strauss in 1910 ' (The Knight of the Rose or The Rose- Bearer), Op. 59, is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal.; . Hofmannsthal's friend Count Harry Kessler helped in creating the plot, a conclusion based on entries in Kessler's diaries (). , mentions Kessler's role but only credits Hofmannsthal for the libretto.
Wyatt's reviews describe his effectiveness in the songs allotted to him.Review of The Mountebanks in The Illustrated London News, 9 January 1892 He then played Woodpecker Tapping in Haste to the Wedding, a short-lived comic opera by Gilbert and George Grossmith at the Criterion Theatre. Also in 1892, he appeared in London in Ma mie Rosette, together with Jessie Bond and Courtice Pounds.
Advertising poster for the comic opera The Mikado, which was set in Japan (1885)Ukiyo-e prints were one of the main Japanese influences on Western art. Western artists were inspired by different uses of compositional space, flattening of planes, and abstract approaches to color. An emphasis on diagonals, asymmetry, and negative space can be seen in the Western artists who were influenced by this style.
In December 1985, The Old Profanity Showboat produced the debut of their work Stinkfoot, A Comic Opera. Stanshall wrote 27 original songs for the opera, sharing book and lyric writing with his wife. It has proved popular over the years, and was revived in London some years later, with Peter Moss as musical director. It was also produced in concert form in Bristol, in July 2010.
He was named a Member of the Order of Canada in July 2012 . In 2014 his composition "Magnificat" was nominated for a Juno Award . In 2017, an album of Chatman's compositions, Dawn of Night, sung by the University of Toronto MacMillan Singers, was released by Centrediscs . His comic opera Choir Practice, created with Tara Wohlberg, was performed by the University of British Columbia Opera Ensemble .
Parliamentary Train: Interior of a third class carriage (1859) The basic comfort and slow progress of Victorian parliamentary trains led to a humorous reference in Gilbert and Sullivan's comic opera The Mikado. The Mikado is explaining how he will match punishments to the crimes committed: > The idiot who, in railway carriages, Scribbles on window-panes Will only > suffer To ride on a buffer In Parliamentary trains.
The Lakewoman was shortlisted for the 2010 Prime Minister's Literary Awards. The Seaglass Spiral was published in 2012 by Finlay Lloyd, and in 2013 appeared a collection of poems and a comic opera libretto, Capital from Puncher & Wattmann, and a collection of essays, Joinery And Scrollwork: A Writer's Workbench from Quadrant Books. In 2015 he published a picaresque novel, The Poet's Stairwell, Black Pepper publishing.
He then spent time in various cities in Italy and in St. Petersburg, Russia. He came to Berlin in 1789 where he served as choir master of the Berlin Hofoper from 1790-1792. Two of his operas were premiered in Berlin: Il Ritorno a Ulysse (1790) and Dario (1791). In 1792 his comic opera L'Ouverture du grand opera italien a Nankin was mounted in Potsdam.
Rolando Panerai (17 October 1924 – 22 October 2019) was an Italian baritone, particularly associated with the Italian repertoire. He performed at La Scala in Milan, often alongside Maria Callas and Giuseppe Di Stefano. He was known for musical understanding, excellent diction and versatile acting in both drama and comic opera. Among his signature roles were Ford in Verdi's Falstaff and the title role of Puccini's Gianni Schicchi.
In December that year Estrella went on at New York's Standard Theatre where it enjoyed just three performances before the theatre burnt down. Of his comic opera Bobadil one Melbourne critic wrote: “Mr Searelle is a sworn foe of dullness and a warm friend of variety”. By 1886, in spite of favourable crits, Searelle was bankrupt and turned his sights to South Africa's newly discovered gold field.
Some of his songs and ballads for Vauxhall became popular; his Blithsome Cherry was sung there by Maria Theresa Bland, to music by Samuel Arnold. Houlton, according to Boaden, was an admirer of Isaac John Bickerstaff and the "innocent opera". With James Hook writing the music, he brought out at Drury Lane on 21 October 1800 a comic opera, called Wilmore Castle. It closed after five nights.
Document VEA1176146T: Ezio: Dramma Per Musica. Retrieved 23 March 2015 . Lalli's first original opera libretto, L'amor tirannico ("Tyrannical Love") was performed with music by Francesco Gasparini in 1710 at the Teatro San Cassiano in Venice. L'amor tirranico had considerable success and was also performed in Milan in 1713 and again in Venice in 1722. His comic opera Elisa with music by Giovanni Maria Ruggieri followed in 1711.
This placed German in a distressing position, and the composer, who habitually preferred to avoid legal battles, declined.Morrison, Robert. "The Controversy Surrounding Gilbert's Last Opera", Fallen Fairies, The Gilbert and Sullivan Archive (2006) In maintaining the Savoy tradition of comic opera, German was composing a style of piece for which public taste had dwindled as fashions in musical theatre had changed with the new century.
In 1800, Atkinson produced at the Cork Street Theatre a comic opera called Love in a Blaze, borrowed from a French play, which had done duty in an English form as Gallic Gratitude at Covent Garden in 1779. The music to Love in a Blaze was composed by John Andrew Stevenson, to whose assistance the production is said to have been indebted for the success it obtained.
He composed two operas. The opera Anne Pedersdotter was first performed at Den Norske Opera in 1971. It has a libretto by Hans Kristiansen based on a play by Hans Wiers-Jenssen, which was inspired by the witch trial in 1590 against Anne Pedersdotter, the widow of priest Absalon Pederssøn Beyer. The comic opera Den Stundesløse, finished in 1975, is based on a comedy by Ludvig Holberg.
The Charlatan is a comic opera in three acts, with a book by Charles Klein and music by John Philip Sousa. It was written for the DeWolf Hopper Opera Company, which presented the work for the first time on August 29, 1898. Directed by H. A. Cripps, the Broadway production ran September 8 – October 8, 1898, at the Knickerbocker Theatre in New York City.
Gabriela Tylesova is a set and costume designer for theatre, dance, ballet, events and opera. Born in the Czech Republic, Tylesova came to Australia in 1996. She studied at the National Institute of Dramatic Art (NIDA) in Sydney. One of Tylesova's first major jobs after graduating was designing costumes for a production of Donizetti's comic opera The Elixir of Love directed by Simon Phillips for Opera Australia.
This musical opened in the same year as Gilbert and Sullivan's Utopia, Limited and shared a number of features with that opera, including a distant, exotic locale, and both presented British archetypes as exemplars.William Hicks thesis Morocco Bound crystallized the music-hall influenced "variety musical" form and was more representative than Utopia of the prevailing taste of London theatre audiences, which was turning away from comic opera.
Falstaff () is a comic opera in three acts by the Italian composer Giuseppe Verdi. The libretto was adapted by Arrigo Boito from Shakespeare's The Merry Wives of Windsor and scenes from Henry IV, parts 1 and 2. The work premiered on 9 February 1893 at La Scala, Milan. Verdi wrote Falstaff, which was the last of his 28 operas, as he was approaching the age of 80.
Empire Theatre in Leicester Square c.1905 With their new-found wealth, in the 1870s the Nicols bought a large estate with a deerpark and farmhouse in Surbiton, demolishing the farmhouse and building Regent House and employing an Italian artist to decorate it with the same rich fittings as the Café Royal. In 1884 they took over the derelict Pandora Theatre in Leicester Square and after decorating it in the same style as the Café Royal launched it as the variety theatre and ballet venue the Empire Theatre. The theatre had three unsuccessful seasons of comic opera which included Chilpéric, Edward Solomon and Sydney Grundy's comic opera, Pocahontas or The Great White Pearl, another Solomon opera, Polly or The Pet of the Regiment and his Billee Taylor - all in 1884, while Kate Vaughan starred in Around the World in 80 Days at the theatre in 1886.
That fall, she played the leading soprano role of Mabel in a burlesque of The Pirates of Penzance at Pastor's theatre. She next played at the Bijou Opera House on Broadway as Djenna in The Great Mogul and with the McCaull Comic Opera Company played Bathilda there in Olivette. She also played the title role in Gilbert and Sullivan's Patience and Aline in The Sorcerer in 1882 at the Bijou.
They brought this production to America under the management of George Edwardes. The following season, Terriss played a supporting role in the W.S. Gilbert and Frank Osmond Carr comic opera His Excellency. In 1895, Terriss was a replacement in the original London production of George Edwardes's hit, The Shop Girl, joining her husband as co-star. They toured America in 1895, where they befriended the American novelist Richard Harding Davis.
The Folies Bergère () is a cabaret music hall, located in Paris, France. Located at 32 rue Richer in the 9th Arrondissement, the Folies Bergère was built as an opera house by the architect Plumeret. It opened on 2 May 1869 as the Folies Trévise, with light entertainment including operettas, comic opera, popular songs, and gymnastics. It became the Folies Bergère on 13 September 1872, named after nearby rue Bergère.
As a Columbia University student in 1900, Cane worked as a reporter at the New York Evening Post and also wrote poetry. He also co-wrote the 1900 Varsity Show at Columbia, writing lyrics for libretto The Governor's Vrouw (1900), a two-act comic opera he co-wrote with Henry Sydnor Harrison, while John Erskine write the music. Cane earned his law degree in 1905 and later specialized in copyright law.
He was apprenticed to the decorative painter, Girolamo Bon (c. 1700-1766). Bon and his new wife Rosa (a comic opera singer) went to Saint Petersburg in 1735, where he had been offered work as a scenic designer. In 1742, Bon invited two of his former students, Peresinotti and Giuseppe Valeriani to join him there. Peresinotti eventually advanced from being a theater painter to working for the Imperial court.
Between 1853 and 1855, Offenbach wrote three one-act operettas and managed to have them staged in Paris. They were all well received, but the authorities of the Opéra-Comique remained unmoved. Offenbach found more encouragement from the composer, singer and impresario Florimond Ronger, known professionally as Hervé. At his theatre, the Folies- Nouvelles, which had opened the previous year, Hervé pioneered French light comic opera, or "opérette".
270 The opera ran for over a year, with strong New York and touring productions. This was a happy time for Carte, with a long-running opera, new marriage and new hotel and opera house under construction. When Carte asked his partners for a new work, Sullivan again expressed reluctance to write another comic opera, asking if Gilbert would write a "dramatic work on a larger musical scale".Jacobs, p.
He and his brother Domenico initially studied with Marco Ricci in Venice. After Ricci's death, he obtained an apprenticeship with the decorative painter, Girolamo Bon (c. 1700-1766). Bon and his new wife Rosa (a comic opera singer) went to Saint Petersburg in 1735, where he had been offered work as a scenic designer. In 1742, Bon invited two of his former students, Valeriani and Antonio Peresinotti, to join him there.
The comic opera was trimmed from three hours to two, and became a "Stinkfoot Showcase". The show played Thekla (where it was written and first staged), on 20, 21, 22 and 24 July 2010. This was a showcase of Stinkfoot's songs backed by a full band and selected cast members (including Nikki Lamborn and Vivian and Ki's daughter Silky Longfellow-Stanshall) plus special guests. Tony Slattery narrated and sang.
Maunder also wrote operettas. His Daisy Dingle received its first performance in Forest Hill in 1885. Another, a Comic Opera, entitled The Superior Sex, was performed at the Empire Theatre, Southend, in March 1909, and again at the Cripplegate Theatre, London, in February 1910. Set in 2005 A.D., it takes a humorous look at female emancipation by setting an inept army regiment (the 125th Indefencibles) against legendary female- warriors, the Amazons.
Then there was a Christmas performance of Aladdin at Dalston Theatre. She also played the part of Mimi in “Mam’selle Tralala”, opening in the Lyric, London on 9 April 1914. At the end of January 1915, May Morton went straight into rehearsals for the role of Mascha in the comic opera, "The Chocolate Soldier" which was performed at Middlesbrough, Sheffield, Huddersfield, Dalston, Salisbury, Bristol, Cardiff, Manchester, Liverpool and Leamington.
La casa disabitata (The Uninhabited House) is a comic opera in one act composed by Princess Amalie of Saxony to her own Italian-language libretto. It was first performed in the court theatre of Pillnitz Castle in Dresden on 17 September 1835. The opera had no further performances until it was revived in 2012 as part of the Dresden Music Festival after its manuscript score was found in a Moscow library.
The story of the willow pattern was turned into a comic opera in 1901 called The Willow Pattern. It was also told in a 1914 silent film called Story of the Willow Pattern. Robert van Gulik also used some of the idea in his Chinese detective novel The Willow Pattern. In 1992, Barry Purves made a short animated film relating the story, transplanted to Japan and entitled Screen Play.
In Enrico Guazzoni's 1944 film La fornarina, Margherita is played by Lída Baarová, Goebbels' mistress. Margherita is also the focus of the first episode of Walerian Borowczyk's 1979 film Les héroïnes du mal, in which she is played by Marina Pierro as a femme fatale who fatally poisons Raphael. Carl Zeller's comic opera Die Fornarina premiered in 1879. In Arensky's 1894 opera Raphael, their passion is sublimated in a love duet.
In 1904, during his work in Weimar, Kessler began to publish a group of bibliophilic books containing artistic compositions of typography and illustrations. In the beginning he cooperated with the German Insel Verlag. In 1913 he founded his own company, the Cranach Press, of which he became the director. Around 1909, Kessler developed a concept for a comic opera together with Hugo von Hofmannsthal and together they wrote the scenario.
Lawrence, Arthur H. "An Illustrated interview with Sir Arthur Sullivan", The Strand Magazine, vol. xiv, No. 84, December 1897 Sullivan continued to compose throughout his life. At his death at age 58, he left unfinished a comic opera, The Emerald Isle, completed by Edward German and produced in 1901, and his Te Deum Laudamus, written to commemorate the end of the Second Boer War, which was performed posthumously.Howarth, Paul.
Other companies were brought out in later years, and at times comic opera was alternated with grand opera. His opera company gave 1,459 performances between 1861 and 1869. Classic operas like Lohengrin, opened 18 August 1877, and Tannhäuser in 1878, were box office failures, although the company had included a distinguished singer, Antoinetta Link. Lyster, however, made the lighter operas bear the cost of others which were artistic successes only.
Rihm said in an interview that opera needed more Magic Flute, "Mehr Machwerk." (More action.), citing the opening scene with three ladies coming to the rescue of the prince attacked by a snake. Rihm said that opera finds its potential in situations that are not ordinary ("... findet ihre Möglichkeiten in Situationen, die nicht alltäglich sind"). The opera has autobiographical traits and is in a way his first comic opera.
Carr also composed another burlesque that year, Blue Eyed Susan, for the Prince of Wales Theatre. Carr next composed two successful musicals for producer Fred Harris: Morocco Bound (1893), a model for the music-hall-influenced "variety musicals" to come, and Go-Bang (1894), both with lyrics by Ross. 1n 1894, Edwardes engaged Carr to write the music for His Excellency, a comic opera with a libretto by W. S. Gilbert.
Henry Ford managed to make pacifism look ridiculous by sponsoring a private peace mission that accomplished nothing. German agents added a comic opera touch. The agent in charge of propaganda left his briefcase on the train, where an alert Secret Service agent snatched it up. Wilson let the newspapers publish the contents, which indicated a systematic effort by Berlin to subsidize friendly newspapers and block British purchases of war materials.
On return to Russia he conducted the summer symphony concerts at Sokolniki Park in 1908, 1910 and 1911. He became director of the State Institute of Theatrical Art. On 8 October 1913 he conducted the first performance of Mussorgsky's much-delayed and still incomplete comic opera The Fair at Sorochyntsi at the Free Theatre in Moscow. Kostantin Sarajev plaque in Yerevan Saradzhev was an advocate of new music.
Mena Cleary was a soprano,"Notes" The Theatre (October 11, 1887): 270. her voice "by no means powerful but...very sweet," and "managed with rare skill". Cleary was a member of The Bostonians, a performing troupe."Notes of the Week" New York Times (September 11, 1887). She appeared as "Mirabel" in the original cast of the comic opera Prince Ananias by Victor Herbert, when it debuted in 1894.
Anna was accepted and, while working with Schindler, they fell in love. In 1878, their engagement was announced in the Viennese daily '. Her professional career proved to be very short-lived. After six performances in the title role of Die Wallfahrt der Königin (The Queen's Pilgrimage) a comic opera by Josef Forster, she suddenly retired, either because Schindler strongly opposed her public appearances out of jealousy or because she was pregnant.
W. S. Gilbert in about 1870 The Gentleman in Black is a two-act comic opera written in 1870 with a libretto by W. S. Gilbert and music by Frederic Clay. The "musical comedietta" opened at the Charing Cross Theatre on 26 May 1870. It played for 26 performances, until the theatre closed at the end of the season.Frederic Clay, The Guide to Light Opera and OperettaMoss, Simon.
Alongside his work as a specialist in property valuation, Faraday began to compose songs and light operas. His songs include "Little princess, look up!" (1906), "Lovely woman" (1907), "I love somebody" (1910), "Jack the handy Man" (1910), "Maid o' mine" (1910) and "The Orphan Ward" (1910). With the librettist Frederick Fenn, he composed Amāsis; or An Egyptian Princess, a comic opera that opened in August 1906 at the New Theatre.
Found in Michael Seth Starr's book, Bobby Darin: A Life, it should be placed in the historical context of the late 1940s early 1950s when the Bronx Opera House was no longer an Opera House but a movie theater. The Bronx Opera House not only featured comic opera as early as September 1913 but a substantial opera lineup during its 3rd, 4th and 5th season with the Aborn Opera Company.
In 2014 he wrote an English version of the text for Mozart's comic opera, The Impresario, which was given by The Santa Fe Opera in Santa Fe, New Mexico in a double bill paired with Igor Stravinsky's The Nightingale.James Keller, "Songbirds at the Opera: The Impresario and Le rossignol", The Santa Fe New Mexican, 18 July 2014 In 2017, his Tartuffe was performed at Stratford Festival in Stratford, Ontario.
He was well received, and on 6 December in the same year he appeared in John Poole's Delicate Attentions, and in a burletta, The Village Coquettes, written by Charles Dickens, with music by John Hullah. Subsequently he was for a brief season at the Olympic Theatre. By 1839, Parry was becoming known as a comic singer, and in 1840 he composed a comic opera called Wanted, a Governess.
Palmira, regina di Persia is an opera by Antonio Salieri: more specifically, it is a dramma eroicomico. The opera is in two acts and is set to a libretto by Giovanni de Gamerra. Salieri mingled elements of comic opera and heroic opera to produce a work that was a popular success at the time of its first performance, also partly due to the grandiose staging that is called for.
The Gilbert and Sullivan opera H.M.S. Pinafore (especially its character Little Buttercup) was also based, in part, on this story. Cranko introduced new characters (Mrs Dimple) and gave Poll an admirer to enable a happy ending.Percival, pp. 83-85 Mackerras arranged the score of Pineapple Poll from the Gilbert and Sullivan repertoire, as well as Sullivan's comic opera Cox and Box (written with F. C. Burnand), and Sullivan's Overture di Ballo.
In this case, the poem was titled "The Bee", with no author credit. In his novel David Copperfield (1850), Charles Dickens has school master Dr. Strong quote from Watts' "Against Idleness and Mischief". The 1884 comic opera Princess Ida includes a punning reference to Watts in Act I. At Princess Ida's women's university, no males are allowed. Her father King Gama says that "She'll scarcely suffer Dr. Watts' 'hymns'".
Sims, George Robert. My Life: Sixty years' recollections of Bohemian London, Eveleigh Nash Company Limited: London, 1917, p. 324 The show was written as a vehicle for Yohé, who had starred in Little Christopher Columbus by the same authors, and producer William Greet leased the theatre especially for Dandy Dick Whittington. The piece was originally written as a pantomime but was later changed to an opéra bouffe (or comic opera).
In 1901, Jackson created the title role in Miss Bob White, a comic opera written by Willard Spenser. The story tells of two millionaires compelled to live for several months as tramps after losing an election bet. They come to a dairy farm close to Philadelphia and are put to work. Jackson is a New York society belle who arrives at the farm disguised as a dairy maid.
Although the piece is eventually a financial success, author and composer remain at odds. Mrs. Helen Carte travels to Monte Carlo to see Sullivan on holiday. She gives him the news that her husband will build another theatre to present grand opera, and wants Sullivan to compose an opera for the theatre. Sullivan happily agrees, but at the same time, Gilbert has written a libretto for another comic opera.
L’incontro improvviso (The unexpected encounter) (Hob. XXVIII:6) is an opera in three acts by Joseph Haydn first performed at Eszterháza on 29 August 1775 to mark the four-day visit of Archduke Ferdinand, Habsburg governor of Milan and his consort Maria Beatrice d'Este. The opera is designated a dramma giocoso (a comic opera) and is an example of the then Austrian fascination with Turkish subjects. Clark C. L'incontro improvviso.
Reed was a friend of the author Henry Fielding who had had great success with the novel, The History of Tom Jones, a Foundling. Reed worked on an adaption of the story as a comic opera, a project that Fielding encouraged. The drama opened on 14 January 1769 at Covent Garden, with Shuter as Western and Mattocks as the hero, and was repeated thirteen times. Fielding praised Reed's version publicly.
From the 1901 programme The Willow Pattern is a one-act comic opera with a libretto by Basil Hood and music by Cecil Cook. It was first performed at the Savoy Theatre on 14 November 1901, running for a total of 110 performances until 29 March 1902. It toured thereafter. The Willow Pattern was a companion piece to Ib and Little Christina (for 16 performances) and later Iolanthe (94 performances).
1886 Savoy Theatre programme for The Carp and The Mikado The Carp is a one-act comic opera (styled "a whimsicality") with a libretto by Frank Desprez and music by Alfred Cellier. It was first produced at the Savoy Theatre from 13 February 1886The Daily News, 15 February 1886, p. 3; "Theatrical Mems", The Bristol Mercury, 16 February 1886, p. 5; and "Savoy Theatre", The Standard, 15 February 1886, p.
Duchambge (Montet) was born in Martinique,Herbert Schneider: "Duchambge, (Charlotte-Antoinette-) Pauline", in: Die Musik in Geschichte und Gegenwart (MGG), biographical part, vol. 5 (Kassel: Bärenreiter, 2001), cc. 1492–1495. the daughter of a noble family. She was taken to Paris, where she received a convent education and studied the piano from composer and author Jean-Baptiste Desormery, son of the famous comic opera actor and composer Léopold-Bastien Desormery.
At a comparatively early age she had earned enough to retired from the stage. She lost part of her savings to a dishonest stockbroker who absconded to America with between eight and nine thousand pounds of her savings. This compelled her to return again to acting. On 13 March 1821 she played at Drury Lane the Duenna in Sheridan's comic opera, as "her first appearance in a character of that description".
Ciampi was one the first music directors of the Ospedale to be given extended leave, and by the autumn of 1748 he was in London. His replacement at the Ospedale was Gioacchino Cocchi. In London Ciampi was the composer and director of music for a company of Italian singers under G. F. Crosa, who presented the first season of Italian comic opera at the King's Theatre, London.Libby et al 2001.
Clark was born and raised in Dallas, Texas, the daughter of Lorraine and Banks Clark. Playbill.com She studied the piano and attended the Hockaday School, an all-girls school in Dallas. She attended the Interlochen Arts Academy before going to Yale University, graduating in 1982. At Yale, at the age of eighteen, she sang the role of Mabel in Gilbert and Sullivan's comic opera The Pirates of Penzance.
Lytton (1922), pp. 24–25; and Jones, p. 13 Lytton aged 21 In 1881 Lytton made his first appearance on the professional stage at the Philharmonic Theatre, Islington, in the comic opera A Trip to China, or The Obstinate Bretons, in the cast of which was his future wife, Louie Henri, daughter of William Webber, of London. They married in early 1884, both aged 19, at St Mary Abbots church, Kensington.
"Whose Zoo; or, When Did the Trial Begin?", Nineteenth Century Theatre Research, 12, December 1984, pp. 39–54 The witty and "very English" little piece proved even more popular than La Périchole and became the first great success of Carte's scheme to found his school of English comic opera, playing for 300 performances from 1875 to 1877, as well as touring and enjoying many revivals.The Times, 29 March 1875, p.
Patrick in Prussia, or Love in a Camp is a 1786 comic opera with music by William Shield and a libretto by John O'Keeffe. An afterpiece, it was a sequel to the 1783 hit The Poor Soldier with the characters now serving in the Prussian army.Shaffer (2007), p. 174-175. The work in two acts was first performed on 17 February 1786 at the Covent Garden opera house, London.
In 1888 and 1889, Billington toured as Deadeye, Sergeant of Police, Colonel Calverley, Pooh-Bah, Sergeant Meryll and later Wilfred Shadbolt in The Yeomen of the Guard.Rollins and Witts, pp. 67–70 He then briefly left the D'Oyly Carte company to play Bragadoccio in Edward Jakobowski and Harry Paulton's comic opera Paola in Edinburgh, in a cast also including Leonora Braham."The Theatres", Glasgow Herald, 17 December 1889, p.
After leaving D'Oyly Carte in August 1946, Clifford appeared in a new production of the comic opera Merrie England,"The Palace Theatre: Merrie England", The Manchester Guardian, 29 October 1946, p. 6 before becoming a founder-member of the new Royal Opera company at the Royal Opera House, Covent Garden. In the inaugural production, Carmen, in January 1947, he played Dancairo."Carmen", Performance database, Royal Opera House, accessed 10 June 2012.
Chinese Theatre in Tsarskoe Selo, c. 1900 Anyuta () is a one-act comic opera to a libretto by Mikhail Popov. First performed in 1772, it was one of the first operas written in the Russian language. The collection of Popov's poems, translations and plays called Dosugi (Досуги – Leisure Hours) was published at the request of Empress Catherine II. This collection also contained the libretto to the opera Anyuta.
The Fair at Sorochyntsi (, Sorochinskaya yarmarka, Sorochyntsi Fair) is a comic opera in three acts by Modest Mussorgsky, composed between 1874 and 1880 in St. Petersburg, Russia. The composer wrote the libretto, which is based on Nikolai Gogol's short story of the same name, from his early (1832) collection of Ukrainian stories Evenings on a Farm near Dikanka. The opera remained unfinished and unperformed at Mussorgsky's death in 1881.
Les deux petits savoyards (The Two Little Savoyards) is a comic opera in one act by the French composer Nicolas Dalayrac. It was first performed by the Comédie-Italienne at the first Salle Favart in Paris on January 14, 1789. The libretto is by Benoît-Joseph Marsollier des Vivetières. The opera was a great success; according to the records of the Comédie-Italienne, 104,000 spectators had seen it by 1793.
The next time the opera was heard was after Mouret's death, in a revised version performed by the Académie de musique at its theatre in the Palais-Royal in Paris on 30 January 1742, where it was a great success. It probably inspired Jean-Philippe Rameau to write his own comic opera about an ugly woman, Platée. The musical score of the 1714 version of Ragonde does not survive.
On 19 August 1800 at the Norwich Quaker Meeting House, Goats Lane, Norwich, Joseph married Elizabeth Gurney (1780–1845), daughter of John Gurney (1749—1809) and Catherine Gurney (born Bell, 1755—1792). The bride's family were proverbiallyAn example of "as rich as the Gurneys" occurs in W.S.Gilbert's lyrics for the comic opera, Trial by Jury. The phrase is glossed at The Victorian Web. wealthy bankers, originally based in Norwich.
Robin Hood is a comic opera by Reginald De Koven (music), Harry B. Smith (lyrics) and Clement Scott (lyrics of "Oh Promise Me"). The story is based on the Robin Hood legend, during the reign of King Richard I (1189-1199 AD). The opera was composed in Chicago, Illinois during the winter of 1888-1889. The opera was first performed at the Chicago Opera House on 9 June 1890.
Ignaz Brüll was an Austrian pianist and composer who became associated with the circle around Johannes Brahms in Vienna. He taught at the Horáksche Klavierschulen in Berlin. He composed Das goldene Kreuz as his second opera. The libretto of the comic opera in the singspiel tradition was written in German by Salomon Hermann Mosenthal who had also written the libretto for Otto Nicolai's The Merry Wives of Windsor.
178 (1903), George S. Maddick Her West End roles included Lady Pattie in Adonis (1886),Brereton, p. 127 Fernand in Monte Cristo Jr. (1886), Lady Betty in the comic opera Dorothy (1886),Brereton, p. 130 a small role in the Victorian burlesque Frankenstein, or The Vampire's Victim (1887),Adams, p. 547 Siebel in another burlesque, Faust up to date (1888–1889),The Illustrated Naval and Military Magazine, Vol.
A Welsh Sunset is a one-act comic opera composed by Philip Michael Faraday, with a libretto by Frederick Fenn. It was produced at the Savoy Theatre from 15 July 1908 and played with revivals of H.M.S. Pinafore and The Pirates of Penzance until 17 October 1908, and from 2 December 1908 until 24 February 1909, a total of 85 performances. A copy of the vocal score (published in 1908 by Metzler), but no printed libretto, is found in the British Library. The score contains all the dialogue. A lawyer, Faraday composed songs and musical theatre pieces and managed English operetta companies in the years immediately prior to World War I. Two years earlier, he had composed the successful comic opera Amasis (1906)Johnson, Colin M. Amasis midi files and information, The Gilbert and Sullivan Archive, accessed 31 March 2018 Fenn later adapted into English, with much success, The Girl in the Taxi (1912; produced by Faraday).
Hannah D. Pittman was for sixteen years a member of the staff of the St. Louis Post-Dispatch and during that time was also associated with John R. Reavis as assistant editor of the St. Louis Spectator, a weekly paper founded by Joseph McCulloch, John A. Dillon and Henry W. Moore, editors of local newspapers. While on the staff of the Post-Dispatch, Pittman wrote several children's plays for Professor Mahler, which were presented at Saratoga during the summer season, and later in 1883, in collaboration with Professor Robyn, wrote her most ambitious dramatic work, a comic opera, which was presented at the Pickwick Summer Garden Theater by a professional company, with Laetitia Fritsch in the title role. The success was so great that the author accepted the offer of Pope's Theater managers to open the regular season with "Manette." The initial ovation was repeated, and from New York to London was cabled the success of the first American comic opera.
Her parents separated when she was 18, and she moved to New York with her mother. She began to perform professionally by 1879, singing for Tony Pastor and playing roles in comic opera, including Gilbert and Sullivan works. Composer Edward Solomon created roles in several of his comic operas for her in London. In 1884, they returned to New York and married in 1885, but in 1886, Solomon was arrested for bigamy.
A Dinner Engagement is a one-act comic opera by Lennox Berkeley, (his Op. 45) to a libretto by Paul Dehn. The opera was written for Benjamin Britten's English Opera Group. It premiered at the Jubilee Hall, Aldeburgh Festival, in 1954; the first London performance was at Sadler's Wells Theatre on 7 October 1954, with the same cast. The first performance in the USA was at the University of Washington in 1958.
Scene from All the World's a Stage Jackman's Milesian, a comic opera, on its production at Drury Lane on 20 March 1777, met with an indifferent reception. It was published in 1777. All the World's a Stage, a farce by Jackman in two acts, in prose, was first acted at Drury Lane, 7 April 1777, and was frequently revived. It was printed in 1777, and reprinted in John Bell's British Theatre and other collections.
He eventually found a willing partner in Alfred Cellier, a logical choice for Gilbert. The two had collaborated once before (Topsyturveydom, 1874), and Cellier had been the musical director for Gilbert and Sullivan's early operas. Cellier had also achieved much success apart from Gilbert and Sullivan, particularly with his comic opera Dorothy (1886), a smash hit. It played for over 900 performances, considerably more than The Mikado, Gilbert and Sullivan's most successful piece.
Olivette, the English adaption of Les noces d'Olivette, a comic opera with music by Edmond Audran, debuted at the Bijou on Christmas Day with Jansen as the Waiting Maid to the Countess. In May 1881 Olivette opened at the Boston Globe, with Jansen assuming the role of the Countess, with great success."Record of Amusements", The New York Times, December 26, 1880, p. 7 She next played in The Vicar of Bray and Billee Taylor.
William despised the ceremony and acted throughout, it is presumed deliberately, as if he was "a character in a comic opera", making a mockery of what he thought to be a ridiculous charade.Allen, p.131 Adelaide, alone among those attending received praise for her "dignity, repose and characteristic grace".Baroness von Bülow, quoted in Allen, pp.131–132 Adelaide was beloved by the British people for her piety, modesty, charity, and her tragic childbirth history.
Mukhatov returned to Ashgabat and joined the Red Army, assigned to the 99th Rifle Division, which saw combat in the Don River basin. He was demobilized in 1943 and returned to Ashgabat to the position of choir director of the Opera and Ballet Theater. This period was marked by composition of a series of patriotic songs. After the war, Mukhatov collaborated with Russian composer Adrian Shaposhnikov to compose the comic opera "Kemine and Kazy".
Sheet music for "Santa Maria, My Joy, My Pride" Santa Maria is an operetta, or 'comic opera', in three acts with music and lyrics by Oscar Hammerstein I. It opened at Hammerstein's Olympia Theatre in New York City on September 14, 1896.Brown, p. 607 After closing on December 19, 1896, it went on tour, starting at the Alvin Theatre in Pittsburgh, Pennsylvania, on December 21, 1896.The New York Times, December 9, 1896, p.
She also provided a safety pin for George Mische's trousers that famously came loose, part of what Mische later called the "comic opera" of the raid. Before reporting to the Federal Women's Prison Camp in Alderson, West Virginia for her two-year sentence, she and her husband spoke to many antiwar groups. Because she spoke fluent Spanish from her years in Guatemala, she befriended many of the Spanish-speaking women in prison.
The Monks of Malabar is a "comic opera" or operetta in 3 acts composed by Ludwig Englander with lyrics by J. Cheever Goodwin and book by Francis Wilson (uncredited) and Goodwin. It opened at the Knickerbocker Theatre on 13 September 1900 and closed on 20 October after 39 performances.Although IBDB.com says it opened on 14 September, the New York Times and an original program indicate the date of the first performance was Thursday, 13 September.
374 It was quickly produced in Europe and both North and South America.La Périchole, L'Avant-Scène Opéra, No. 66, August 1984La Périchole at the IBDB database Of the pieces that followed it at the end of the decade, Les brigands (1869) was another work that leaned more to romantic comic opera than to opéra bouffe. It was well received, but has not subsequently been revived as often as Offenbach's best-known operettas.
In 1741 Agricola went to Berlin, where he studied musical composition under Johann Joachim Quantz. He was soon generally recognized as one of the most skillful organists of his time. The success of his comic opera, Il filosofo convinto in amore, performed at Potsdam in 1750, led to an appointment as court composer to Frederick the Great. In 1759, on the death of Carl Heinrich Graun, he was appointed conductor of the royal orchestra.
The early years of the decade brought the Globe little success. A comic opera in an attempted Gilbert and Sullivan vein,"Globe Theatre", The Manchester Guardian, 24 July 1882, p. 5 The Vicar of Bray, by Sydney Grundy and Edward Solomon (1882) ran for only 69 performances,Rollins and Witts, p. 13 and The Promise of May, a "Rustic Drama in Prose" by the Poet Laureate, Lord Tennyson, lasted only a few nights.
He traveled to Australia the following year, where he appeared with the Williamson, Garner and Musgrove Royal Comic Opera Company beginning in April 1885, in Melbourne with La Petite Mademoiselle by Charles Lecocq. He reprised the role of Strephon in Iolanthe in Melbourne and Sydney until June 1885.Moratti, Mel. Information from the Australian Theatre in Melbourne site In October 1885 he was back in Boston, appearing in "Stradella" at the Bijou Theatre.
Reynolds left the Lyric in 1932 for the Birmingham Repertory Theatre. He wrote 1066 And All That (a musical based on the comic book by of that name) and a score for The Swiss Family Robinson. In 1947, he wrote music for a Stratford-upon-Avon adaptation of Alice in Wonderland and Through the Looking-Glass. A two-act comic opera, The Limpet in the Castle, was premiered in 1958 at Wombwell, Yorkshire.
Theodora not only wrote with her husband, but also collaborated with other composers. Professionally, she often used the pseudonyms of Dorothy Terriss, Dolly Morse and D. A. Esrom. She wrote the lyrics for Hail, Hail, the Gang's All Here to a tune originally written by Arthur Sullivan for the comic opera The Pirates of Penzance. The popular good-night waltz Three O'Clock in the Morning was written to music composed by Julián Robledo.
200px Opera della Luna, founded in 1994, is a British touring theatre troupe of actor-singers focusing on comic works. Led by artistic director Jeff Clarke, it takes its name from Haydn's operatic setting of Goldoni's farce Il mondo della luna. The company presents innovative, usually zany and irreverent, small-scale productions and adaptations of Gilbert and Sullivan, other comic opera and operetta, in English. Opera della Luna is a registered British charity.
Ellis and Walery, c.1890 François Arsène Cellier (14 December 1849 – 5 January 1914), often called Frank, was an English conductor and composer. He is known for his tenure as musical director and conductor of the D'Oyly Carte Opera Company during the original runs and early revivals of the Savoy operas. Succeeding his elder brother Alfred as the company's chief conductor in 1878, Cellier devoted almost all the rest of his life to comic opera.
Lina Abarbanell In 1905, Heinrich Conried, manager of the Irving Place Theatre and the Metropolitan Opera House, brought Abarbanell to New York. Her American debut came that October at Irving Place in Fruehlingsluft (Spring Breezes) followed a month later playing Lt. Von Vogel in Jung Heidelberg (Young Heidelberg), a comic opera with music from Carl Millöcker and book by Leopold Krenn and Karl Lindau.Before the Footlights. The New York Daily News November 5, 1905, p.
Stanfield was educated in France for the Roman Catholic priesthood. He did not take orders, but went to sea in a vessel engaged in the Atlantic slave trade. After a bad time at sea and a short period on shore in Africa, he returned to England, one out of three survivors of the voyage. Joining a theatrical company, Stanfield appeared in 1786 at York, where he also tried his hand at writing a comic opera.
She debuted in Malta in 1875 as Amina. In 1876, she arrived in England and toured in Italian operas in the English provinces with the Royal Italian Opera. She joined Richard D'Oyly Carte's Comedy Opera Company at the Opera Comique in May 1878, creating the role of Josephine in Gilbert and Sullivan comic opera H.M.S. Pinafore, which became a sensation. She earned excellent notices from the critics and was popular with audiences.
The opera is cast in the traditional tragedie en musique form developed by Jean-Baptiste Lully in the seventeenth century: a prologue followed by five acts. By the time Scylla's first performance was given, the form was already becoming outdated, threatened by both the newly evolving form of opera ballet and the increasingly popular Italian comic opera. However, while the form of the opera might have been old-fashioned, the music was not.
In recognition of his performances of the works of Jacques Offenbach, Čelanský was appointed an officer of L'Académie française. During World War I, he refused the post of director at the comic opera in New York City. Following the Czechoslovak proclamation of independence in 1918, Čelanský became the director of the Czech Philharmonic again, but was soon replaced by Václav Talich. Čelanský spent his later years in Prague, where he worked as a music teacher.
By the time Foggerty's Fairy premiered, Gilbert and Sullivan had already written half a dozen comic opera hits. Since 1877, however, Gilbert had not written a successful play apart from Sullivan. Gilbert wrote Foggerty's Fairy for British actor Edward Sothern, who had commissioned two earlier plays from Gilbert, Dan'l Druce, Blacksmith and The Ne'er-do-weel. Sothern had not been satisfied with The Ne'er-do-weel, despite various rewrites, and he refused the piece.
Morlacchi was quickly successful as an opera composer. His first operatic works were written in 1807, and were a farce and a comic opera. His first truly effective theatre work was the opera seria Corradino (Parma, 1808), and led to commissions from opera houses in Rome and Milan. In 1810 he was brought to Dresden by contralto Marietta Marcolini, and in 1811 Morlacchi was made Kapellmeister of the Italian Opera in Dresden.
Others followed Hammerstein's lead in wanting Trentini to make the transition. She reconsidered, exclaiming that it would be very nice to be the etoile-une toute petite etoile. In English she meant she believed she could excel as a singular star of comic opera rather than one of many in grand opera. The English language continued to be a problem for her, though she took eighty lessons in a single season the previous winter.
His wife died in childbirth in 1875.Index of Birth, Marriage & Deaths for England & Wales, April–June 1875, Camberwell, vol. 1d, p. 456 Temple as Dick Deadeye in H.M.S. Pinafore In 1875, Temple produced, directed, and appeared as Thomas Brown in, a revival of Arthur Sullivan's one-act comic opera The Zoo, at the Philharmonic Theatre, which was played as an afterpiece to an adaptation of Offenbach's Les Géorgiennes, with Temple as Rhododendron Pasha.
Later, in 1884, he adapted his farce into a comic opera with composer Arthur Sullivan entitled Princess Ida, which is still performed regularly today. Other musical works inspired by the poem include a setting of "As Through the Land" composed by the poet Edward Lear in his lesser-known capacity as a composer.Lear (1859). Both Ralph Vaughan Williams and Frank Bridge composed settings for the "Tears, Idle Tears" section of The Princess.
The Baron Kinkvervankotsdorsprakingatchdern is an 18th-century comic opera written by English composer Samuel Arnold and English playwright Miles Peter Andrews (died 1814). The opera was based on a novel by Lady Craven. It was published in London in 1781 and first performed on 9 July 1781 at the Theatre- Royal in the Haymarket.Indiana University The Baron Kinkvervankotsdorsprakingatchdern is also known for having the longest name of any manuscript published in the English language.
He had composed multiple songs previously in his life, including "Imperfectus", "I love thee so", "Remember me no more", "Severed", and "Thou art my Soul", which by this point had become well known in Australia. Robinson also composed a whole comic opera, which was presented at the Princess Theatre in Melbourne, Victoria. Performing in a variety of different events throughout the 1880s, he entertained the most people at Government House of any Australian governor.
It is a comic opera for children and others, Loranga, Masarin and Dartanjang, based on books by Barbro Lindgren. In August 2006, the third motet Spiritual Exercises was premiered by the Swedish Radio choir, conducted by Peter Dijkstra. For the Kroumata percussion ensemble and the Swedish soprano Erika Sunnegårdh he wrote The World As I see It with texts by Albert Einstein. This piece was selected by Swedish Radio to be presented at Rostrum 2007.
In 1803 Diabelli moved to Vienna and began teaching piano and guitar and found work as a proofreader for a music publisher. During this period he learned the music publishing business while continuing to compose. In 1809 he composed his comic opera, Adam in der Klemme. In 1817 he started a music publishing business and in 1818 he formed a partnership with Pietro Cappi to create the music publishing firm of Cappi & Diabelli.
"One praised it, another shook his head, and one well-known musician ... said to me: 'That's no comic opera; it won't do. The opening chorus is fine but I don't care for the rest.'" Josef Krejčí, a member of the panel that had judged Harrach's opera competition, called the work a failure "that would never hold its own." Press comment was less critical; nevertheless, after one more performance the opera was withdrawn.
A great number of important composers were presented: Haydn (including the Symphonies Parisiennes (#82 to 87), Clementi, Viotti, Pleyel, Mozart, Boccherini, Gyrowetz, Paul Wranitzky, Daniel Steibelt, Alessandro Rolla and many other composers. During the Revolution, he published about one hundred patriotic hymns. In 1798 or 1799 he bought the store of a publisher named Leblanc for another sale location specified in his advertising: in the "peristyle of the comic Opera Theatre" at 461 rue Favart.
In one of her productions at the St James's, a work by Gilbert, Tom Cobb, was in a triple-bill with The Zoo, a short comic opera with music by Arthur Sullivan.MacQueen-Pope, p. 62 Another of Litton's productions was a double bill of revivals of Frank Marshall's farce Brighton and William Brough's burlesque Conrad and Medora, in which she co-starred with Henrietta Hodson."Portraits: Miss Litton", The Theatre, October 1878, pp.
In 1902, he spotted an advertisement with a picture of Fay Templeton for a new Joe Weber and Lew Fields musical. He had not been interested in theatre but more in literary classics, but after seeing the show, realized he liked the lighthearted genre. In the same year, he met Karl Hoschna. They wrote a comic opera together, but no producer would pick it up, so they wrote songs to put in other Broadway shows.
" In his operas and elsewhere, Grove, Parry and later commentators found music that ought to convey love and romance failing to do so.Rodmell, p. 416 Like Parry, Stanford strove for seriousness, and his competitive streak led him to emulate Sullivan not in comic opera, for which Stanford had a real gift,Rodmell, p. 413 but in oratorio in what Rodmell calls grand statements that "only occasionally matched worthiness with power or profundity.
Lyric Opera San Diego was a San Diego, California-based theatre company specializing in Comic opera, Operetta, and Musical theatre. The company was founded in 1979, primarily for the purpose of performing Gilbert and Sullivan's Savoy operas. At the time it was known as the San Diego Gilbert and Sullivan Company. The focus of the company changed in 1990 when Leon Natker was hired as General Director; the artistic director was J. Sherwood "Jack" Montgomery.
In 1905, Clara published The Girl of La Gloria, and in 1906 she published In the Shadow of the Alamo. The three-act comic opera Mexicana, was adapted from a book by Driscoll, and was financed by her. Music was by John Raymond Hubbell with lyrics by Clara Driscoll and Robert Bache Smith. The production ran at the Lyric Theatre (New York) for 82 performances, from January 29, 1906 to April 7, 1906.
Gilbert's first operatic burlesque, Dulcamara, or the Little Duck and the Great Quack, had been successful enough to encourage him to write another. It had run for 120 nights, from Christmas 1866 to Easter 1867, a good run for the London theatre of that time.Stedman, p. 38 As with Dulcamara, Gilbert based La Vivandière on a comic opera by Donizetti, using the composer's tunes, and those of other composers, and fitting new words to them.
404, 21:59–74. Another notorious anonymous 19th-century poem on the same subject is The Rodiad, ascribed (seemingly falsely and in jest) to George Colman the Younger. John Camden Hotten even wrote a pornographic comic opera, Lady Bumtickler’s Revels, on the theme of flagellation in 1872. Pierre Louÿs helped found a literary review, La Conque in 1891,Rosemary Lloyd, Mallarmé: the Poet and His Circle, Ithaca, NY: Cornell University Press 404, 2005, , pp.
"Beckson (1970:188) He also questioned whether people would fully see its message, "... how Serious People will take this Trivial Comedy intended for their learning remains to be seen. No doubt seriously." The play was so light-hearted that many reviewers compared it to comic opera rather than drama. W. H. Auden later called it "a pure verbal opera", and The Times commented, "The story is almost too preposterous to go without music.
In that year he was seen by Arthur Sullivan and, separately, by W. S. Gilbert, in performances of their one-act comic opera Trial by Jury. Impressed, they engaged him to play the comic lead in their new, full-length work, The Sorcerer.Bailey, pp. 116–117 Thereafter, Grossmith created the leading comic role in each of Gilbert and Sullivan's long-running comic operas until The Yeomen of the Guard, which closed in 1889.
Alexandre bis (Alexander Twice in English; Dvakrát Alexandr in Czech) is a surrealist comic opera in one act by Bohuslav Martinů, (H. 255), composed in 1937 to an original libretto written in French by André Wurmser. The opera was intended by Martinů, who was then living in Paris, for performance at the Paris World Exhibition of 1937. However, various delays (including the intervening World War II) prevented its performance during the composer's lifetime.
Cooke was a prolific composer from early adolescence. In Dublin he had composed a number of orchestral overtures to theatrical performances and many songs. An early success was the comic opera The First Attempt, or The Whim of the Moment to a libretto by Sydney Owenson (Lady Morgan). In this work and in the later Thierna-na-Oge, or The Prince of the Lakes (1829), Cooke clearly referred to Celtic-Irish legends.
Stone, David. "Edward Solomon", Who Was Who in the D'Oyly Carte Opera Company, February 17, 2002, accessed January 17, 2016 Russell in Giroflé- Girofla, 1890s Russell continued to star in comic opera and other musical theatre. She toured with the J.C. Duff Opera Company between other engagements for two years beginning in 1886. In 1887, she starred as Carlotta in Gasparone by Karl Millöcker in New York City at the Standard Theatre, together with Eugène Oudin and J.H. Ryley.
The piece has a libretto by Harry Greenbank.Dutton 2CDL7372, reviewed at MusicWeb International In May of the same year, Ford supplied the music for the full-length J. M. Barrie and Arthur Conan Doyle comic opera, Jane Annie, a flop that nevertheless toured until September of that year.Coles, Clifton. "Introduction to Jane Annie", The Gilbert and Sullivan Archive, 23 January 1997, accessed 13 April 2018 Later, Ford became musical director of the Trafalgar Theatre in London.
"Carina, Tonight" in St James's Gazette, 28 September 1888, p. 1 On 29 April 1889, Thorne opened at the Vaudeville Theatre in the comic opera Faddimir, playing the lead part of Faddimir the First,"Faddimir, or the Triumph of Orthodoxy" in The Theatre, Volume 22 (1889), p. 335 with his wife also in the company. In July 1890, he played Wilson in Brander Matthews's melodrama A Gold Mine at the Gaiety Theatre, which closed in August.
He was introduced to the audience for the first time at the Opéra-Comique in La Gioconda. He sang the role of the chambellan in La Fiancée by Auber in February 1858 and Les Sabots de la MarquiseLes Sabots de la Marquise on Archives.org by Ernest Boulanger, in March 1858. He created the role of Chapelle in Chapelle et Bachaumont, 1 act comic opera, libretto by Armand Barthet, music by Jules Cressonois,Jules Cressonois on data.bnf.
Under Napoleon III, a new, lighter musical genre, the operetta, was born in Paris, and flourished especially in the work of Jacques Offenbach. It emerged not from the classical opera, but from the comic opera and vaudeville, which were very popular at the time. Its characteristics were a light subject, an abundance of amusement and comedy, spoken dialogue mixed with songs and instrumental music. The first works were staged in 1848 by August Florimond Ronger, better known as Hervé.
1798, was acted forty-one times, and often revived. The Blind Girl, or a Receipt for Beauty, a comic opera in three acts (songs only printed), Covent Garden, 22 April 1801, was played eight times. Beggar my Neighbour, or a Rogue's a Fool, a comedy in three acts (unprinted), Haymarket, 10 July 1802, was assigned to Morton but unclaimed by him, being damned the first night. It was afterwards converted into How to tease and how to please.
Since 1984, Köhler has belonged to the ensemble Halle an der Saale, first as a baritone and later as a countertenor. In 1995, Köhler sang at the Royal Opera House in London at the premiere of Arianna by Alexander Goehr. In 1998 he took over the title role in the world premiere of Farinelli by Siegfried Matthus. In 2001, he played the devil in Detlev Glanert's comic opera Scherz, Satire, Ironie und tiefere Bedeutung at its premiere.
A year later at the Casino Theatre, she played Javotte in Erminie, the hit comic opera composed by Edward Jakobowski. When she joined the cast of Erminie, Aronson added a song for her, Sunday after Three, My Sweetheart Comes to Me, that he adapted from an old German tune. In May 1888, again at the Casino, Jansen created for the American stage the title role in Nadjy, adapted by Alfred Murray from the Francis Chassaigne operetta, Les noces improvises.
Mengal was the founding director of the Royal Conservatory of Ghent in 1835 and served as director there until his death. His students there included François-Auguste Gevaert. His operas include Les infidèles (1823, Paris), Le Vampire ou L'Homme du néant (1826, Ghent), Apothéose de Talma (1826, Ghent), and the comic opera Un jour à Vaucluse ou Le Poète ambassadeur (1830, Ghent). A few compositions from his younger brother Jean-Baptiste Mengal (1792–1878) have also survived.
She toured as "Yum-Yum" in The Mikado in 1885. In 1889 she starred in Ardriell, a comic opera staged at the off-Broadway Union Square Theatre. Critic Alan Dale commented that "Miss Paullin can certainly make herself heard, and that is about all that can be favorably said about her performance, which was characterized by an intense lack of refinement, and a pretty well defined mispronunciation of the English language." In 1897 she appeared in Geisha in Chicago.
Kateřina's health gradually worsened and in the spring of 1859 failed completely. Homeward bound, she died at Dresden on 19 April 1859. Smetana wrote that she had died "gently, without our knowing anything until the quiet drew my attention to her."Large, pp. 95–97 After placing Žofie with Kateřina's mother, Smetana spent time with Liszt in Weimar, where he was introduced to the music of the comic opera Der Barbier von Bagdad, by Liszt's pupil Peter Cornelius.
To fill out the evening (as long programmes were the fashion in Victorian theatre), he needed another piece. He remembered a libretto for a one-act comic opera that W. S. Gilbert had written and shown to him in 1873, called Trial by Jury.Stedman, p. 125 Meanwhile, Sullivan's popular 1867 opera, Cox and Box, had been revived at the Gaiety Theatre in 1874, and Carte had already asked him to write a piece for the Royalty.
From this time he contributed a very large number of comedies, operas, farces, etc., to the public entertainment, including (in 1802) the comic opera Family Quarrels. Some of these brought immense popularity to the writer and immense profits to the theatres. It is stated that the pantomime of Mother Goose (1807) produced more than £20,000 for the management at Covent Garden theatre, and the High-mettled Racer, adapted as a pantomime from his father's play, £18,000 at Astley's.
The Era, London, 13 February 1897. Marguerite Sylva on a poster for the 1900 production of the Kirke La Shelle and Julian Edwards comic opera, The Princess Chic According to Marguerite Sylva's entry in the 1935 edition of American women, it was W. S. Gilbert who gave the sisters their stage names.Howes, Durward (1935) p. 543 In early 1896 they were in London, where Edith was to play her violin for Gilbert, with Marguerite providing the piano accompaniment.
This after Mr. Gilbert had announced, seemingly without > thought of the possibility of failure, that he had resolved to forswear > comic opera for more important work. Now it is being recalled that he > promised his public, after the disastrous Brantinghame Hall, that he would > never repeat the offense. Subsequent press criticism of The Fortune Hunter was heavy. The play continued to tour for a while, and Gilbert tried several cuts and minor rewrites, but reviews continued to be poor.
The following month he appeared, in the role of Eccles, in the comedy Caste by Thomas William Robertson at the same theatre. It was his final appearance before returning to England. The Sydney Morning Herald said "after the present run it is not probable that as fine a cast will ever be furnished in Australia again". In 1897 in Broadway, he was in the comic opera La Poupée which was produced by Oscar Hammerstein I at the Olympia Theatre.
Williams' first big success, and likely his most celebrated role, was William Lurcher, which he created in the record-setting hit comic opera Dorothy, beginning in 1886. In 1888, he appeared in The Spitalfields Weaver by Thomas Haynes Bayly. At the Gaiety Theatre, in 1889, he played Bardell V. Pickwick in Dickens' stage adaptation of his novel, The Pickwick Papers. At the Britannia Theatre in 1889, he appeared in The Harvest Storm, by Colin Henry Hazlewood.
Solié's second son, Emile Solié (9 April 1801, Paris – after 1867, Ancenis?), became an author who wrote about music (see Other sources). Emile's son Charles (died after 1912) was a conductor and director in the 1860s at the Théâtre Graslin in Nantes. Subsequently he conducted at the Théâtre-Français in Nice. He was also a composer: his comic opera Schein Baba, ou L'intrigue au harem was well received when it was performed in Nice on 5 April 1879.
These include 50 transcriptions of works by composers as diverse as Stravinsky, Palestrina, Mozart, Satie and Wagner. He also made piano arrangements of songs by Cole Porter, Jerome Kern and George Gershwin and he wrote unaccompanied sonatas for violin, flute and cello. A planned symphony based on the works of Herman Melville, and a comic opera were left unfinished. The original manuscripts of many of Ogdon's compositions are deposited in the Royal Northern College of Music Library.
His Symphony is inspired by The Old Man and the Sea, the novella by Ernest Hemingway. Chamber Comic Opera Madam Popov, is based on the story of Anton Chekhov The Bear (with libretto in English, written by composer). The duet The Royal Bee is an expressive musical story, inspired by the phenomenon of the queen bee. The premiere of his String Quartet Flashback, performed by the German Rubin Quartet in 2007, was the last performance attended by the composer.
Linn Skåber (born 31 March 1970) is a Norwegian actress, singer, comedian, text writer and TV personality. She made her stage début on Oslo Nye Teater (Centralteatret) in 1997, playing the title role in Goldoni's comic opera Mirandolina. Skåber received Komiprisen in 2006 (best female artist), for her role in Utlendingen, and a Gullruten award in 2007, for the TV series Hjerte til hjerte. From 2007 she has been panellist in the weekly TV comedy program "Nytt på nytt".
In February 1861, Ugalde escaped a serious stage accident while singing in a performance of Le Caïd in Caen.A. Soubies, C. Malherbe: Histoire de l'opéra comique. La seconde salle Favart 1840–1887 (Paris: Flammarion, 1893). From 1863, she sang at the Théâtre des Bouffes-Parisiens (Orphée, Les bavards), including her own operetta La Halte au moulin (1867), retired from the stage in 1871, but performed again in the sole role of her comic opera Seule in 1873.
"The Gentleman in Black" at Gilbert & Sullivan: a selling exhibition of memorabilia, c20th.com, accessed 16 November 2009 The plot involves body- switching, facilitated by the magical title character. It also involves two devices that Gilbert would re-use: baby-switching and a calendar oddity. Produced soon after Gilbert first met Arthur Sullivan, but before the two had collaborated, Gilbert's first full-length comic opera, The Gentleman in Black, was based on the theatrically popular theory of metempsychosis.
The Lyric opened with a comic opera production based on the life of 18th century Prussian King Frederick the Great. The theater offered vaudeville, operas, plays, dramatic skits, minstrel shows, films and concerts, and also became one of the leading burlesque halls in the United States. On December 1, 1910, French actress Sarah Bernhardt made a one-night appearance at the Lyric. In 1912, it was the site of speeches by Theodore Roosevelt, Woodrow Wilson and Booker T. Washington.
During the earlier period, from 1788 to 1801, the Opéra-Comique underwent significant challenges. Up to that time the theatre had had a virtual monopoly on the performance of French comic opera in Paris, but in 1788 Marie Antoinette gave a license to open a new theatre to her hairdresser and wig-maker, Léonard Autié. Autié sold his license to the Italian violinist Giovanni Battista Viotti, who hired Luigi Cherubini to be the director of the new company.
Fallen Fairies; or, The Wicked World, is a two-act comic opera, with a libretto by W. S. Gilbert and music by Edward German. The story is an operatic adaptation of Gilbert's 1873 blank-verse fairy comedy, The Wicked World. In Fairyland, the fairies are curious about wicked mortals, especially their strange capacity for love. They summon three mortal men from the world below to observe them and to teach the men how to live virtuously.
Together with all the other intense personal rivalries in the (e.g. between small farmers and pastoralists), provincial politics had a comic opera quality to it in the Marlborough Province. Seymour fuelled this conflict by being a stern supporter of Picton. He served on the council over all of its 16 years of existence. He represented the electorates of Picton in the 1st, 2nd, 3rd, 5th and 6th council, and Awatere in the 4th and 7th council.
To the succeeding generation of composers, he was known as "the father of comic opera". Some of his mature opere serie, for which his librettists included the poet and dramatist Metastasio, were also widely popular. Throughout his career Galuppi held official positions with charitable and religious institutions in Venice, the most prestigious of which was maestro di cappella at the Doge's chapel, St Mark's Basilica. In these various capacities he composed a large amount of sacred music.
It had a trial at an authors' matinee in New York City, and was first presented August 16, 1892, at the Lyceum Theatre. Captain Lettarblair, produced by Daniel Frohman, brought in large audiences and much money, and held a place in Sothern's repertoire. Before it was acted, Joseph Jefferson, who saw the manuscript, praised it highly. Merington wrote other dramas, including Good- Bye, A Lover's Knot, and the libretto of a comic opera, Daphne, or the Pipes of Arcadia.
London Standard, 29 December 1892, p. 4, After an eight-month run in Round the Town, Seymour returned to the Gaiety Theatre on 9 September 1893, where she would remain until 1901, to appear in Edwardes' revival of Audran's comic opera La Mascotte,Amusement Notes. London Evening News and Post, 1 September 1893, p. 1 and on 21 October, Don Juan, a burlesque by James T. Tanner, with lyrics and music by Adrian Ross and Meyer Lutz, respectively.
Poster for The Contrabandista The Contrabandista, or The Law of the Ladrones, is a two-act comic opera by Arthur Sullivan and F. C. Burnand. It premiered at St. George's Hall, in London, on 18 December 1867 under the management of Thomas German Reed, for a run of 72 performances. There were brief revivals in Manchester in 1874 and America in 1880. In 1894, it was revised into a new opera, The Chieftain, with a completely different second act.
Bréval wrote symphonies, seven cello concerti, 4 cello sonatas, various chamber music including five sets of cello duets, as well as a comic opera. Perhaps his most important and influential work was Traité du Violoncelle (1804), a cello method. It was probably the first systematic treatise on the cello. However, it was not well-received as it overlooked the increasing technical advances in the design of the cello that allowed for greater virtuosity on the instrument.
Emney as a comic waiter in Shell Out!, 1915 Frederick Charles Emney (1865 – 7 January 1917), known professionally as Fred Emney, was an English comedian, known for his appearances in farce, comic opera, musical comedy, music hall and pantomime. He was a member of a theatrical family: among his uncles was the popular comedian Arthur Williams, and he was the father of Fred Emney, a comic character actor frequently seen on stage and screen in the mid-20th century.
The Marriage is a comic opera in 2 acts by Bohuslav Martinů, to the composer's own libretto, after the play of the same name by Nikolai Gogol. The opera was commissioned for television by the NBC, and the NBC Opera Theatre performed the work's world premiere on their television program NBC TV Opera Theatre for a national broadcast in the United States on 2 July 1953. The opera has subsequently been adapted for the stage and recorded on CD.
Boston Symphony Orchestra. During the summer of 1917 Pfitzner revised the work as a two-act spieloper (comic opera). He adapted and shortened the play and turned some of the speaking and silent roles into ones for singers. The revised version premiered on 11 December 1917 at the Königlich-Sächsisches Hoftheater in Dresden conducted by Fritz Reiner with Richard Tauber as Frieder and Grete Merrem- Nikisch in the title role.Zöchling, Dieter (1990). Die Chronik der Oper, p. 348.
La Salla is a 1996 computer animated short by Richard Condie, produced in Winnipeg by the National Film Board of Canada. The film is a farcical comic opera, with a libretto written by Condie and translated into Italian, then recorded by Jay Brazeau. The film was nominated for an Academy Award for Best Animated Short Film at the 69th Academy Awards. It also won the award for best animation film at the Vancouver International Film Festival.
The Mandarin's Son (Сын мандарина in Cyrillic; Syn mandarina in transliteration) is comic opera in one act by César Cui, composed in 1859. The libretto, which includes spoken dialogue, was written by Viktor Krylov. No small influence for this work came from the French composer Daniel Auber, particularly his Le cheval de bronze, which had a similar setting, and was being performed in Saint Petersburg at the time. Cui dedicated this opera to his bride, Mal'vina Bamberg.
The Criterion Theatre opened with the operetta Falka performed by the Rignold and Allison Opera Company. Other notable productions included The Sultan of Mocha (1890), The Kelly Gang (1898) and The Squatter's Daughter (1907). It hosted a number of production companies including Brough Bouicault Comedy Company (producing works by Pinero and Wilde), Henry Bracy's Comic Opera Company, Pollards Lilliputian Opera Company and the Curtis Minstrels. Expatriates Oscar Ashe and Lily Brayton also toured production at the Cri.
6 His friend Fuller Maitland was by this time the chief music critic of The Times, and the paper's review of the opera was laudatory. According to Fuller Maitland The Veiled Prophet was the best novelty of an opera season that had also included Leoncavallo's Pagliacci, Bizet's Djamileh and Mascagni's I Rantzau."The Opera", The Times, 27 July 1893, p. 11 Stanford's next opera was Shamus O'Brien (1896), a comic opera to a libretto by George H. Jessop.
In comic opera, Méloni participated in the productions of the plays The Tales of Hoffmann, Mireille, Pagliacci, La Bohème, Madame Butterfly, Lakmé, The Marriage of Figaro, Platée, etc. In opera, he participated in the productions of Les Troyens, Benvenuto Cellini, Carmen, Dialogues des Carmélites. In 1970, the RTLN troupe was disbanded. When Rolf Liebermann became head of the Paris Opera, Méloni was hired by the administrator as part of a mini troupe of 12 solo singers.
He taught in the music department of the University of Nevada, Reno from 1966 to 1994, and served as chair of the department. In 1965, Puffer recorded two albums of Charles Ives Songs on Folkways Records. From 1994 until his death in 2003 he was on the voice faculty of the Manhattan School of Music in New York City. He also founded the Boston Comic Opera, The Milwaukee Opera, and the Salt Lake Opera in Logan, Utah.
A comic opera, The Murder of Comrade Sharik by William Bergsma (1973), is based on the plot of the story. The story was filmed in Italian in 1976 as Cuore di cane and starred Max von Sydow as Preobrazhensky.Cuore di cane Internet Movie Database A 1988 Soviet movie, Sobachye Serdtse, was made (in sepia) by Vladimir Bortko.Sobachye Serdtse Internet Movie Database A number of sequences in the movie were shot from an unusually low dog's point of view.
Thal, p. 64. who aged 15 was then prima donna of the comic opera there. Stephen Storace helped him mount a concert, and with funds he went on to Pisa, met the tenor Giuseppe Viganoni (1754-1823),P.H. Highfill, K.A. Burnim and E.A. Langhans, A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800, 15: Tibbett to M. West (Southern Illinois University Press, Carbondale and Edwardsville 1993), pp. 162-64 (Google).
Modiste by Victor Herbert and Henry Blossom. Over the following seasons she would perform with the Castle Square Opera Company, San Carlo Company and on two separate occasions the Aborn Opera Company. With the latter she played the title role in Carmen, Seibel in Faust and Suzuki in Madame Butterfly. In 1913 she shared the male role of Alan-a- Dale with actress Florence Wickham in the comic opera Robin Hood by Reginald De Koven and Harry B. Smith.
37 and played in pantomime, in low comedies with Cooper Cole's Strand Company, and, for a year, was a member of the company headed by Edward Terry at the Gaiety Theatre in London. In 1886 he created the part of Tom Strutt in Alfred Cellier's comic opera Dorothy, and played it throughout its run of 931 performances, which ended on 6 April 1889. A fortnight later he created the role of Crook in Cellier's next opera, Doris.
Merrie England (1902) Olive Margaret Milne Rae (1878-1933) was a Scottish soprano concert singer and actress who appeared in comic opera and Edwardian musical comedy in London and on tours of the British provinces. During her brief stage career, she played the May Queen during the original production of Merrie England (1902) and created the roles of Titania in A Princess of Kensington (1903) and Lady Violet in The Earl and the Girl (1903–04).
Sir Edward German Sir Edward German (17 February 1862 – 11 November 1936) was an English musician and composer of Welsh descent, best remembered for his extensive output of incidental music for the stage and as a successor to Arthur Sullivan in the field of English comic opera. Some of his light operas, especially Merrie England, are still performed. As a youth, German played the violin and led the town orchestra of Whitchurch, Shropshire. He also began to compose music.
The Tecumseh Opera House brought a variety of entertainment to the people of Tecumseh and the surrounding areas. As a center for the performing arts, the Tecumseh Opera House, was home to productions such as musical concerts, touring stock companies, performers such as Maude Atkinson, Katie Putnam, and John Dillon, classics such as Monte Cristo , Uncle Tom's Cabin , and East Lynn, minstrel shows such as the Tecumseh Ticklers, grand and comic opera, dialect comedies, and home talent shows.
The first performance given by the Society under his baton was a comic opera Die Mordgrundbruck bei DresdenComposer was (Ernst) Julius Otto (1 September 1804 – 5 March 1877) from Dresden. at the Theatre Royal in 1868; the first amateur opera given in Adelaide. He was teacher of music at St. Peter's College, Prince Alfred College, and the Christian Brothers' College, as well as a large private practice. He was succeeded at PAC around 1875 by W. B. Chinner.
The tale can be read as a critical satire of liberal nihilism and the communist mentality. It contains a few bold hints to the communist leadership; e.g. the name of the drunkard donor of the human organ implants is Chugunkin ("chugun" is cast iron) which can be seen as a parody on the name of Stalin ("stal'" is steel). It was adapted as a comic opera called The Murder of Comrade Sharik by William Bergsma in 1973.
16, pp. 714-16. The final comic opera touch to the woes of the Union fleet was a mistaken signal in the last phase of the gun battle. Captain Handy of the Vincennes chose to misread a signal the Richmond made to the vessels outside the bar to “Get Underway”. Handy ordered the engineer to set and light a fuse to the magazine of the Vincennes to blow her up, then ordered the crew to abandon ship and report to the Richmond.
In the fall of 1949 an offer came from the New York City Opera (NYCO) to revive Prokofiev's comic opera The Love for Three Oranges. Rosing's old friend Theodore Komisarjevsky had been slated to direct the production but had suffered a heart attack. Vladimir had seen the original failed production, commissioned by the Chicago Opera in 1921, and he knew what the work needed to bring it to success. His production opened in November 1949 and was a smash hit.
In autumn 1913, the directors of Vienna's Carltheater commissioned Puccini to compose a Viennese operetta. After confirming that it could take the form of a comic opera with no spoken dialogue in the style of Der Rosenkavalier, "only more entertaining and more organic,"Gavin Plumly, "Puccini's Bittersweet Operetta", San Francisco Opera program, Nov/Dec 2007, pp. 30/31 he agreed. The work proceeded for two years, sometimes intensely, sometimes with great difficulty, and in spring 1916 the opera was finished.
Eustace Bailey "E. B." Farnum (William Sanderson) is the proprietor of the Grand Central Hotel and self-appointed mayor of the town, a role he inhabits with comic opera buffoonish seriousness. He is totally controlled by Swearengen, although he harbors delusions of potential grandeur for himself. He is incredibly greedy — costing Al the chance to buy Alma Garret's claim due to his low offers — and continually asks prying questions to people around town, leading to numerous abuses and threats directed towards him.
The Lawsuit is a comic opera in one act by composer Svetlana Nesterova. The opera uses a Russian libretto by Vera Kupriyanova and the composer which is based upon Nikolai Gogol's fragmentary scene "The Lawsuit". The opera was commissioned by the Mariinsky Theatre along with two other new operas, Anastasia Bespalova's Shponka and His Aunt and Vyacheslav Kruglik's The Carriage, all based on stories by Gogol. The three operas premiered together on 21 June 2009 during the Mariinsky Theatre's summer festival.
Oxford Music Online, The Mountain Sylph Gilbert and Sullivan's comic opera Iolanthe (1882) parodies themes from The Mountain Sylph. In that work, for the love of a mortal, the fairy Iolanthe is banished from fairy society with the consent of her Queen. Typically Gilbertian absurdities are introduced to fairyland: the shepherd, who is the son of Iolanthe and her mortal husband, turns out to be "half a fairy". That is, his body and brain are fairy, but his legs are mortal.
Although it was the operas with Gilbert that had earned him the broadest fame, the honour was conferred for his services to serious music. The musical establishment, and many critics, believed that this should put an end to his career as a composer of comic opera—that a musical knight should not stoop below oratorio or grand opera.Baily, p. 250 Sullivan, despite the financial security of writing for the Savoy, increasingly viewed his work with Gilbert as unimportant, beneath his skills, and repetitious.
1882 poster of William T. Carleton in the New York production of Claude Duval Claude Duval – or Love and Larceny is a comic opera with music by Edward Solomon to a libretto by Henry Pottinger Stephens. The plot is loosely based on supposed events in the life of the seventeenth century highwayman, Claude Duval. The piece was first produced at the Olympic Theatre, London, on 24 August 1881, under the management of Michael Gunn. It ran until the end of October.
He illustrated The Piccadilly Annual; supervised a revival of Pygmalion and Galatea; and wrote Charity; Rosencrantz and Guildenstern, a parody of Hamlet; a dramatisation of Ought We to Visit Her? (a novel by Annie Edwardes), an adaptation from the French, Committed for Trial, another adaptation from the French called The Blue-Legged Lady, a play, Sweethearts, and Topsyturveydom, a comic opera. He also wrote a Bab-illustrated story called "The Story of a Twelfth Cake" for the Graphic Christmas number.
287 Gilbert declined but offered a compromise that Sullivan ultimately accepted: the two would write a light opera for the Savoy, and at the same time, Sullivan could work on a grand opera that Carte would produce at a new theatre he was planning to build to present British grand opera.Jacobs, p. 288 The new comic opera was The Gondoliers, which opened in December 1889 and became one of the partnership's greatest successes, with an initial run of 554 performances.Rollins and Witts, p.
In 1956 he composed the Concerto for Clarinet and the Concerto for Trombone. This same year brought the long-awaited world premiere of his opera Don Juan de Mañara based on a text by poet O. V. de L. Milosc. This opera, "L'Atlantide", and the comic opera "Le Testament di Pere Gaucher" collectively established his reputation as an opera composer. In May 1956 at Bordeaux, his opera Sampiero Corso was premiered, with the Australian tenor Kenneth Neate in the title role.
Barney Williams (August 20, 1824 – April 25, 1876) was an Irish-American actor-comedian popular during the mid decades of the 19th century. He was probably best remembered by audiences of the day for playing Ragged Pat in J. A. Amherst's drama Ireland as it is and the title role in Samuel Lover's comic opera Rory O'More. Throughout the greater part of his career he was billed along with his wife, the former Maria Pray, as Mr. and Mrs. Barney Williams.
He reopened the former Théâtre Taitbout as the Nouveau Théâtre-Lyrique, but his attempt at theatre management was unsuccessful. His first production, Hymnis, a comic opera by Theodore de Banville and Jules Cressonnois, proved too heavyweight for the taste of the Parisian public, and within a year Vasseur was forced to close the theatre. He succeeded Olivier Métra as conductor of the Folies Bergère.Grove gives the year of this appointment as 1890; Musica et Memoria gives the year as 1879.
LOOK Musical Theatre (LOOK) was a professional musical theatre company based in Tulsa, Oklahoma. The organization, governed by an elected board of directors, followed a repertory model in presenting a summer festival program of musicals and comic opera. LOOK's annual summer season of performances at the Tulsa Performing Arts Center is known as "The LOOK Festival." The company was founded by John and Jane Everett in 1983 as a non-profit community theater called The Gilbert and Sullivan Society of Tulsa.
La Carmélite is a 1902 comic opera, a comédie musicale in four acts and five scenes, by Reynaldo Hahn, to a libretto by Catulle Mendès. Hahn's second opera, like the first it was premiered at the Opéra-Comique. InterInternational Opera Collector: IOC. - Volume 2 - Page 70 1997 - Hahn's second opera, La carmelite, was also given its premiere at the Opera-Comique, starring Emma Calve as Louise de La Valliere and Lucien Muratore as Louis XIV, with Hector Dufranne as the Archbishop.
Despite Sullivan's fame and popularity in Germany, the country's attitude toward the Boer War dampened Sullivan's reception. In addition, Sullivan had already committed to working on the comic opera The Emerald Isle for the Savoy Theatre and was forced to put it aside to work on the Te Deum. Sullivan noted in his diary in July 1900 that he was essentially finished with the Te Deum. Soon afterwards, he grew ill, and in October he gave Martin final instructions about staging the work.
15 May 2009. It distinguished itself from other contemporary genres, including the Gothic novel, by setting these themes in ordinary, familiar and often domestic settings, thereby undermining the common Victorian-era assumption that sensational events were something foreign and divorced from comfortable middle-class life. W. S. Gilbert satirised these works in his 1871 comic opera, A Sensation Novel. For Anthony Trollope, however, the best novels should be "at the same time realistic and sensational...and both in the highest degree".
7 The cast included Ada Blanche; this was the third successive production in which aunt and niece had appeared together. Also in the cast, in the role of Robert Jaffray, was the 21-year-old Jack Hulbert, making his professional debut after success as an amateur while a Cambridge undergraduate. In June 1914, Courtneidge and Hulbert starred together in The Cinema Star, an adaptation by Hulbert and Harry Graham of Die Kino-Königin, a 1913 German comic opera by Jean Gilbert.
''''' (also: ''''') (English: The Taming of the Shrew) is a German-language comic opera in four acts by the German composer Hermann Goetz. It was written between 1868 and 1872 and first performed at the National Theatre Mannheim on 11 October 1874 under the conductor Ernst Frank. The libretto, by and the composer, is based on Shakespeare's The Taming of the Shrew. The style of the opera shows Goetz turning away from the musical ideas of Richard Wagner towards the classicism of Mozart.
Hassan to the Sultan: "It's the odd trick, O King, that wins the game". The Rose of Persia; or, The Story-Teller and the Slave, is a two-act comic opera, with music by Arthur Sullivan and a libretto by Basil Hood. It premiered at the Savoy Theatre on 29 November 1899, closing on 28 June 1900 after a profitable run of 211 performances. The opera then toured, had a brief run in America and played elsewhere throughout the English-speaking world.
Piano transcriptions, 1887 Iolanthe; or, The Peer and the Peri () is a comic opera with music by Arthur Sullivan and libretto by W. S. Gilbert. It is one of the Savoy operas and is the seventh of fourteen operatic collaborations by Gilbert and Sullivan. In the opera, the fairy Iolanthe has been banished from fairyland because she married a mortal; this is forbidden by fairy law. Her son, Strephon, is an Arcadian shepherd who wants to marry Phyllis, a Ward of Chancery.
"Queen of my Heart", Dorothy's hit song, was very popular as a parlour ballad. In 1885, Cellier composed a song, "There once was a time, my darling", for a piece produced by George Edwardes, Little Jack Sheppard (1885). Meanwhile he had composed what would become his greatest success, the comic opera Dorothy, with a libretto by B. C. Stephenson. To create the score, Cellier repurposed some of his music from his 1876 failure, Nell Gwynne, which had, nevertheless, received praise for its music.
3 – Achievement of Comic Opera Star Still Remains Fresh in Mind of Patriot. San Francisco Call, February 16, 1902, p. 22 In 1899 La Shelle produced the successful Augustus Thomas drama Arizona and, in 1901, The Bonnie Brier Bush, a drama adapted by playwright James MacArthur from the novel Beside the Bonnie Brier Bush by Ian Maclaren. Two years later he produced Augustus Thomas' 1903 hit comedy The Earl of Pawtucket, and the following year he produced Checkers, a comedy by Henry Blossom.
Howard, Cecil. Dramatic Notes: An Illustrated Year-book of The Stage, Hutchinson & Co. (1892), pp. 19–20 Hamilton then wrote the libretto for William Fullerton's successful comic opera Lady of the Locket, staged at The Empire Theatre on 11 March 1885,"Empire Theatre", Morning Post, 12 March 1885, p. 3, accessed 3 March 2018, via British Newspaper Archive before penning "an independent and ambitious dramatic work of his own", Harvest, that premiered at the Princess's Theatre on 18 September 1886.
King and Charcoal Burner (; sometimes translated as "King and Collier"), Op. 14, is a three-act (23-scene) comic opera by the Czech composer Antonín Dvořák. The first version of the opera was written in 1871 to a libretto by Bernard J. Lobeský. That same year the composer offered the finished opera to the Czech Provisional Theatre in Prague. Bedřich Smetana, who was in charge of the opera at that time, returned the work to Dvořák the following year, claiming it was unperformable.
Sykes portrayed Constable Foxy Quiller in The Highwayman, which became popular enough that it resulted in a sequel, Foxy Quiller. During a party feted for Sykes and The Billionaires in Chicago, Sykes caught pneumonia, while wearing too few clothes in the dead of winter, and died at 37.The Topeka State Journal December 30, 1903; JEROME SYKES IS DEAD, Comic Opera Star a Victim of Pneumonia He was buried in Green-Wood Cemetery in Brooklyn New York.Jerome K. Sykes ; findagrave.
Celebrity was something wholly foreign to his nature. As the music scholar Byron Adams puts it, "he struggled for the rest of his life to extricate himself from the web of garish publicity, public incomprehension and professional envy woven about him by this unsought-for success." He turned down honours and awards proffered to him, and refused to grant interviews or sign autographs. Holst's comic opera The Perfect Fool (1923) was widely seen as a satire of Parsifal, though Holst firmly denied it.
The first Salle Favart, built for the Théátre Royal Italien in 1783 Despite the turmoil of the Revolution (or perhaps partly because of it) musical theater thrived during the period. New theaters appeared: the Théâtre du Vaudeville, the Palais- Variétes and the Théâtre Feydeau. The Feydau theater featured both a troupe performing French comic operas, and another performing Italian comedies. A half-dozen new theaters on the Boulevard du Temple, the new theater district of the city, performed vaudeville, pantomime and comic opera.
L'Alidoro is a 1740 comic opera by Leonardo Leo.Hermann Abert, Assistant Professor of Music Cliff Eisen, Cliff Eisen - W. A. Mozart - Page 291 0300072236 2007 Leonardo Leo's opere buffe are written in the same style as Vinci's, except that there is a more pronounced tendency here to include more serious songs. ... The quartet in act one, scene fourteen of L'Alidoro (1740), for example, is a canon. The opera was rediscovered with other three other Leo operas at the Abbey of Montecassino.
In ', because it is a comedy, the outcome is a happy one: unrestrained sexuality wins as the orgiastic carnival of the entire population goes rioting on after curtain-fall. Wagner's second opera, and his first to be performed, has many signs of an early work: the style is modelled closely on contemporary French and Italian comic opera. It is also referred to as the forgotten comedy, in that only two of Wagner's works are comedies, the other being Die Meistersinger von Nürnberg.
The most important contribution in the opera genre were made by Vasily Pashkevich with his The Carriage Accident (Neschastye ot karety, 1779), The Miser to the text by Yakov Knyazhnin after Molière (1782), and Fevey to the libretto by Catherine II (1786), as well as by Italian trained Yevstigney Fomin with his The Coachmen at the Relay Station (Yamshchiki na podstave, 1787), Orfey i Evridika, opera-melodrama to the text by Yakov Knyazhnin (1792), and The Americans (Amerikantsy, comic opera, 1800).
In contrast to vegetable epithets, flower and tree names are generally positive. "English rose" has traditionally been used to describe an attractive English woman with a fair complexion. An early documented usage is in Basil Hood's 1902 comic opera Merrie England, while in modern times, the actress Gemma Arterton has been so described. Flower and tree names are used in many countries for girls; examples in English include Bryony, Daisy, Iris, Hazel, Heather, Holly, Hyacinth, Jasmine, Lily, Rose, and Violet.
Frank Wyatt) dancing with Bella Crackenthorpe (Sybil Carlisle) Haste to the Wedding is a three-act comic opera with a libretto by W. S. Gilbert and music by George Grossmith, based on Gilbert's 1873 play, The Wedding March. The opera was the most ambitious piece of composition undertaken by Grossmith. The piece was produced under the management of Charles Wyndham at the Criterion Theatre, London, opening on 27 July 1892. It closed on 20 August 1892, after a run of just 22 performances.
Savonlinna Music Academy has also made own productions such as Wolfgang Amadeus Mozart's Cosi fan tutte and the 'Italienisches Liederbuch' of Hugo Wolf as an arrangement for chamber orchestra and two voices in 2005. In 2011 the Academy produced the comic opera Il matrimonio segreto by Domenico Cimarosa. The production also toured at Mustasaari Music Festival and in Detmold. In 2010 instruction in music technology and in 2011 in recording technology was started in cooperation with Sibelius Academy and Hochschule für Musik Detmold.
The Farmer is a two-act comic opera with music by William Shield and a libretto by the Irish writer John O'Keeffe, set in London and Kent and premiered at the Theatre Royal Covent Garden on 31 October 1787.White, Eric Walter: A Register of First Performances of English Operas (London: Society for Theatre Research, 1983), p. 51. O'Keeffe adapted the text from his play The Plague of Riches, which had been rejected. Its songs included "A Flaxen- Headed Cow-Boy".
The Mikado is a 1939 British musical comedy film based on Gilbert and Sullivan's 1885 comic opera The Mikado. Shot in Technicolor, the film stars Martyn Green as Ko-Ko, Sydney Granville as Pooh-Bah, the American singer Kenny Baker as Nanki-Poo and Jean Colin as Yum-Yum. Many of the other leads and choristers were or had been members of the D'Oyly Carte Opera Company.Lejeune, C. A. "Films of the Week: Gentlemen of Japan", The Observer, 3 July 1938, p. 14.
Zaide (originally, Das Serail) is an unfinished German-language opera, K. 344, written by Wolfgang Amadeus Mozart in 1780. Emperor Joseph II, in 1778, was in the process of setting up an opera company for the purpose of performing German opera. One condition required of the composer to join this company was that he should write a comic opera. At Salzburg in 1779 Mozart began work on a new opera (now known as Zaide although Mozart did not give it such a title).
The Canterbury Hall was then used as a cinema, seating 3,000. In 1906, the building was converted to a theatre with a seating capacity of 1,400, and the name was changed to His Majesty's Theatre. The remodelled building was opened with the premier of the comic opera Erminie on 28 August 1906. Fuller's leased the theatre for a period of ten years in early 1917, but tragedy struck on 11 November of that year when the building was gutted by fire.
The NYCO subsequently toured Ariadne to His Majesty's Theatre, Montreal, giving the opera's Canadian premiere. The first world premiere at the house was William Grant Still's Troubled Island in 1949. It was notably the first grand opera composed by an African-American to be produced in a major opera house. In the fall of 1949, the NYCO revived Prokofiev's comic opera The Love for Three Oranges, which had not been seen in America since its unsuccessful Chicago premiere in 1921.
Montgomery was born and grew up in Philadelphia, Pennsylvania, the son of James Montgomery, a professional operatic tenor of Scottish descent. His mother, Constance, was also musical.Hughes, Samuel. "Monty in Full", The Pennsylvania Gazette, April 28, 2000, accessed July 13, 2018 He had a brother, James, and two sisters, Elizabeth and Constance. He showed early enthusiasm for opera and appeared in the Philadelphia Orchestra Opera Company’s production of Gilbert and Sullivan's comic opera Trial by Jury at the age of five.
Semen Hulak-Artemovsky Semen Stepanovich Hulak-Artemovsky (, also referred to as Semyon Gulak-Artemovsky and Artemovs’kyj) ( – ), was a Ukrainian opera composer, singer (baritone), actor, and dramatist who lived and worked in Imperial Russia. He is known mainly for his comic opera Zaporozhets za Dunayem (A Zaporozhian (Cossack) Beyond the Danube), as well as for his dramatic talent and his powerful, rich baritone voice. He was the nephew of the poet Petro Hulak-Artemovsky and a close friend of Taras Shevchenko.
The story is loosely based on the life of Baron Franz von der Trenck. The comic opera is set in Austria in 1743 during the reign of Marie Therese of Austria. Two of Baron Trenck's tenants, Nikola and Mariza, have avoided the Baron's seigniorial rights (in this sanitized version the Baron has the right to kiss the bride), by getting married without his permission. Meanwhile, the Baron saves Countess Lydia from being kidnapped by Alla Wunja and his band of marauding Haiduks.
Poster for original production Scene from The Lucky Star Programme from the original production Evett as Tapioca The Lucky Star is an English comic opera, in three acts, composed by Ivan Caryll, with dialogue by Charles H. Brookfield (revised by Helen Lenoir) and lyrics by Adrian Ross and Aubrey Hopwood.Hopwood was the son of John Turner Hopwood. See Henry Robert Addison, Charles Henry Oakes, William John Lawson and Douglas Brooke Wheelton Sladen (eds.) "Hopkinson-Hornby", 'Who's Who, Vol. 57, 1905, p.
Uncle Samuel is a one-act comic opera with a libretto by Arthur Law and music by George Grossmith. It was first produced at the Opera Comique on 3 May 1881 to 8 October 1881, as companion piece to Patience. The piece also toured from December 1887 to June 1888 as a companion piece to H.M.S. Pinafore. A vocal score was published by Chappells in 1881 containing full libretto, dialogue and music, and a copy is in the British Library.
After his high-school graduation he attended the Kiev Commercial Institute, and concurrently began to work in a music school for violin and composition. In 1917 he graduated from college and returned to Georgia and dedicated himself to music. Viktor Dolidze is the author of several operas, including the first Georgian comic opera (Opera buffa) Keto and Kote (with his own libretto based on the comedy Khanuma by Avksenty Tsagareli, 1919). Viktor Dolidze died on 24 May 1933 in Tiflis.
Méloni began very early, at the , to study music: piano, solfège, history of music and harmony. Later, he studied singing and opera. After obtaining awards and fulfilling his military obligations, Méloni, on the advice of Pierre Barbizet, took the entrance exam to the Conservatoire de Paris in 1964 and was admitted to the singing class of Janine Micheau. In 1965 he was unanimously awarded a First Prize in singing and the following year a first prize in opera and comic opera.
Florence Ryerson and Edgar Allan Woolf, ca 1940 Woolf joined the Murray Hill Stock Company as an actor, and played in New York City with it for several years, but soon was writing sketches and plays for vaudeville star Pat Rooney (1880-1962) and Mrs. Patrick Campbell. One of the better-known plays Woolf wrote for Pat Rooney was "Wings of Smoke." He also wrote, in collaboration with Jerome Kern, the comic opera, "Head over Heels," in which Mitzi Hajos starred.
In 1864 he made a Czech translation of Eugène Scribe's libretto for Halévy's opera La Juive, and led the Czech premiere of Offenbach's Orpheus in the Underworld. In 1865/66 he was deputy conductor at the Czech Theatre in Olomouc. He returned to the Provisional Theatre in 1867, where he made his name in comic opera. He conducted the Czech premieres of Offenbach's Les brigands (1870), La princesse de Trébizonde (1871), Snowman (1872), Les braconniers, Barbe-bleue (1874) and La belle Hélène (1875).
In France there were two dramatic adaptations of the fable. That of 1767 was the one-act comic opera Les femmes et le secret by François- Antoine Quêtant (1733- 1823) and Pierre Vachon.Text on Google Books It was followed in 1823 by a similarly titled one-act comedy with musical interludes by W. Lafontaine and Gaspard Touret.Google Books The 1843 vaudeville by Edouard Deaddé Saint-Yves and Léon de Villier only borrowed the title and applied it to another situation.
W.S. Gilbert in about 1878 By 1877, Gilbert, now forty years old, was established as a dramatist. After his early burlesques of the 1860s he had turned to writing comic opera libretti and non-musical plays, both comic and serious. His musical successes included Ages Ago (music by Frederic Clay, 1869) and Trial by Jury (music by Arthur Sullivan (1875). His serious and comic non-musical plays included Pygmalion and Galatea (1871),"The London Theatres", The Era, 5 May 1872, p.
Many of his articles were collected and published in book form. His stage successes in the 1890s included his English-language versions of two Edmond Audran operettas, titled La Cigale and Miss Decima (both in 1891). His last works included collaborations on pantomimes of Cinderella (1905) and Aladdin (1909). Known generally for his genial wit and good humour, Burnand was nevertheless intensely envious of his contemporary W. S. Gilbert but was unable to emulate his rival's success as a comic opera librettist.
His play The Colonel (1881), based on The Serious Family, a play by Morris Barnett, ran for 550 performances and toured extensively. It made so much money for the actor- manager Edgar Bruce that he was able to build the Prince of Wales Theatre. Burnand rushed The Colonel into production to make sure that it opened several months before Gilbert and Sullivan's similarly themed comic opera, Patience,Burnand, 2nd Edition, vol. 2, p. 165 but Patience ran even longer than The Colonel.
May Night (, Mayskaya noch) is a comic opera in three acts, four scenes, by Nikolai Rimsky-Korsakov from a libretto by the composer and is based on Nikolai Gogol's story "May Night, or the Drowned Maiden", from his collection Evenings on a Farm Near Dikanka. The work was composed between 1878 and 1879 and first performed in 1880 at the Mariinsky Theatre in Saint Petersburg in Russia. May Night is not part of the standard operatic repertoire in the West.
Thomas and Sally is about fifty minutes in length and is notable in that it is the first English comic opera to be sung throughout. The orchestration is also unusual for a lighter opera of this period, as Arne included clarinets in the score which were usually only used in tragic pieces. The nautical themes in the libretto led Arne to compose a sturdy score that includes a boisterous hunting song for the Squire. Sally's songs are written in an opera buffo style.
This again parallels the structure of the Opus 35 variations themselves. Finally, the loud E chord that begins the Opus 35 variations themselves is moved here to the beginning of the first movement, in the form of the two chords that introduce the first movement. Alternatively, the first movement's resemblance to the overture to the comic opera Bastien und Bastienne (1768), composed by twelve-year-old W. A. Mozart, has been noted. It was unlikely that Beethoven knew of that unpublished composition.
Don Pasquale () is an opera buffa, or comic opera, in three acts by Gaetano Donizetti with an Italian libretto completed largely by Giovanni Ruffini as well as the composer. It was based on a libretto by Angelo Anelli for Stefano Pavesi's opera Ser Marcantonio written in 1810Ashbrook & Hibberd 2001, p. 244 but, on the published libretto, the author appears as "M.A." Donizetti so dominated the preparation of the libretto that Ruffini refused to allow his name to be put on the score.
Viorel Cosma, "From the Musical Folklore of Children to the Comic Opera for Children", in the Romanian Cultural Institute's Plural Magazine , Nr. 30/2007 Such derivative works were also produced throughout communism and after the 1989 Revolution. They include Cristian Pepino's puppet theater adaptation, which premiered in 2002. Eugenia Anca Rotescu, "Povestea şi regizorul-păpuşar", in Observator Cultural, Nr. 103, February 2002 The tale is part of Ion Creangă's legacy in Romania's literature. In 1968, it was turned into an animated short by filmmaker Anton Mater.
Pepita Jiménez is a lyric comedy or comic opera with music written by the Spanish composer Isaac Albéniz. The original opera was written in one act and used an English libretto by Albéniz's patron and collaborator, the Englishman Francis Money-Coutts, which is based on the novel of the same name by Juan Valera. The opera was later adapted several times, first by the composer and later by others, into numerous languages and different constructs, including both a two-act version and a three-act version.
In 1868, Smith was elected Member of Parliament for Westminster as a Conservative after an initial attempt to get into Parliament as a "Liberal Conservative" in 1865 as a supporter of Palmerston. In 1874 Smith was appointed Financial Secretary to the Treasury when Disraeli returned as Prime Minister. In 1877, he became First Lord of the Admiralty. It has been claimed that Smith's appointment was the inspiration for the character of Sir Joseph Porter, KCB, in Gilbert and Sullivan's 1878 comic opera, H.M.S. Pinafore.
He had a great love for the keeping of diaries and was the secretary of his class year. Graduating from Yale as a member of the class of 1910, Riggs embarked on graduate studies at Harvard University as an assistant to Barrett Wendell, which were interrupted by his foray into musical theatre. Riggs never completed his doctorate. Riggs was Cole Porter's roommate at Yale, and with Porter wrote See America First, a patriotic comic opera that spoofed the "flag waving" musicals of George M. Cohan.
Eileen is a comic opera (sometimes described as a musical) with music by Victor Herbert and lyrics and book by Henry Blossom, based loosely on the 1835 novel Rory O'Moore by Herbert's grandfather, Samuel Lover.Clarke, Kevin. "The Irish Have a Great Day Tonight: “Eileen” on New World Records", Operetta Research Center September 4, 2014 Set in 1798, the story concerns an Irish revolutionary arrested by the British for treason. Eileen, his nobly born sweetheart, helps him to escape by disguising him as a servant.
The Pirates of Penzance is a 1983 British-American romantic musical comedy film written and directed by Wilford Leach based on Gilbert and Sullivan's 1879 comic opera of the same name. The film, starring Kevin Kline, Angela Lansbury, Linda Ronstadt, George Rose, and Rex Smith, is an adaptation of the 1980 Joseph Papp production of Pirates. The original Broadway cast reprised their roles in the film, except that Lansbury replaced Estelle Parsons as Ruth. The minor roles used British actors miming to their Broadway counterparts.
He > has declared himself – kind as he is – very satisfied ... I have also > finished a brief outline of a plot based on Gianni Schicchi. You know the > Maestro's opinion of this subject, which is rich in possibilities and whose > comic nature is quite out of the ordinary.Girardi, p. 367 In fact, Puccini was at first less than enthusiastic about the idea for this comic opera – Florence as a setting did not appeal to him, and he feared the public would have little interest in the subject.
Cellier produced his most successful early work, a full length comic opera called The Sultan of Mocha. Gilbert was either too busy to see his own show, or else, disappointed by its lack of success with audiences, he had put it out of his mind. In a letter to T. Edgar Pemberton, author of the 1903 book on the Criterion Theatre, Gilbert wrote: :I am sorry to say that in my mind is an absolute blank to the opening of The Criterion. I never saw Topseyturveydom.
The piece starred Fred Leslie as G.B. Stark, Margaret Bannerman as Joan and Leslie Henson as Bobby Summers. Later, Madge Elliott and Cyril Ritchard starred in the musical. Yes, Uncle! was one of a number of very successful musical hits of the London stage during World War I (the others include a revue entitled The Bing Boys Are Here, the musical The Maid of the Mountains, Chu Chin Chow, a mixture of comic opera and pantomime), The Happy Day (1916), Theodore & Co (1916) and The Boy (1917).
113 and 119 In 1877 he finally found four backers and formed the "Comedy Opera Company" to produce new works by Gilbert and Sullivan, along with those of other British authors and composers. This allowed Carte to lease the Opera Comique and to give Gilbert and Sullivan firm terms for a new opera.Ainger, pp. 130–131 The first comic opera produced by the new company was Gilbert and Sullivan's The Sorcerer in 1877, with a plot involving a tradesmanlike London magician and his patented love potion.
Thompson then collaborated with Courtneidge on many of his libretti.Alexander M. Thompson profile at the British Musical Theatre site of The Gilbert and Sullivan Archive, 2004 Thompson then turned to Edwardian musical comedies, revising the libretto of Walter Ellis's The Blue Moon (1905) after Ellis's death. He next supplied the text for Courtneidge's The Dairymaids (1906 at the Apollo Theatre), which became internationally successful. In 1907, Thompson and Courtneidge adapted Henry Fielding's Tom Jones as a comic opera with music by Edward German, also at the Apollo.
Technically, a leapling will have fewer birthday anniversaries than their age in years. This phenomenon is exploited when a person claims to be only a quarter of their actual age, by counting their leap-year birthday anniversaries only. In Gilbert and Sullivan's 1879 comic opera The Pirates of Penzance, Frederic the pirate apprentice discovers that he is bound to serve the pirates until his 21st birthday rather than until his 21st year. For legal purposes, legal birthdays depend on how local laws count time intervals.
At eighteen he joined his brother in St. Petersburg, Russia in a fur-trading business where they were to accumulate the sum of £20,000, only to lose most of it in an unwise speculation in bristles. They returned to England almost penniless,Stillinger, Letters, p. 2. though Brown capitalized on his Russian experience by writing a comic opera, Narensky, or, The Road to Yaroslaf, which was produced at Drury Lane in January 1814, earning him £300 and free admission for life to this theatre.McCormick, p. 7.
World War II rendered the comic-opera settings of Tubbs' adventures frivolous, and the strip took on a new tone. In 1943, an offer from Hearst's King Features Syndicate persuaded Crane to jump ship and create a more realistic comic strip, Buz Sawyer. He left Wash Tubbs in the hands of his assistant, Leslie Turner, a boyhood friend who had shared the hobo life with him. Crane, an excellent draftsman despite his deceptively cartoonish style, introduced more illustrative shading techniques to the daily comics page.
The Telephone, or L'Amour à trois is an English-language comic opera in one act by Gian Carlo Menotti, both words and music. It was written for production by the Ballet Society and was first presented on a double bill with Menotti's The Medium at the Heckscher Theater, New York City, February 18–20, 1947. The Broadway production took place on May 1, 1947, at the Ethel Barrymore Theatre. The Metropolitan Opera Company presented it once, at the Lewisohn Stadium, on July 31, 1965.
Felix Mendelssohn's Sextet in D major, Op. 110, MWV Q 16, for piano, violin, two violas, cello, and double bass was composed in April-May 1824, when Mendelssohn was only 15, the same time he was working on a comic opera Die Hochzeit des Camacho. Its composition took place between the Viola Sonata and the Piano Quartet No. 3. It also preceded the famous Octet, Op. 20 by about a year. 1824 is also the probable year of the composition of the Clarinet Sonata.
The great opera houses in Naples and Milan were built: the Teatro di San Carlo and La Scala, respectively. It is the age, as well, of the rise to prominence of the Neapolitan—and then Italian—Comic opera. Important, too, is the restoring of balance between text and music in opera, largely through the librettos of Pietro Trapassi, called Metastasio. Important Italian composers in this century are: Domenico Scarlatti, Benedetto Marcello, Giovanni Battista Pergolesi, Niccolò Piccinni, Giovanni Paisiello, Luigi Boccherini, Domenico Cimarosa, and Luigi Cherubini.
The Gypsy Baron () is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. Its libretto was by the author Ignaz Schnitzer and in turn was based on Sáffi by Mór Jókai. During the composer's lifetime, the operetta enjoyed great success, second only to the popularity of Die Fledermaus. The scoring and the nature of Strauss's music have also led many music critics to consider this work a comic opera or a lyric opera.
Theatre poster for The Mikado The Mikado; or, The Town of Titipu is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert, their ninth of fourteen operatic collaborations. It opened on 14 March 1885, in London, where it ran at the Savoy Theatre for 672 performances, the second-longest run for any work of musical theatre and one of the longest runs of any theatre piece up to that time.Gillan, Don. Longest runs in the theatre up to 1920.
The musical was performed in a concert version in New York City in May 1982 by the New Amsterdam Theatre Company. It was revived in Tarpon Springs, Florida by the New Century Opera Company in 1998 and 2006, and the company recorded the Baum/Tietjens music on CD with piano accompaniment. Hungry Tiger Press published a two-CD set of vintage recordings related to the musical in 2003. The Canton Comic Opera Company, a community theatre company in Canton, Ohio, performed a "restored" version in 2010.
Pepita; or, the Girl with the Glass Eyes, based on a story by E. T. A. Hoffmann, is a comic opera in three acts written by Alfred Thompson and composed by Edward Solomon. The opera was produced and directed by Thompson and Solomon and debuted at the Union Square Theatre, New York, then under the management of J. M. Hill, on March 16, 1886, and closed after a nine-week run on May 22."Union Square Theatre", The New York Times, March 17, 1886, p. ?? Retrieved 6.27.
Wade was born in Dublin and worked as a surgeon before moving to London in 1821. For a short period he was conductor at the King's Theatre. He had some success with his oratorio The Prophecy (1824) and the comic opera The Two Houses of Grenada (1826). Wade was known for his arrangement of Peter Gray as well as for popular songs that included I've Wandered in Dreams, Love was Once a Little Boy, A Woodland Life, and his most famous, Meet me by Moonlight.
Mavra is a one-act comic opera composed by Igor Stravinsky, and one of the earliest works of Stravinsky's neo-classical period. The libretto, by Boris Kochno, is based on Alexander Pushkin's The Little House in Kolomna. Mavra is about 25 minutes long, and features two arias, a duet, and a quartet performed by its cast of four characters. The opera has been characterised as both an homage to Russian writers, and a satire of bourgeois manners and the Romeo and Juliet subgenre of romance.
Horn was born in St Martin-in-the-Fields, London, to Charles Frederick Horn and his wife, Diana Dupont. He was the eldest of their seven children. His father taught him music; he also took music lessons briefly in 1808 from singer Venanzio Rauzzini in Bath, Somerset.Brown. Horn made his singing debut on 26 June 1809 with a performance in the comic opera Up All Night, or the Smuggler's Cave (words by Samuel James Arnold and music by Matthew Peter King) at Lyceum Theatre, London.
The Athenæum approved of his vocal performance."Music. Savoy Theatre – Princess Ida by Gilbert and Sullivan", The Athenæum, 12 January 1884. Bracy then continued to build his reputation in comic opera parts in London, in productions including The Grand Mogul, by Edmond Audran and H. B. Farnie, at the Comedy Theatre, with Florence St. John, Frank Wyatt and Fred Leslie.The Times, 19 November 1884, p. 6 and The Lady of the Locket, with Hayden Coffin at the Empire Theatre (1885),The Observer, 12 June 1885, p.
Mare nostro (Our Sea) is a comic opera in two acts composed by Lorenzo Ferrero to an Italian-language libretto by Marco Ravasini, loosely based on Vittorio Alfieri's 1804 comedy L'antidoto (o Tre veleni rimesta, avrai l'antidoto). The work was completed in 1985 and first performed at the Teatro Comunale, Alessandria on 11 September 1985. The story, set on a small Mediterranean island, concerns "a Middle European philosopher, alert to the implications of a post-modern world, who deserts negative dialectics for money-making."Holden, p. 274.
In 1809 he scored a notable triumph with Leszek Biały (Leszek the White), to a libretto by Bogusławski. After this only the comic opera Siedem razy jeden (Seven Times One) and Król Łokietek (King Elbow-High) brought him moderate success. Elsner had been born in Silesia and his first language was German, leading his critics to deny that he was truly Polish and to accuse him of sympathizing with the foreign invaders. The composer had praised some of the partitioning rulers, including Tsar Alexander I of Russia.
MacDonald began in theatre in 1893 in New York when she was cast in Francis Wilson's popular play Erminie. She thereafter found success in the operetta brand of musical theater. MacDonald's first starring role came in 1900 when she assumed the title role in the Kirke La Shelle and Julian Edwards comic opera The Princess Chic. MacDonald starred or co-starred in The Belle of Mayfair (1906) with Valeska Suratt, Miss Hook of Holland (1908) with Bertram Wallis and The Mikado (1910) with Fritzi Scheff.
Bessie Sudlow in 1870 Bessie returned to England and in September 1874 played with Lydia Thompson’s company in Blue Beard, a burlesque by Henry Brougham Farnie, at the Charing Cross Theatre in London. In January 1875 she performed at the Theatre Royal, Dublin in The Yellow Dwarf, a pantomime. The Era described her as "a very graceful and attractive actress and sings pleasingly". She appeared at the Gaiety Theatre, Dublin in March 1875 in The Isle of Bachelors, adapted from Charles Lecocq’s comic opera Les cent vierges.
But the Puppenkiste does not only stage serious and funny plays and classics such as Dr. Johann Georg Faust; operas and other musical works, preferably from Mozart, are performed, too. Already in 1952, Walter Oehmichen directed some works, in which music features prominently. So he staged Peter and the Wolf by Sergei Prokofiev, a symphonic fairy-tale for children, as well as Bastien und Bastienne, a comic opera composed by Mozart. In 1985, the theatre staged another one of Mozart's works: The Magic Flute.
''''' (The Ban on Love, WWV 38), is an early comic opera in two acts by Richard Wagner, with the libretto written by the composer after Shakespeare's Measure for Measure. Described as a ', it was composed in early 1836. Restrained sexuality versus eroticism plays an important role in '; themes that recur throughout much of Wagner's output, most notably in Tannhäuser, Die Walküre and Tristan und Isolde. In each opera, the self-abandonment to love brings the lovers into mortal combat with the surrounding social order.
Her second book Vermont Vale came out in 1866 and during the next 19 years 13 other volumes were published. She died of peritonitis in 1886 and was survived by two sons. The elder, Henry Congreve Evans (died 1899) was leader of the staff of the Adelaide Advertiser and author of the libretto of Immomeena: an Australian Comic Opera published in 1893. The younger, William James Evans, was joint author with his mother of Christmas Bells, a collection of short stories published in 1882.
Programme for the London premiere, 1881 Quite an Adventure is a one-act comic opera by Edward Solomon with a libretto by Frank Desprez. The farcical plot concerns a house-guest who mistakes his hostess's husband for an intruder. The opera's first run in London was under the management of Michael Gunn, but the piece was played by the D'Oyly Carte Opera Company in the 1880s and 1890s as a curtain raiser to full-length Savoy operas, both on tour and later in London.
During the next several years Squarise also organised chamber concerts, served as conductor of the Dunedin Engineers' Band and Dunedin Garrison Band, and established the Dunedin Citizens' Band. He was conductor of the Dunedin Liedertafel and briefly choirmaster at St. Joseph's Cathedral. Some of Squarise's piano compositions were published during the 1890s and in 1894 he composed a comic opera, Fabian, to a libretto by Donald Cargill. Fabian's ten-night season was a critical and popular success, but Squarise did not compose any further operas.
In any event, Bromley played the sole female principal role in Trial, not Dolaro. Sullivan conducted the opening night performance of Trial on 25 March, but Dolaro's father generally conducted the orchestra thereafter until the end of its initial run on 12 June 1875.Burgess, Michael. "Richard D'Oyly Carte", The Savoyard, January 1975, pp. 7–11 Dolaro took her Madame Selina Dolaro's Comic Opera Co. on tour between 13 June and 10 October 1875, as the theatre was closed during the hot summer months.
Throughout this time, he was involved with music groups and composed many songs that became well known across Australia, as well as a comic opera. He was also a writer and a public speaker. Robinson had little to do politically as governor in South Australia, due to few important political events occurring at the time and the fact that the Premier and legislative assembly had much of the political power. He was a temporary governor of Victoria, Australia in 1889, but was unable to be appointed permanently.
Weber's most important successor in the field of Romantic opera was Heinrich Marschner, who further explored the Gothic and the supernatural in works such as Der Vampyr (1828) and Hans Heiling (1833). On the other hand, it was with comic opera that Albert Lortzing scored his biggest successes. The popularity of pieces such as Zar und Zimmermann continues in Germany today, though Lortzing's operas are rarely staged abroad. Though he began in Germany, Giacomo Meyerbeer was more famous for his contributions to Italian and (especially) French opera.
Vera Michelena in Funabashi, 1908 Michelena made her professional theatrical debut in the fall of 1902 playing a minor role in a national tour of the Kirke La Shelle comic opera, The Princess Chic. On January 19, 1903, at the Columbia Theatre, San Francisco, she assumed the title role, The Princess Chic of Normandy, and continued in this capacity for the remainder of the season and throughout the next.Princess Chic Scores a Brilliant Success at the Columbia Theatre. San Francisco Call, January 20, 1903, p.
It was not successful, and The Chieftain closed after just three months. The Contrabandista was hardly ever performed in the 20th century. The Comic Opera Guild in the US and Fulham Light Operatic Society in the UK each produced the piece in 1972.The Contrabandista , St. David's Players, accessed August 22, 2012 A professional concert of the opera was given in 2002 at Cheltenham, England, at the Sir Arthur Sullivan Society Festival, with professional soloists and the Cotswold Savoyards.Sir Arthur Sullivan Society Magazine, #55, Autumn 2002, pp.
Emney's family had theatrical connections: his uncles were the comic performers Arthur Williams and Fred Williams (c.1847–1916). Emney made his stage debut at Sadler's Wells Theatre in a cast led by Nellie Farren."Mr Fred Emney", The Times, 8 January 1917, p. 6 One of his earliest successes was as Lurcher, the sheriff's officer, in the comic opera Dorothy, succeeding Arthur Williams in the role; the uncle played it more than 900 times, and the nephew made over 800 appearances in it.
He received several commissions from the court for works to celebrate the French victory at the Battle of Fontenoy and the marriage of the Dauphin to Infanta Maria Teresa Rafaela of Spain. Rameau produced his most important comic opera, Platée, as well as two collaborations with Voltaire: the opéra-ballet Le temple de la gloire and the comédie-ballet La princesse de Navarre.New Grove pp. 228–30 They gained Rameau official recognition; he was granted the title "Compositeur du Cabinet du Roi" and given a substantial pension.
His Majesty (1897) after Mackenzie had criticised Arthur Sullivan for "wasting his talents" on comic opera. His orchestral works include the overture Cervantes, performed at Schwarzburg-Sondershausen in 1877, three Scottish Rhapsodies, a violin concerto premiered by Pablo de Sarasate at the Birmingham Festival of 1885,The Times , 28 August 1885, p. 5 a "Scottish" concerto for piano (1897), a suite, London Day by Day (1902),The Times, 24 February 1902, p. 12 and a Canadian Rhapsody (1905).The Times, 16 March 1905, p.
In 1915, Porter's first song on Broadway, "Esmeralda", appeared in the revue Hands Up. The quick success was immediately followed by failure: his first Broadway production, in 1916, See America First, a "patriotic comic opera" modeled on Gilbert and Sullivan, with a book by T. Lawrason Riggs, was a flop, closing after two weeks.Root, Deane L. and Gerald Bordman. "Porter, Cole (Albert)", Grove Music Online, accessed May 21, 2010 (requires subscription) Porter spent the next year in New York City before going overseas during World War I.
Il re Teodoro in Venezia is a 1784 comic opera by Giovanni Paisiello to a libretto Giovanni Battista Casti. Premiered at the Burgtheater Vienna, it was revived for Carnival in Parma in 1788.Gilles Bertrand Histoire du carnaval de Venise: XIe-XXIe siècle- 2013 2756411752 ... au Burgtheater de Vienne avec Il re Teodoro in Venezia, dramma giocoso mis en musique par le célèbre compositeur napolitain Paisiello, qui fut à nouveau proposé au Théâtre de cour du duc de Parme Ferdinand lors du carnaval de 1788.
His next stay in Dresden was also his longest, between the first months of 1740 and January 1744. In this time he revised Artaserse, composing new arias for Faustina, and also wrote a couple of original intermezzi. His general avoidance of comic opera seems to have been due to Faustina, who feared that the style of singing demanded by opera buffa would damage her voice.Reference for this section: Grove section 2, "The first Dresden period, 1730–33", and Grove section 3, "Dresden and Venice, 1734–44".
In 1714 he produced, at the court theatre, an opera, Pisistrato, which was much admired. He held various posts at the royal chapel, and continued to write for the stage, besides teaching at the conservatory. After adding comic scenes to Francesco Gasparini's Bajazette in 1722 for performance at Naples, he composed comic operas in Neapolitan such as La'mpeca scoperta in 1723, and L'Alidoro in 1740. His most famous comic opera was Amor vuol sofferenza (1739), better known as La Finta Frascatana, highly praised by De Brosses.
The concerto was premiered at the Burgtheater (pictured) in Vienna. Mozart composed the concerto in the winter of 1785–86, during his fourth season in Vienna. It was the third in a set of three concertos composed in quick succession, the others being No. 22 in E major and No. 23 in A major. Mozart finished composing the No. 24 shortly before the premiere of his comic opera The Marriage of Figaro; the two works are assigned adjacent numbers of 491 and 492 in the Köchel catalogue.
She starred in her usual repertory with the English Comic Opera Company, adding La belle Hélène, Barbe- bleue, Trial by Jury, The Waterman, Poulet et Poulette, Giroflé-Girofla, La Périchole, and La jolie parfumeuse.National Library of Australia site Back in London in 1879, she played Princess Fanfreluche in La poule aux oeufs d'or and other productions at the Alhambra Theatre.Moss, Simon. Gilbert and Sullivan memorabilia archive Later the same year, Soldene introduced Bizet's opera Carmen for the first time to the British provinces, in English.
W. S. Gilbert's comic opera The Mikado contains a song satirizing mirror punishment: :The billiard-sharp who anyone catches :His doom’s extremely hard— :He’s made to dwell :In a dungeon cell :On a spot that’s always barred. :And there he plays extravagant matches :In fitless finger-stalls, :On a cloth untrue :With a twisted cue :And elliptical billiard balls. The refrain line "to let the punishment fit the crime" has sometimes been quoted in the course of British political debates, though the concept predates Gilbert.Green, Edward.
Portrait of Giovanna Sestini by Ozias Humphry, portrayed as Terpsichore, muse of dance and the dramatic chorus Giovanna Sestini (6 April 1749 – 14 July 1814) was a soprano opera singer who performed in her native Italy, in Portugal, and from 1774 in London, where she lived for the rest of her life. For many years she was the popular prima buffa (or first woman) in comic opera at the King's Theatre in the Haymarket. In her later years, she was known by her married name, Joanna Stocqueler.
"Family Quarrels, or The Jew and the Gentile" - cartoon c. 1802 by Thomas Rowlandson depicting the singers John Braham (r.) and Charles Incledon (l.) Family Quarrels is a comic opera in three acts with a libretto by Thomas Dibdin, and music principally by William Reeve. It was premiered in London at Covent Garden Theatre on December 18, 1802. The singers John Braham and Charles Incledon had leading roles in the opera, in which the comedian John Fawcett took the part of the pedlar Proteus.
She also played Aline in the first revival of The Sorcerer (1884–85). After leaving the D'Oyly Carte company, Braham continued to perform in England and widely on tour, starring in comic opera and grand opera in Australia, South America and South Africa. By the mid-1890s, she returned to Britain, playing in musical comedy and light opera, briefly rejoining the D'Oyly Carte Opera Company. She then continued to perform until 1912 in Britain and America, including with Lillie Langtry in plays without music.
Lillian Russell as Betta, The Queen of Brilliants, in the London production (1894). The Queen of Brilliants is a comic opera in three acts with music by Edward Jakobowski and a libretto by Brandon Thomas. It was adapted from Jakobowski's German-language operetta Die Brillantett-Königin, with a libretto by Theodore Tawbe and Isidor Fuchs, which premiered in March 1894 in Vienna."The Queen of Brilliants", The Guide to Musical Theatre, accessed April 28, 2015"Music and the Drama", The Glasgow Herald, 10 September 1894, p.
Around 1914 Joe Hill wrote a version which tells the tale of how poor working conditions can lead workers into "accidentally" causing their machinery to have mishaps."Ta-Ra-Ra Boom De- Ay", Day Poems, accessed 3 September 2012 A 1930s lawsuit determined that the tune and the refrain were in the public domain."Progress and Protest" Gene Krupa's version, Ta-ra-ra-Boom-der-e, released as a shellac record The character Tarara, in the 1893 Gilbert & Sullivan comic opera Utopia, Limited, is the "public exploder".
He may have collaborated with Gaetano Latilla on an opera Romolo, performed in Naples during the same year, but the libretto names only Latilla as the composer. A serenata, La Cerere, was performed in Rome in 1740, probably privately for a group of clergymen, and the three-act comic opera Gl'intrichi delle cantarine was performed in Naples during the same season. Carreras does not mention Cerere, but the libretto in the Library of Congress, Washington D.C., attests to Terradellas's authorship and the date of performance.
Needing a short piece to round out an evening's entertainment featuring the popular Offenbach operetta La Périchole he brought W. S. Gilbert and Arthur Sullivan together. On tour in 1871, Carte had conducted Sullivan's one-act comic opera Cox and Box,"Public Amusements", Liverpool Mercury, 2 September 1871, p. 6 which received an 1874 London revival. In 1873 Gilbert had offered a libretto to Carte about an English courtroom, but at the time Carte knew of no composer available to set it to music.
Mateo Falcone (Матео Фальконе in Cyrillic; Mateo Fal'kone in transliteration) is a one-act opera composed by César Cui during 1906–1907. (Actually, Cui designated the genre of this work as "dramatic scene.") The libretto was adapted by the composer from Prosper Mérimée's like-named story from 1829 and Vasily Zhukovsky's verse rendering thereof. It was premiered on 14 December 1907 (Old Style), at the Bolshoi Theatre in Moscow (the work was given along with the composer's early one-act comic opera, The Mandarin's Son).
Also in 1866, he adapted the popular farce Box and Cox as a comic opera, Cox and Box, with music by Sullivan. The piece became a popular favourite and was later frequently used by the D'Oyly Carte Opera Company as a curtain raiser; it remains regularly performed today. By the 1870s, Burnand was generating a prodigious output of plays as well as comic pieces and illustrations for the humour magazine Punch. Among his 55-stage works during the decade was another frequently revived hit, Betsy (1879).
Press reports were mostly negative in tone. The Morning Post wrote, "The new musical piece produced at the Savoy Theatre differs in character from the productions for which the house was famous in the past."The Morning Post, 11 March 1910 The press praised the acting and singing of all concerned, as well as the presentation, but they took strong exception to the story and the music. The Times stated that the musical "lacks several elements which are requisite to make a good comic opera".
Some People... was released in 1982 and produced the top 50 single "Some People (Have All The Fun)". In August 1984, English and Renée Geyer released "Every Beat of My Heart" from the Street Hero soundtrack. English took on the role of Pirate King for the first time in the 1984 production of Gilbert and Sullivan's comic opera The Pirates of Penzance alongside June Bronhill and fellow actor/singer Simon Gallaher as Frederic. English estimates he has performed his favorite role of Pirate King over 1,000 times.
Lortzing's tomb in Berlin His first singspiel, Ali Pascha von Janina, appeared in 1824, but his fame as a musician rests chiefly upon the two operas Zar und Zimmermann (1837) and Der Wildschütz (1842). Zar und Zimmermann was received with very little enthusiasm by the public of Leipzig. However, at subsequent performances in Berlin there was a much more positive reaction. The opera soon appeared on all the stages of Germany, and today is regarded as one of the masterpieces of German comic opera.
Before she was 16 years old, Archer debuted on stage in Baltimore under theater manager John T. Ford. In 1879, billed as Belle Mackenzie, "she had created the role of Cousin Hebe" when the comic opera H.M.S. Pinafore premiered in Philadelphia. As early as 1881, she was performing in New York City in the play Won at Last. In 1882, she was signed to a three-year contract with Madison Square Theatre, with her initial role that of heading the production of Hazel Kirke.
Mademoiselle Lange's straw hat from the play launched a trend for Pamela hats and bonnets which were worn well into the second half of the nineteenth century. Pamela was also the basis for the libretto of Niccolò Piccinni's comic opera La buona figliuola. Playwright Martin Crimp uses the text as a "provocation" for his stage play When We Have Sufficiently Tortured Each Other: 12 Variations on Samuel Richardson’s Pamela, opening at the Royal National Theatre in 2019 starring Cate Blanchett and Stephen Dillane directed by Katie Mitchell.
There he produced a series of musicals by Lionel Monckton, Percy Greenbank and Adrian Ross, including The Earl and the Girl (1903), The Quaker Girl (1910), The Dancing Mistress (1912), and The Girl from Utah (1913). At the Lyric Theatre, in 1903, he produced Caryll's comic opera The Duchess of Dantzic. He also managed the Empire Theatre of Varieties, among other theatres. Edwardes was a founder member of the Society of West End Theatre Managers, along with Frank Curzon, Helen Carte, Arthur Bourchier and sixteen others.
The Standard Theatre opened with 2,400 seats on September 23, 1900, featuring burlesque and vaudeville. It was built by Colonel Edward Butler of St. Louis, Missouri, at a cost of $250,000, for his son to present shows on the Empire vaudeville circuit. In 1901, a fire at the nearby Coates Opera House caused opera and comic opera performances to be moved to the Standard, featuring such performers as Sarah Bernhardt, Richard Mansfield, and Maude Adams. The theater's name changed to the "Century" in 1902.
His earliest known professional connection was with the Carl Rosa Opera Company in England. From 1898 to 1899 he toured Australia with a concert company headed by Dame Emma Albani – his first appearance there being on 16 March 1898. Secured by the Australian actor and theatre manager J.C. Williamson as principal baritone of his Royal Comic Opera Company (formed in 1880), Paull made his first appearance as King Henri in Paul Lacôme's opéra comique, Ma mie Rosette. He played a number of different parts with this company.
188 ff. Janin's idea was that it should be a new opera buffa and tailored to the talents of some major singers including Giulia Grisi, Antonio Tamburini, and Luigi Lablache who had been hired. The result turned out to be the comic opera, Don Pasquale, planned for January 1843. While preparations were underway, other ideas came to Donizetti and, discovering Cammarano's libretto for Giuseppe Lillo's unsuccessful 1839 Il Conte di Chalais, he turned it into the first two acts of Maria di Rohan within twenty-four hours.
The Tales of Hoffmann is a 1951 British Technicolor comic opera film written, produced and directed by the team of Michael Powell and Emeric Pressburger working under the umbrella of their production company, The Archers. It is an adaptation of Jacques Offenbach's 1881 opera The Tales of Hoffmann, itself based on three short stories by E. T. A. Hoffmann. The opera film stars Robert Rounseville, Moira Shearer, Robert Helpmann and Léonide Massine, and features Pamela Brown, Ludmilla Tchérina and Ann Ayars. Only Rounseville and Ayars sang their own roles.
Most opera productions have been cancelled or postponed, such as the Canadian Opera Company, Metropolitan Opera and The Royal Opera. The world premiere of Ritratto, which was commissioned by the Dutch National Opera, was also postponed. In response to the cancellation of many of its planned productions, Finnish National Opera commissioned, created, and produced Covid fan tutte, a comic opera about life during the pandemic using music from Mozart's Cosi fan tutte, starring a Finnish cast and premiering 28 August 2020 with small audiences and social distancing restrictions.
In 1855, taking advantage of the first Paris International Exposition, which brought enormous crowds to the city, he rented a theater on the Champs-Élysées and put on his musicals to full houses. He then opened up a new theater, the Bouffes-Parisiens, which opened in 1855 with a work called Ba-ta-clan, a Chinese-style Musical. Offenbach's theater attracted not only the working and middle class audiences, the traditional audience of the music halls, but also the upper classes. The comic opera scenes alternated with musical interludes by Rossini, Mozart, and Pergolese.
The following year (1894) found Golden in the alcoholic's ward at Bellevue Hospital, but by the end of the year he had returned to the stage with a revival of Jed Prouty."Richard Golden in Bellvue", New York Times, March 21, 1894. Through the rest of the 1890s newspapers alternately reported him "critically ill" (usually in a hotel room), and drawing huge and appreciative crowds in a variety of comic roles. By the end of the decade he was one of the most celebrated stars of American comic opera.
Violet Melnotte in about 1892 Violet Melnotte (2 May 1855-17 September 1935), was a stage performer and actress-manager and theatre owner of the late 19th century and early 20th century. She was the wife of Gilbert and Sullivan performer Frank Wyatt, whom she met when they both appeared in the hit operetta Erminie. Melnotte performed in comic opera and pantomime in London and the British provinces for eight years before venturing into theatre management in 1885. After this, she continued to perform while managing several West End theatres.
Antonio Sacchini Antonio Maria Gasparo Gioacchino Sacchini (14 June 1730 – 6 October 1786) was an Italian composer, best known for his operas. Sacchini was born in Florence, but raised in Naples, where he received his musical education. He made a name for himself as a composer of serious and comic opera in Italy before moving to London, where he produced works for the King's Theatre. He spent his final years in Paris, becoming embroiled in the musical dispute between the followers of the composers Gluck and Niccolò Piccinni.
However, in 1933 he dedicated an orchestral song, "Das Bächlein" ("The Little Brook"), to Goebbels, in order to gain his cooperation in extending German music copyright laws from 30 years to 50 years. Also in 1933, he replaced Arturo Toscanini as director of the Bayreuth Festival after Toscanini had resigned in protest to the Nazi regime. Strauss attempted to ignore Nazi bans on performances of works by Debussy, Mahler, and Mendelssohn. He also continued to work on a comic opera, Die schweigsame Frau, with his Jewish friend and librettist Stefan Zweig.
From childhood, Michel Caron wanted to become an actor. He entered the René Simon class, then the Conservatoire de Paris where he won three first prizes: opera, comic opera and operetta. Caron's career began at the Théâtre du Châtelet to perform Guy Florès during a revival of The White Horse Inn (1960/1961).Parcours de Michel Caron He was then at the top of the bill for two plays of opéra-bouffe, performed in 1968, La Périchole with Jean Le Poulain and Roger Carel and Barbe Bleue with Jean Le Poulain and Arlette Didier.
The couple married in 1906 but the relationship was childless. Ketèlbey wrote music in the style of the Gilbert and Sullivan works for a comic opera The Wonder Worker, which was staged at the Grand Theatre, Fulham in 1900. The reviewer for the London Evening Standard thought Ketèlbey's score was "attractive though conventional ... No originality is shown in conception or treatment, but the conception is appropriate, and the treatment effective." The same year Ketèlbey began undertaking transcription work at the music publisher A. Hammond & Co, making arrangements of music for smaller orchestras.
In 1777 she announced her retirement and gave a farewell concert in London on 30 May of that year. Galli was a close friend of fellow singer Martha Ray who was the longtime mistress of John Montagu, 4th Earl of Sandwich. She notably was with Ray the night that Ray was murdered by James Hackman following a performance of Thomas Arne's and Isaac Bickerstaffe's comic opera Love in a Village at Covent Garden on 7 July 1779. Galli came out of retirement in her 60s when she began to experience financial difficulties.
As well as dropping some of the original music that was in an ornate style unfashionable in Paris, Rossini accommodated local preferences by adding dances, hymn-like numbers and a greater role for the chorus. Rossini's mother, Anna, died in 1827; he had been devoted to her, and he felt her loss deeply. She and Colbran had never got on well, and Servadio suggests that after Anna died Rossini came to resent the surviving woman in his life. In 1828 Rossini wrote Le comte Ory, his only French-language comic opera.
Gianni Schicchi () is a comic opera in one act by Giacomo Puccini to an Italian libretto by Giovacchino Forzano, composed in 1917–18. The libretto is based on an incident mentioned in Dante's Divine Comedy. The work is the third and final part of Puccini's Il trittico (The Triptych)—three one-act operas with contrasting themes, originally written to be presented together. Although it continues to be performed with one or both of the other trittico operas, Gianni Schicchi is now more frequently staged either alone or with short operas by other composers.
W.S. Gilbert in about 1878 Gilbert and Sullivan produced their hit comic opera H.M.S. Pinafore in May 1878, and Gilbert turned to Gretchen as his next project. Gilbert was by then one of the most famous playwrights in England, but he was known more for comedies than dramas, and so Gretchen was anticipated with much curiosity.Stedman, p. 168 Although Gilbert had met with some success in earlier dramas, his last such piece, The Ne'er-do-Weel (also at the Olympic), had met with a difficult reception in 1878.
The Maddox troupe delivered 425 performances of drama, ballet and opera during this time. These included more than 100 different operas, mainly of the comic opera/opéra comique type by composers such as Grétry, Dalayrac, Mehul, Paisiello, Philidor and Martin y Soler, as well as Russians such as Yevstigney Fomin and Vasily Pashkevich. The foreign operas were largely performed in Russian translations by Sergey Glinka, Platon Levshin, Ivan Dmitrievsky, and others. Three notable melodramas (Fomin's Orfeo and G. A. Benda's Pygmalion and Medea & Jason) were part of the repertoire.
This phenomenon is exploited when a person claims to be only a quarter of their actual age, by counting their leap-year birthday anniversaries only: for example, in Gilbert and Sullivan's 1879 comic opera The Pirates of Penzance, Frederic the pirate apprentice discovers that he is bound to serve the pirates until his 21st birthday (that is, when he turns 88 years old, since 1900 was not a leap year) rather than until his 21st year. For legal purposes, legal birthdays depend on how local laws count time intervals.
He had an ambition to present Mozart's neglected one-act comic opera Der Schauspieldirektor at the Bouffes-Parisiens, and he acquired the score from Vienna. With a text translated and adapted by Léon Battu and Ludovic Halévy, he presented it during the Mozart centenary celebrations in May 1856 as L'impresario; it was popular with the publicYon, p. 179 and also greatly enhanced the critical and social standing of the Bouffes-Parisiens. By command of the emperor, Napoleon III, the company performed at the Tuileries palace shortly after the first performance of the Mozart piece.
As in England, during the latter half of the century, the theatre began to be cleaned up, with less prostitution hindering the attendance of the theatre by women. Gilbert and Sullivan's family-friendly comic opera hits, beginning with H.M.S. Pinafore in 1878, were imported to New York (by the authors and also in numerous unlicensed productions). They were imitated in New York by American productions such as Reginald Dekoven's Robin Hood (1891) and John Philip Sousa's El Capitan (1896), along with operas, ballets and other British and European hits.
In 1862, one of his employees, the Hungarian Ignatius Paul Pollaky, left him and set up a rival agency. Although little- remembered today, Pollaky's fame at the time was such that he was mentioned in various books of the 1870s and immortalized as "Paddington" Pollaky for his "keen penetration" in the 1881 comic opera, Patience. In the United States, Allan Pinkerton established the Pinkerton National Detective Agency – a private detective agency – in 1850. Pinkerton became famous when he foiled a plot to assassinate then President-elect Abraham Lincoln in 1861.
Dibdin, Professional Life (1803), Vol. 1, pp. 46–54. The script for The Maid of the Mill was by playwright Isaac Bickerstaffe, who had written the libretto for Love in a Village, the highly popular opera (called the first English comic opera) by Dr. Thomas Arne, produced in 1762. For Dibdin the next turning-point was in the 1767 premiere and short run of Bickerstaffe's Love in the City, in which he played Watty Cockney, and for which he produced a good deal of the music and airs.
99, 100, 104–05. See C. Dibdin, The Musical Tour of Mr Dibdin; in which, previous to his embarkation to India, he finished his career as a public character (Author, J. Gales, Sheffield 1788), Letter XXIX, p. 115. Covent Garden productions continued with The Chelsea pensioners, and The Mirror, or, Harlequin everywhere (a pantomime) (both 1779), and in 1780 the comic opera The Shepherdess of the Alps, and the three-act opera The Islanders, most of which was re-presented as a two-act farce called The Marriage Act in 1781.
Emma Roberto Steiner (1856February 27, 1929) was an American composer and conductor. She was one of the first women in the United States to make a living from conducting, and did so at more than 6,000 performances during her lifetime. Her career spanned nearly five decades, from the 1870s, when she first began conducting for touring comic opera companies, until her death in 1929. In the early 1900s, she took a decade-long hiatus from her musical career to move to Alaska, where she was a prospector and traveler.
Cecil played Mr. Box in this 1874 production Cecil began performing as an amateur at the Richmond Theatre."Death of an English Actor", The New York Times, 17 April 1896 In 1866, he appeared in the role of Bouncer in an amateur production of the one-act comic opera, Cox and Box by F. C. Burnand and Arthur Sullivan.Adams, p. 349 Coincidentally, on Easter Monday 1869, Cecil made his professional debut at the Gallery of Illustration in a bill that included Cox and Box, this time as Mr. Box.
Chi soffre, speri (Let he who Suffers Hope) or L'Egisto is an opera in a prologue and three acts by the Italian composer Virgilio Mazzocchi, performed with an intermedio titled La fiera di Farfa with music by Marco Marazzoli. It has been described as the "first comic opera".The Oxford illustrated history of opera, p. 18 f. In fact the libretto, by Giulio Rospigliosi (the future Pope Clement IX), is based on Boccaccio and deals with a Christian-Neoplatonic allegory, regarding the relationships of Ozio (“Leisure”), Sentimento and Virtù (“Virtue”).
The harpsichord or pipe organ basso continuo role in orchestra fell out of use between 1750 and 1775, leaving the string section woodwinds became a self-contained section, consisting of clarinets, oboes, flutes and bassoons. While vocal music such as comic opera was popular, great importance was given to instrumental music. The main kinds of instrumental music were the sonata, trio, string quartet, symphony, concerto (usually for a virtuoso solo instrument accompanied by orchestra), and light pieces such as serenades and divertimentos. Sonata form developed and became the most important form.
He then played the role of Dr Kindergarten in Nat Goodwin's Dr Syntax at the Boston Museum, and, with his own Paine-Brocolini Opera Company, produced Fadette, or the Days of Robespierre and The Rose of the Auvergne. In other non-D'Oyly Carte companies, Brocolini played in Pinafore and Patience at Haverley's Theatre, Brooklyn, in February 1882, and then toured as the Pirate King, Christopher Crab, and Captain Corcoran with the Boston Comic Opera Company. At the Fifth Avenue Theatre in October 1882, he again played Christopher Crab in Billee Taylor.Folio, p.
In 1910 Anthony was recorded as a member of the Edison Comic Opera Company, alongside fellow members Steve Porter, Edith Chapman, Edna Stearns, and Cornelia Marvin. He recorded duets with Inez Barbour, two of which became best sellers: Alma and Love Never Dies in 1911 and 1912, respectively. On Edison cylinders he also recorded duets with Elizabeth Wheeler and Helen Clark. He performed in and managed the Criterion Quartet, who besides Anthony included Donald Chalmers, George W. Reardon, and Horatio Rench. He was a member of Victor’s Orpheus Quartet.
Former Willimantic Enterprise owner Nason W. Leavitt and his son Burton Leavitt wrote the comic opera The Frogs of Windham in the 1880s. Published and copyrighted in 1891, the operetta includes a romantic subplot where Colonel Dyer tries to marry his daughter to a "weak- minded English youth." A farmer boy smitten with her then plots to have the English lord captured by Mohegan Indians. The show's "Frog Ballet" was reported to have "caused much merriment" and the drinking song "Good Old Windham Flip" honored a local alcoholic concoction.
1874 was a busy year for Gilbert. He illustrated The Piccadilly Annual; supervised a revival of Pygmalion and Galatea; and, besides Rosencrantz and Guildenstern, he wrote Charity; a play about the redemption of a fallen woman; a dramatisation of Ought We to Visit Her? (a novel by Annie Edwardes), an adaptation from the French, Committed for Trial, another adaptation from the French called The Blue-Legged Lady, a play, Sweethearts, and Topsyturveydom, a comic opera. He also wrote a Bab-illustrated story called "The Story of a Twelfth Cake" for the Graphic Christmas number.
7 His other works include incidental music to Helena in Troas, a drama by John Todhunter and E. W. Godwin (London, 1886). He also wrote three operas: The Ring (1886) and Adela (produced in Nottingham in 1888), and a one- act comic opera for two characters, Weather or No, first produced at the Savoy Theatre in 1896 as a curtain-raiser for The Mikado. Both The Observer and The Times praised the music and the libretto of Weather or No and advised readers not to miss it.The Observer, 16 August 1896, p.
Evie Greene, Lawrence Rea and Courtice Pounds, Act I The Duchess of Dantzic is a comic opera in three acts, set in Paris, with music by Ivan Caryll and a book and lyrics by Henry Hamilton, based on the play Madame Sans-Gêne by Victorien Sardou and Émile Moreau. Additional lyrics by Adrian Ross. The story concerns Napoleon I and a laundress, Catherine Üpscher, who marries Marshal Lefebvre and becomes a Duchess. The opera was first produced in London at the Lyric Theatre in 1903 and ran for 236 performances.
In 1875, he played Hoyley Smayle in Sentenced to Death, a drama by George Conquest and Henry Pettit. This was followed in 1876 by Jonas Isaacs in Queen's Evidence, a drama by George Conquest and H. Pettit. In 1877, he played Toby Daggs in During her Majesty's Pleasure, a drama by Conquest and Pettit. Another photo as Lurcher In 1880, at the Imperial Theatre, he created the role of Sir Mincing Lane in the comic opera Billee Taylor, beginning a string of roles in works by Edward Solomon and Henry Pottinger Stephens.
Romantic opera, which placed emphasis on the imagination and the emotions began to appear in the early 19th century, and because of its arias and music, gave more dimension to the extreme emotions which typified the theater of that era. In addition, it is said that fine music often excused glaring faults in character drawing and plot lines. Gioachino Rossini (1792–1868) initiated the Romantic period. His first success was an "opera buffa" (comic opera), La Cambiale di Matrimonio (1810). His reputation still survives today through his Barber of Seville (1816), and La Cenerentola (1817).
Libbey was born and grew up in East Somerville, Massachusetts.The New York Dramatic Mirror, 13 January 1894, p.4. Retrieved 29 July 2013 He was noted as a boy soprano, and in 1884 had his first professional engagement at the Bijou Theatre in Boston. In 1885 he traveled to Europe, and studied in Paris -- where he studied for a prize at the Conservatoire -- and London, before returning to the US. He appeared in grand and comic opera, oratorios, cantatas and concerts, and was contracted to the Boston Symphony Orchestra as a soloist.
Hoyt was born in Concord, New Hampshire. He had a difficult childhood, as his mother died when he was nine years old. He graduated at the Boston Latin School and, after being engaged in the cattle business in Colorado for a time, took up newspaper work, first with the St. Albans (Vt.) Advertiser, and later becoming musical and dramatic critic of The Boston Post. Beginning in 1883, Hoyt turned playwright and wrote a series of 20 farcical comedies (roughly one per year until his death) and a comic opera.
Her London West End debut was at the Apollo Theatre in the comic opera Tom Jones (1907), which had a libretto co-written by her father."Apollo Theatre", The Times, 1 May 1907, p. 8 Her first starring role was Eileen Cavanagh in the long-running Edwardian musical comedy The Arcadians, which she took over from Phyllis Dare in 1910. In the piece that followed, The Mousmé (1911), which also featured a book co-written by her father, she was cast in one of the two leading female roles alongside Florence Smithson.
Zar und Zimmermann (Tsar and Carpenter) is a comic opera in three acts, music by Albert Lortzing, libretto by the composer after Georg Christian Römer's Der Bürgermeister von Saardam, oder Die zwei Peter, itself based on the French play Le Bourgmestre de Saardam, ou Les deux Pierre by Anne-Honoré-Joseph Duveyrier de Mélésville, Jean-Toussaint Merle, and Eugène Centiran de Boirie. Ultimately, it goes back to the historical Grand Embassy of Peter the Great. Gaetano Donizetti had set the same story in his 1827 opera Il borgomastro di Saardam.
The Cool Mikado is a British musical film released in 1963, directed by Michael Winner, (who makes a short appearance as an airline passenger a la Hitchcock near the start of the film) and produced by Harold Baim, with music arranged by Martin Slavin and John Barry. It starred Frankie Howerd as Ko-Ko, Lionel Blair and Stubby Kaye. The script was written by Michael Winner, from an adaptation by Maurice Browning. Based on the 1885 Gilbert and Sullivan comic opera The Mikado, the plot is reset into contemporary Japan as a comic gangster story.
The music satisfied neither the pro- nor anti-Wagner lobby: Chabrier commented, "The wagnérien calls me a reactionary and the bourgeois considers me a wagnérien".Huebner, p. 279 The opera has been revived from time to time, but has not gained a regular place in the international repertory. Arnold and Nichols write that some of Chabrier's best music went into his comic opera Le Roi malgré lui (Opéra-Comique, 1887), "but unfortunately the work is saddled with one of the most complex and incomprehensible librettos of all time".
The Era said, "The Basoche is more than a success; it is a triumph … the most artistic and beautiful comic opera the modern stage has witnessed for years". The Observer, like The Era and The Times, predicted an exceptionally long run for the work; its reviewer commented that the score showed Messager as "a master of his art – endowed with the gift of melody and guided by a refined taste"."Music: Royal English Opera", The Observer, 8 November 1891, p. 6; and "Royal English Opera", The Times, 9 November 1891, p.
Natasha Harding of Pan Macmillan commented "The central characters are both funny and endearing and they make for an interesting detective duo." The second book was published as Escape from Sunset Grove in 2018, followed by The End of Sunset Grove, also in 2018. The books address issues surrounding elder care as a profit-making business, culminating in the third book with the replacement of almost all human contact by technology. In 2020 Lindgren wrote the libretto for Finnish National Opera's comic opera Covid fan tutte, set to music by Mozart.
Francesco Florimo lamented that the operatic offerings were a "musical hybrid". Forsaking the traditional Neapolitan opera buffa of its glory days, the theatre presented revivals of Italian operas as well as French and Austrian operettas, cast mostly with inferior singers.Dalbono, Carlo Tito (1876). Nuova guida di Napoli e dintorni, p. 316. Antonio Morano By the late 1800s operatic offerings had become few and far between. Amongst them were Nicola D'Arienzo's comic opera La fiera (with a libretto by Salvatore Di Giacomo) which premiered in 1887 and Mario Morelli's L'amico Francesco staged on 15 March 1895.
Ochs was noted for humorous or parodic compositions. He wrote both the libretto and music of the three-act comic opera Im Namen des Gesetzes (Hamburg, 1888), two operettas, duets for soprano and alto, male choruses, vocal canons, and several books of songs. Many musicologists also maintain that Ochs was both composer and lyricist of the aria Dank sei Dir, Herr, still widely believed to be by Handel.. The title translates as "Thanks Be to Thee" - On the explanation of a Handel fake in the early twentieth century.
Theatre poster, 1879 H.M.S. Pinafore; or, The Lass That Loved a Sailor is a comic opera in two acts, with music by Arthur Sullivan and a libretto by W. S. Gilbert. It opened at the Opera Comique in London, on 25 May 1878 and ran for 571 performances, which was the second-longest run of any musical theatre piece up to that time. H.M.S. Pinafore was Gilbert and Sullivan's fourth operatic collaboration and their first international sensation. The story takes place aboard the Royal Navy ship HMS Pinafore.
Zaporozhets za Dunayem (, translated as A Zaporozhian (Cossack) Beyond the Danube, also referred to as Cossacks in Exile) is a Ukrainian comic opera with spoken dialogue in three acts with music and libretto by the composer Semen Hulak-Artemovsky (1813–1873) about Cossacks of Danubian Sich. The orchestration has subsequently been rewritten by composers such as Reinhold Glière and Heorhiy Maiboroda. This is one of the best-known Ukrainian comic operas depicting national themes. It was premiered with a Russian libretto on , in St Petersburg (at the time the capital of the Russian Empire).
He composed the comic opera Immomeena (libretto by Harry Congreve Evans of the Quiz), first performed in 1893, of which the song The Green Little Isle of the Sea achieved some popularity. He composed songsThou art my Queen with words by educationist Alfred Edward Maegraith (father of tropical medicine researcher Brian Gilmore Maegraith, cartoonist Kerwin Maegraith and war hero Hugh Maegraith), first performed in 1890 by Richard Nitschke, and Australia, with words by C. C. Presgrave (better known as a painter and prominent member of the Adelaide Easel Club), again promoted by R. Nitschke.
A New England church meeting would be a good place to exhibit and - ask questions." Though the reviewer in The New York Dramatic Mirror however disagreed that the premise was plausible, "A [straight-laced] old deacon forms the complicating element in this rather conventional and rather improbable story. That a girl could become a comic opera star without the knowledge of her parents is a strain for the imagination. That a simple little dance like the one in the picture could effect such a conversion is another tax on belief.
See also Gänzl (1995) The music writer Andrew Lamb notes, "The success of H.M.S. Pinafore in 1879 established British comic opera alongside French opéra bouffe throughout the English-speaking world".Lamb, p. 35 The historian John Bush Jones opines that Pinafore and the other Savoy operas demonstrate that musical theatre "can address contemporary social and political issues without sacrificing entertainment value" and that Pinafore created the model for a new kind of musical theatre, the "integrated" musical, where "book, lyrics, and music combined to form an integral whole".Jones, pp.
302-303 The libretto was written by Smyth and the war poet Edward Shanks and closely follows Baring's story of a late night fête galante in which the Pierrot is hanged by a jealous king. Like Fantasio, Smyth's earlier comic opera, Fête Galante involves mistaken identity and disguise, but is a much darker tale. Its title and themes of aristocratic open-air festivity, masquerade and commedia dell'arte harked back to the operas of Rameau and Lully but were also echoed in the neoclassical works of Smyth's contemporaries Debussy, Busoni, and Stravinsky.Wood (1995) p. 294.
Possibly at Humbert's suggestion, Lecocq's librettists set the piece in Directory Paris in the later years of the French Revolution, an unfamiliar setting for a comic opera. Their characters, though essentially fictional, incorporate elements of real people from the Revolutionary period. The régime was headed by Paul Barras, who does not appear in the opera but is an offstage presence. Mademoiselle Lange was a prominent actress and anti-government activist, but there is no evidence that the historical figure was Barras's mistress as she is in the opera.
Rameau's first attempt at comic opera, the plot concerns an ugly water nymph who believes that Jupiter, the king of the gods, is in love with her.Holden, p. 838 The work was initially called a ballet bouffon, though it was later styled a comédie lyrique, putting it in the same category as Rameau's Les Paladins. It was written for the celebrations of the wedding of Louis, Dauphin of France, son of King Louis XV of France, to the Infanta Maria Theresa of Spain, who, according to contemporary sources, like the title character was no beauty.
In October 1875 Bessie performed as an opera bouffe soprano, playing "Cesarine" in Charles Lecocq's Fleur-de-Thé. Emily Soldene recalled in her 1898 memoirs that D'Oyly Carte was producing this new comic opera at the Criterion Theatre. The actress playing "Caesarine" had to be replaced at the last minute, and Carte wired the Gaiety Theatre manager Michael Gunn to send Miss Sudlow from Dublin. She heard the music for the first time when she was on stage, and had to improvise where she had forgotten the words, but the reviewers were enthusiastic.
In January 1876, she performed at the Theatre Royal, Dublin in Dick Whittington and His Cat. According to The Era, "Her acting was as fresh as a daisy, and her sparkling vivacity and pleasant manner again won showers of applause and golden opinions". In March 1876, Bessie again went on tour with D'Oyly Carte's London Comic Opera Company, which again included La fille de Madame Angot in its repertoire. During rehearsals in Manchester, the two leading ladies, Pattie Laverne and Selina Dolaro, argued about the tempo of a duet.
She next joined Toole's company and appeared at Toole's Theatre on 26 December of that year as the Spirit of Home in Dot. In 1888, she was back at the Vaudeville in a play with her sisters Jessie and Decima, Partners, by Robert Williams Buchanan. In 1890, she created the role of the countess of Drumdurris in the Arthur Wing Pinero play The Cabinet Minister at the Court Theatre. In 1892, she appeared as Minestra in the comic opera The Mountebanks by W. S. Gilbert and Alfred Cellier.
Opening night cast The Queen's Mate is an 1888 comic opera in English adapted from the French La Princesse des Canaries by Charles Lecocq (or Pepita in London in 1888), with a libretto by Harry Paulton. The play was first performed in San Francisco in January 1888, and successfully toured on its way east through April.Fields, Armond. Lillian Russell: A Biography of "America's Beauty", pp. 52-53 (1999) It had its New York City debut at the former Broadway Theatre on May 2, 1888, presented by the J.C. Duff Company.
Born in Stockholm, Wilhelmina Söhling was the daughter of the music teacher and organist Wilhelm Söhrling (1822–1901) and Marie Elise Vretman. After being brought up in a musical family, she studied solo singing from 1862–65 at the Swedish Conservatory under Julius Günther, Isak Berg and Fredrika Stenhammar. She made her début at the Royal Theatre on 18 October 1867 as Jeannette in Nicolas Isouard's comic opera Joconde. In the spring of 1868, she was engaged by the Royal Theatre, playing further soubrette roles in comic operas including Vattendragaren and Les rendez-vous bourgeois.
Orlandi studied music with Gaspare Rugarli, organist at the ducal chapel of Colorno, then in Parma with Gaspare Ghiretti and probably with Ferdinando Paer. In 1793 he entered the Conservatorio della Pietà della Turchini in Naples, where he studied counterpoint with Nichola Sala and Giacomo Tritto. In 1799 he returned to Parma, where he was appointed choirmaster. In 1801, his theatrical career began with the comic opera The Scottish Pupil (La pupilla scozzese) based on a libretto by Lorenzo Da Ponte that had earlier been set by Antonio Salieri in Vienna in 1789.
Though the repertoire of the Society was mainly comic opera after 1924, the Society also performed British composer Samuel Coleridge-Taylor's cantata Hiawatha in March 1935. The last appearance of the Society was 8 December 1941, that was a concert featured an all-Beethoven programme, consisted of Egmont Overture, Symphony No.5 and Piano Concerto No.5 with Harry Ore as soloist. Rayson Huang and Solomon Bard were playing in the violin section. According to Bard's autobiography, the conductor of the concert was killed in the first few days of the Battle of Hong Kong.
Rutland Barrington, the original Pooh-Bah Grand Poobah is a term derived from the name of the haughty character Pooh-Bah in Gilbert and Sullivan's The Mikado (1885).This character was based, in part, on James Planché's Baron Factotum, the "Great-Grand-Lord-High-Everything" from The Sleeping Beauty in the Wood (1840). Williams (2010), p. 267 In this comic opera, Pooh-Bah holds numerous exalted offices, including "First Lord of the Treasury, Lord Chief Justice, Commander-in-Chief, Lord High Admiral ... Archbishop ... Lord Mayor" and "Lord High Everything Else".
His opera librettos were set by the composers Agostino Steffani, Antonio Lotti, Giovanni Alberto Ristori and the German master of Italian opera seria, Johann Adolf Hasse among others. His first libretto was, Antiope (1689). He also wrote the text for the comic opera Calandro by Giovanni Alberto Ristori, which was first staged in 1726 at the castle of Pilnitz near Dresden, and then in Moscow in 1731 when it was the first opera ever performed in Russia. He later composed the libretto for the five-act opera seria Alfonso (1738) by Johann Adolf Hasse.
13 Tiefland played in opera houses throughout the world and has retained a place in the standard German and Austrian repertoire, with a production at the Deutsche Oper Berlin, in November 2007. According to biographer Hugh Macdonald, it "provides a link between Italian verismo and German expressionist opera, although the orchestral textures recall a more Wagnerian language." Another stage success was a comic opera called Flauto solo in 1905. D'Albert's most successful orchestral works included his cello concerto (1899), a symphony, two string quartets and two piano concertos.
The plot of The Wicked World clearly fascinated Gilbert. Not only did he write a short story on the theme in 1871, but he also co-wrote a parody of it, The Happy Land (1873), and he returned to it in his 1909 comic opera, Fallen Fairies. Gilbert sued The Pall Mall Gazette, which had called The Wicked World indecent because of the references to "mortal love" in the script. Gilbert lost the case, but he had the satisfaction of having his play found inoffensive in a court of law.
Another form of opera originating in Naples is opera buffa, a style of comic opera strongly linked to Battista Pergolesi and Piccinni; later contributors to the genre included Rossini and Wolfgang Amadeus Mozart. The Teatro di San Carlo, built in 1737, is the oldest working theatre in Europe, and remains the operatic centre of Naples. Tarantella in Napoli, a 1903 postcard Neapolitan mandolin The earliest six-string guitar was created by the Neapolitan Gaetano Vinaccia in 1779; the instrument is now referred to as the romantic guitar. The Vinaccia family also developed the mandolin.
Sruth na Maoile ("The Sea of Moyle") was first performed in July 1923 and restaged by the O'Mara Opera Company in the cultural by-programme of the Tailteann Games in August 1924. Its story is based on the legend of the Children of Lir, while the music relies on numerous references to Irish traditional music, including the song Silent O Moyle from Thomas Moore's Irish Melodies. A third work, Grania Goes (1924), conceived as a light, comic opera, could not be performed in the years following Irish independence.
Pimpinone, TWV 21:15, is a comic opera by the German composer Georg Philipp Telemann with a libretto by Johann Philipp Praetorius. Its full title is Die Ungleiche Heirat zwischen Vespetta und Pimpinone oder Das herrsch-süchtige Camer Mägden (The Unequal Marriage Between Vespetta and Pimpinone or The Domineering Chambermaid). The work is described as a Lustiges Zwischenspiel ("comic intermezzo") in three parts. It was first performed at the Oper am Gänsemarkt in Hamburg on 27 September 1725 as light relief between the acts of Telemann's adaptation of Handel's opera seria Tamerlano.
In a review of a pantomime at the Funambules after Deburau's death, Gautier reproached the mime's successor, Paul Legrand, for dressing "half as a comic-opera Colin, half as a Tyrolean hunter", thereby degrading the Pierrot of Baptiste.Review of La Gageure in La Presse, August 31, 1846; tr. Storey, Pierrots on the stage, p. 10. He was answered by a letter from the Funambules' director, who wished to disabuse the poet of his "error": " ... we have some thirty-odd plays performed by Debureau in different costumes, and Paul has simply continued the practice ... ".
The son of a shipowner, Hignard was born in Nantes and studied at the Paris Conservatory with Fromental Halévy and won the Second Grand Prix de Rome in 1850 with the cantata Emma et Eginhard. His first comic opera Le Visionnaire was published in 1851. During the 1850s Hignard composed four comic operas, for which his childhood friend Jules Verne provided the librettos. In 1861, the operetta Les Musiciens de l'orchestre was performed, which Hignard had composed together with Léo Delibes and Jules Erlanger (and probably also Jacques Offenbach).
Some years, he appeared as Alexander Konya. Following engagements at Darmstadt, Stuttgart, and Hamburg, Kónya became a member of the Berlin State Opera, in 1955, where he created the role of Leandro in Henze's König Hirsch. A performance of Nureddin in Peter Cornelius's comic opera Der Barbier von Bagdad, at the Edinburgh Festival in 1956, attracted widespread attention, and his career became more international in scope. Then came his stunning 1958 debut at Bayreuth, as Lohengrin, a part that quickly became one of his signature roles around the world.
He experimented with a modern-dress, family-friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle at the Gaiety and his other theatres. These drew on the traditions of comic opera and used elements of burlesque and of the Harrigan and Hart pieces. He replaced the bawdy women of burlesque with his "respectable" corps of Gaiety Girls to complete the musical and visual fun. The success of the first of these, In Town (1892) and A Gaiety Girl (1893) set the style for the next three decades.
The plots were generally light, romantic "poor maiden loves aristocrat and wins him against all odds" shows, with music by Ivan Caryll, Sidney Jones and Lionel Monckton. These shows were immediately widely copied in America, and Edwardian musical comedy swept away the earlier musical forms of comic opera and operetta. The Geisha (1896) was one of the most successful in the 1890s, running for more than two years and achieving great international success. The Belle of New York (1898) became the first American musical to run for over a year in London.
The Pirate Movie is a 1982 Australian musical romantic comedy film directed by Ken Annakin and starring Christopher Atkins and Kristy McNichol. Loosely based on Gilbert and Sullivan's 1879 comic opera The Pirates of Penzance, the original music score is composed by Mike Brady and Peter Sullivan (no relation to Pirates of Penzance composer Arthur Sullivan). The film performed far below expectations in initial release and is generally reviewed very poorly, but fared far more positively with audiences. It has developed a cult following following home media release and TV airings.
Auber had already attempted musical composition, and at this period produced several concertos pour basse, modelled after the violoncellist Lamare, in whose name they were published. The praise given to his concerto for the violin, which was played at the Paris Conservatoire by Mazas, encouraged him to undertake a resetting of an old comic opera, Julie (1811). He also began to study with the renowned Luigi Cherubini. In 1813 the unfavourable reception of his one-act debut opera Le Séjour militaire put an end for some years to his attempts as composer.
Pastel portrait of Sophia Gay, by Claire Laloua, 1842 Sophie Gay was the mother of the writer Delphine de Girardin, and her son-in-law married the chanteuse Sophie Gail. In 1818, Sophie wrote the libretto for the opéra comique by Regnard, which Sophie Gail set to music. In 1821, she was working on by Alexandre Duval, and a comic opera entitled le Maitre de Chapelle ("Master of the House", not to be confused with Master of the House from Les Misérables (musical)). In the meantime, Sophie was also writing many others comedies and dramas.
Daisy le Hay and Roland Cunningham in Two Merry Monarchs Roland Macquarie Cunningham (1872 - 3 May 1958) was an Australian-born British singer and actor of the late Victorian and Edwardian eras. He began his professional career in comic opera in London in 1895 and appeared briefly with the D'Oyly Carte Opera Company in 1899. In the early years of the next century, he appeared in Edwardian musical comedies in both Britain and America. In 1910, he starred in the long-running original London production of The Chocolate Soldier.
Opera Studio repertoire gave the lion's share to comic opera and operetta classics. Performances were held in the building of the Polish Theatre in Mickiewicz Alley, in various clubs and occasionally in the hall of the Pomeranian House of Art. During its four-year activity, Opera Studio gave 10 premieres and around 400 performances, including 34 outside Bydgoszcz (Torun, Grudziadz, Inowrocław, Świecie) which attracted an audience of 22 000. In 1958, thanks to minister credits, full-time soloists were engaged, as well as half-time choir, ballet and administration individuals.
XI There were discussions about an 1867 professional production under the management of Thomas German Reed, but instead Reed commissioned Sullivan and Burnand to write a two-act comic opera, The Contrabandista, which was less well received. Cox and Box had its first professional production under Reed's management at the Royal Gallery of Illustration on Easter Monday, 29 March 1869, with Gilbert and Frederic Clay's No Cards preceding it on the bill. The occasion marked the professional debut of Arthur Cecil, who played Box. German Reed played Cox and F. Seymour played Bouncer.
In 1738, Blavet became the principal flute in Louis XV's personal musical ensemble, the "Musique du Roi", and in 1740 at the Paris Opera orchestra. He played in the quartet (flute – Blavet, violin – Guignon, viola da gamba – Forqueray the younger, cello – Édouard) that played the premiere performance of the Paris quartets by Telemann. Blavet turned down a post in Frederick the Great's court, which Quantz eventually accepted after the pay had been increased significantly. In 1752 Blavet modeled on Italian interludes the first French comic opera, Le Jaloux corrigé.
Touring with Santley he sang Prince Doro in Princess Toto, was in La fille de Madame Angot and was the Defendant in Trial by Jury. Moving to Hariel Becker's touring company Hallam appeared in John of Paris, Fra Diavolo, La fille de Madame Angot and for Richard South's Opera Company he appeared in Bucalossi's comic opera Pom (1878). His son Henry Richard Hallam (1878-1942) was born at this time. Hallam toured as Alain in Babiole and in 1879 created the lead male role in Frederick Stanislaus’s The Lancashire Witches.
Bagwell, Beth (2012) Oakland, The Story of a City, Oakland Heritage Alliance, California, page 176, . After the 1906 San Francisco earthquake, comic stars from the Tivoli Theater relocated to Oakland and renamed themselves the Idora Park Comic Opera Company. Shows like The Mikado, The Pirates of Penzance and The Wizard of the Nile were performed under the direction of Paul Steindorff in a wooden opera house called the Wigwam Theater. In 1919 when Oakland's own 159th Regiment returned from France, the park was opened to the fighting men at no charge.
He played Gaspard in Robert Planquette's comic opera Les cloches de Corneville (The Chimes of Normandy), with the Société Canadienne d'Opérette. In the early 1920s, Gauthier was a pioneer in radio and in the recording of Quebec folk music, making 78 speed phonograph records for Victor Talking Machine Company and Columbia Records. He recorded more than 100 songs and monologues, often with Elzéar Hamel. Gauthier created the Veillées du bon vieux temps concert presentations, which he produced from 1921 until 1941 at the Monument-National theatre in Montreal.
Programme from the London production of Baron Trenck (1911) Baron Trenck is a comic opera in three acts loosely based on the life of Baron Franz von der Trenck. The original German-language work was composed by Felix Albini to a libretto by Alfred Maria Willner and Robert Bodanzky and premiered at the Stadttheater in Leipzig in 1908. The English version, adapted by Frederick Franklin Schrader and Henry Blossom, ran for just 43 performances at the Strand Theatre in London in 1911. It starred Walter Passmore, Walter Hyde and Caroline Hatchard.
Gilbert created several blank verse "fairy comedies" at the Haymarket Theatre in the early 1870s beginning with The Palace of Truth (1870) and Pygmalion and Galatea (1871). The Wicked World was the third of these, and The Happy Land followed so soon on its heels that the two plays ran simultaneously. The plot of The Happy Land and The Wicked World clearly fascinated Gilbert. Not only had he written a short story on the theme in 1871, but he returned to it in his 1909 comic opera, Fallen Fairies.
In his more than two-decade career on stage Wyatt is best remembered for his roles with the D'Oyly Carte Opera Company from 1889 to 1891, and in particular for creating the role of the Duke of Plaza-Toro in Gilbert and Sullivan's hit comic opera The Gondoliers. Wyatt continued to perform in comic operas and comedies until about 1900. From the 1890s Wyatt and his wife owned and managed the Trafalgar Square Theatre, known after 1895 as the Duke of York's Theatre. He also wrote plays and a grand opera.
She was a prolific author, writing around 70 books, as well as newspaper and magazine articles, short stories and works for the stage. From 1876 to 1890, she had a performing career, at first writing and performing a comic touring piano sketch entertainment, together with George Grossmith and later performing in dramas, comedies, comic opera with a D'Oyly Carte Opera Company, her own one-woman show, and appearing as a lecturer, dramatic reader and public entertainer. During the 1890s, she ran a school of Journalism and Literary Art.
This piece consisted of a series of piano sketches, alternating with scenes and costumed recitations, including a two-person "satirical musical sketch", really a short comic opera, by Grossmith called Cups and Saucers. Chapter 5. Marryat and her husband divorced in 1879; later that year, she wed Colonel Lean, but they divorced only a year later, in 1880. At the age of 43, in 1881, Marryat returned to the stage, playing the role of Hephzibah Horton in a drama she wrote based on her novel Her World Against a Lie.
In the spring of 1881, while staying together in Recoaro, Nietzsche created the pseudonym 'Peter Gast' for Köselitz. This was the name he was known by among the Nietzsche circle, as well as being the name under which he published all his operas. The name itself is possibly a reference to Mozart's opera Don Giovanni, with its stone guest (Petrus "stone" in Latin, Gast "guest" in German). Peter Gast's most ambitious musical work is the comic opera in three acts The Lion of Venice (Der Löwe von Venedig).
From 1909, she performed at the Metropolitan Opera in New York City in 22 roles in 169 performances, including several world premieres. In 1910, she was awarded a Medal for Arts and Sciences and the title of Court Singer at a concert in Berlin. Wickham married Eberhard L. Lueder in 1911, but first continued performing and later composed under her birth name Wickham. In 1913 she shared the male role of Alan-a-Dale with actress Louise Le Baron in the comic opera Robin Hood by Reginald De Koven and Harry B. Smith.
In 2011, it presented the UK concert première of Il parnaso confuso (Parnassus in Turmoil) by Gluck; The Italian Girl in London (L'italiana in Londra) by Cimarosa, first performed in 1778; and The Choice of Hercules by Handel. In 2012, it presented productions of L'amant jaloux (The Jealous Lover) by André Grétry (1778) and Blaise le savetier (Blaise the Cobbler) (1759) by François-André Danican Philidor. In 2013, it presented a new production of Mozart’s first comic opera, La finta semplice (1769), in a new English translation entitled Pride and Pretence.
Scene from Act II: The "Pas de Cinq", 1892 at the Savoy Theatre The Vicar of Bray is a comic opera by Edward Solomon with a libretto by Sydney Grundy which opened at the Globe Theatre, in London, on 22 July 1882, for a run of only 69 performances. The public was not amused at a clergyman's being made the subject of ridicule, and the opera was regarded by some as scandalous. An 1892 revival at the Savoy Theatre was more successful, lasting for 143 performances, after public perceptions had changed.Rollins and Witts, p.
HOT performs most of its mainstage productions at the Blaisdell Concert Hall and has also staged works at the historic Hawaii Theatre, warehouses, the Chinatown Artist Lofts, and other funky venues. Since 2004 HOT has added a summer production of a comic opera by Gilbert and Sullivan or a musical, and in 2016 will stage a concert production of Verdi's Rigoletto starring Hawaii's own baritone, Quinn Kelsey. Kelsey began his career as a chorus member in HOT's acclaimed volunteer chorus, and has gone on to shine on stages across the world.
Stanshall painting the doors into the hold of The Thekla Following 'Sir Henry', Stanshall wrote the songs for his third album Teddy Boys Don't Knit (1981), which included three songs about his family, and contributed a lyric to Winwood's Arc of a Diver. He and Longfellow married in 1980, and together they wrote some of the songs they later used for a musical comedy, Stinkfoot, a Comic Opera. The houseboat The Searchlight eventually sank. In 1982, Stanshall provided a spoken word segment on "Lovely Money", a single by The Damned.
Stanshall celebrated Silky's birth in "The Tube", and his marriage to Ki in "Bewilderbeeste", both songs being included on his album Teddy Boys Don't Knit . He later gave his wife the name of 'Ki' from a dream. Even though their comic opera Stinkfoot was a success in late 1985, Stanshall returned alone to London after the turn of the year, while Longfellow recuperated from an illness brought on by overwork and stress. Once Ki was well again, the Stanshalls lived out the rest of their tumultuous marriage until his sudden death in March 1995.
In Camp."Sidney Jones" at the British Musical Theatre site (2004) In 1886, actress/producer Kate Santley engaged Jones as musical director for the tour of her musical Vetah. Jones then worked for Henry Leslie for nearly four years as conductor of tours of Alfred Cellier's comic opera hit Dorothy (starring Lucy Carr Shaw, sister to George Bernard Shaw), Doris and The Red Hussar. He was then music director for a tour of the Gaiety Theatre piece Little Jack Sheppard under the management of comedian J. J. Dallas.
The city considers itself as the inspiration for Gilbert and Sullivan's 1885 comic opera, The Mikado; the name of the opera's setting, "Titipu", is pronounced "Chichipu" in Japanese. Rokusuke Ei, a popular essayist, was convinced that Chichibu, the site of a peasant uprising in 1884, inspired the author, W. S. Gilbert, to set the opera in Japan. Other Japanese researchers have concluded that Gilbert may simply have heard of Chichibu silk, an important export in the 19th century. A theatre company from Chichibu has presented The Mikado in Japanese in Chichibu and throughout Japan.
Despite being designated as a masque, the work is sung throughout, and is in many respects reminiscent of a comic opera. It is set by Windsor Castle, and depicts satyrs and fairies who guard the castle and its inhabitants during ceremonial occasions. The masque concludes with a banquet with the King and Queen in attendance. Of particular note is the wood nymphs’ aria "Let us play and dance and sing", which has a large range of approximately 2 and a half octaves and has some impressive coloratura passages.
Traubner, pp. 88–89 In 1882 and 1883 he played in America at the Casino Theatre and elsewhere with the McCaull Comic Opera Company in The Merry War and The Beggar Student."Obituary: Fred Leslie Dead", The New York Times, 8 December 1892 In 1884 he played in Fay o' Fire, which featured Marie Tempest in one of her first roles. The same year, at the Comedy Theatre, he played in H. B. Farnie and Edmond Audran's adaptation, The Great Mogul with Florence St. John, Frank Wyatt and Arthur Roberts.
In the 19th century, the Gurney family was known for its wealth: In Gilbert and Sullivan's 1875 comic opera "Trial by Jury", a character describes his accumulation of wealth until at length I became as rich as the Gurneys. On John Gurney's death in 1809, his son Samuel Gurney assumed the control of Gurney's Bank in Norwich. About the same time, he also took over control of the London billbroking business of Richardson, Overend & Company, whose title was subsequently changed to Overend, Gurney and Company. It went on to become the world's largest discounting house.
There for two years he had to contend with the difficulties attendant on poverty and obscurity. He was, however, not without friends, and by the intercession of Count Gustaf Philip Creutz, the Swedish ambassador, Grétry obtained a libretto from Jean-François Marmontel, which he set to music in less than six weeks, and which, on its performance in August 1768, met with unparalleled success. The name of the opera was Le Huron. Two others, Lucile and Le tableau parlant, soon followed, and thenceforth Grétry's position as the leading composer of comic opera was safely established.
At the Theatre Royal, in Dublin, Ireland in September 1875, while managing the first tour of Trial by Jury, Carte met an owner of the theatre, Michael Gunn, who was fascinated by Carte's vision for establishing a company to promote English comic opera. Gunn later joined Carte's management team.Ainger, pp. 111, 157, 169–171, 184 and 193 Still, Carte continued to produce continental operetta, touring in the summer of 1876 with a repertoire consisting of three English adaptations of French opera bouffe and two one-act English curtain raisers (Happy Hampstead and Trial by Jury).
Almost from the beginning of the partnership, the musical establishment put pressure on Sullivan to abandon comic opera, and he soon regretted having signed the five-year contract. In March 1884 Sullivan told Carte that "it is impossible for me to do another piece of the character of those already written by Gilbert and myself." Lithograph from The Mikado During this conflict and others during the 1880s, Carte and Helen Lenoir frequently had to smooth over the partners' differences with a mixture of friendship and business acumen.Joseph (1994), p.
The survivors included the bankers Samuel Gurney and Daniel Gurney, the social reformers Elizabeth Fry and Joseph John Gurney, and the artist Richenda Cunningham, while Hannah married Sir Thomas Buxton. Another sister was Louisa Hoare, a writer on education. The 19th-century Gurney family personified wealth: in Gilbert and Sullivan's 1875 comic opera Trial by Jury, the Judge describes his accumulation of wealth until "at length I became as rich as the Gurneys." On John Gurney's death in 1809, his son Samuel Gurney (1786–1856) assumed control of the Norwich Gurney's Bank.
Outside of medicine, the principal impact of the book derives from the engraving on the frontispiece, which shows a straight stake tied to a crooked sapling, a metaphor for the correction of deformities in children. The engraving captured the attention of contemporary readers; it is referred to, for example, in George Colman's 1787 comic opera Inkle and Yarico.Daniel O'Quinn, "Mercantile Deformities: George Colman's Inkle and Yarico and the Racialization of Class Relations," Theatre Journal 54 (2002), 396. Andry's frontispiece has played a significant role in the cultural studies of eighteenth-century medicine.
In 1920 Drigo accepted the post of kapellmeister to the Teatro Garibaldi in Padua where he had begun his career many years before. In 1926 he composed the comic opera Flaffy Raffles for the Opera company of Padua's Teatro Verdi, and in 1929 his last work was given, the opera Il garofano bianco (The White Carnation) at the Teatro Garibaldi. He spent the remainder of his life conducting and composing masses and various songs. Riccardo Drigo died on 1 October 1930 at the age of 84, in his birthplace, Padua.
""Lyric Theatre", The Times, 29 October 1894, p. 12 The Manchester Guardian concurred, attributing the "undeniable triumph" of the piece solely to Gilbert's "inventive genius as a librettist and stage manager.""Production of Mr. W. S. Gilbert's New Comic Opera", The Manchester Guardian, 29 October 1894, p. 8 The Saturday Review rated Gilbert's libretto "a pretty fair specimen" of "genuine Gilbertian humour", but lamented the absence of Sullivan; of Carr's contribution, it said, "the music is neat, easy, the technical writing skilful, the orchestration correct; in fact there is nothing wrong with it.
There is no connection, apart from the title, between the story and the 1852 comic opera by Adolphe Adam called Si j'étais roi (English: If I Were King). McCarthy's play premiered on Broadway in 1901 and was revived five times up through 1916. It was first adapted in 1920 as a silent film. In 1925, composer Rudolf Friml and librettists Brian Hooker and W.H. Post turned it into a successful Broadway operetta, The Vagabond King, which featured the songs "Only a Rose", "Some Day", and "Song of the Vagabonds".
Erskine composed the Overture to Isaac Bickerstaff's comic opera, The Maid of the Mill, which was performed at the Theatre Royal, Covent Garden early in 1765.Purser, John (2019), The Scots who helped mould Mozart?, The National, Monday 23 December 2019, pp. 20 - 21 Until the 1970s only a small number of his compositions was thought to survive, though the discovery in 1989 of two manuscripts containing chamber works at Kilravock Castle has doubled the number of his surviving compositions – notably with nine trio sonatas and nine string quartets.
For many years, the only recording available of a Herbert show using his original orchestrations was one of Naughty Marietta, produced by the Smithsonian in 1981.Smithsonian LP label N 026 Only recently have more recordings of his operettas appeared with the original orchestrations intact. These include Naughty Marietta, Mlle. Modiste, Eileen, Sweethearts and The Red Mill by Ohio Light OperaOhio Light Opera Gift Shop and The Fortune Teller by The Comic Opera Guild, which also has recorded numerous Herbert operettas live in concert with two-piano accompaniment.
The Comic Opera Guild Recordings Like Sullivan, Herbert also frequently evokes and imitates music from distant places in his operettas. He uses elements of Spanish music in The Serenade, Italian music in Naughty Marietta, Austrian music in The Singing Girl and Eastern music in The Wizard of the Nile, The Idol's Eye, The Tattooed Man and other works set in places like Egypt and India. The Fortune Teller includes an energetic Hungarian csárdás. He also frequently interpolated Irish-style songs into his operettas which, with the exception of those in Eileen, rarely advanced the plot.
During the production of Gilbert and Sullivan's 1889 comic opera, The Gondoliers, Gilbert became embroiled in a legal dispute with producer Richard D'Oyly Carte over the cost of a new carpet for the Savoy Theatre and, more generally, over the accounting for expenses of the Gilbert and Sullivan partnership. Sullivan sided with Carte (who was about to produce Sullivan's grand opera, Ivanhoe), and the partnership disbanded. After The Gondoliers closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy.Shepherd, p. vii.
Le testament de la tante Caroline was composed by Roussel in 1932-1933. The comic operetta was a departure from his earlier works which were all of a serious nature. Roussel acknowledged that the works of composers Arthur Honegger and Jacques Ibert had influenced him to pursue writing a comic opera as they had been successful both critically and financially. He described the operetta as "a sort of opérette-bouffe whose characters are almost entirely grotesque and who should be played without any fear of exaggerating their effect".
Next, in discussing performance practice, Gossett states that: :these minimal solutions were not widely adopted. In the first performances [...] at the Rossini Opera Festival [...], the stage director, Dario Fo, preferred to have the characters declaim the verses of the Quintet [to a piano accompaniment from another work]. [...The] Wildbad festival [in 2007] commissioned Stefano Piana [...] to compose anew the lacking recitative and the Quintet. [He] noted, quite correctly, that Rossini frequently introduced a major ensemble in the middle of the first act of a comic opera, so that the absence of the piece in La gazzetta is very noticeable.
During the Harlem Renaissance, one of the main controversies was that African American culture became the "vogue" of the day. This included interest not only in black writing and art, but in the rising jazz and theatre scenes as well. Harlem became the hot spot for this new black culture; both black and whites explored and became immersed in it. Because it was so popular, many white people attempted to infuse their own art with the new African American styles, resulting in hybrid music and theatre (for example, a swing version of The Mikado, a comic opera).
Advertising poster for 1897 production His Majesty, or, The Court of Vingolia is an English comic opera in two acts with dialogue by F. C. Burnand, lyrics by R. C. Lehmann, additional lyrics by Adrian Ross and music by Alexander Mackenzie. The work premiered at the Savoy Theatre in London on 20 February 1897, running for only 61 performances until 24 April 1897, despite a strong cast including George Grossmith, Ilka Pálmay, Scott Russell, Fred Billington, Florence Perry and Walter Passmore. The D'Oyly Carte Opera Company then toured the opera throughout 1897 alongside more familiar Gilbert and Sullivan works.
Mackenzie with Arthur Sullivan: 1897 cartoon alluding to the irony of the failure of His Majesty after Mackenzie's criticism of Sullivan for "wasting his talents" on comic opera. Grossmith lasted only four performances before pleading ill-health and returning to retirement. Charles H. Workman, playing Adam, filled in as Ferdinand until Henry Lytton arrived and was ready to play the King. The histrionic Hungarian actress, Ilka Pálmay, who had been engaged for The Grand Duke and was still under contract to Carte, played Felice, a role that gave her many opportunities to display her talents as ballad singer, opera soprano and comedian.
In the 1870s, the Theatre Royal in London presented an entertainment called The Dolly Varden Polka, composed by W.C. Levey.Levey, W. C. The Dolly Varden (polka music) composed by W.C. Levey Accessed 6 February 2010 The fashion led to the naming of the Dolly Varden trout. In the second book of the novel Alexandria Quartet by Lawrence Durrell, Scobie, a gay Binbashi, tells the protagonist Darley that when he cross-dresses he wears a Dolly Varden hat. One of the most famous uses of the name in theatre was the Dolly Varden comic opera which opened in 1902 starring Lulu Glaser.
Although great many Sinhalese purport to profess the conservative Theravada Buddhism there is a thriving belief in Demons, Spirits, Hindu Gods and connected rituals such as spirit possession, cursing ceremonies throughout the country also referred as the Spirit Religion or Folk Tradition. As a marginal people, the role played by Kinnaraya in this folk tradition is not well documented. The community is noted for its performances of Sokari, the comic opera performed on the kamatha threshing floor in honor of goddess Pattini and god Kataragama. Despite harsh economic conditions, the Kinnarayas still preserve a sizable share of the island's indigenous heritage.
Although she refused to write any further musicals, Lehmann composed the score for a comic opera adaptation of The Vicar of Wakefield in 1906, with a libretto by Laurence Housman. This piece was a modest success but did not lead to further comic operas. In 1916, she returned to writing for the stage, with the score for the opera Everyman, which was produced by the Beecham Opera Company."Liza Lehmannn", British Musical Theatre, 25 December 2003, accessed 14 February 2014 Lehmann, Ethel Smyth and Maude Valérie White were England's foremost female composers of songs at the beginning of the 20th century.
Laura Pavlović (born in Skopje, Macedonia), is a lyric and spinto soprano opera singer, and a soloist with the Serbian National Theatre Opera in Novi Sad. She completed the Isidor Bajić Music School in Novi Sad, and graduated from the Academy Of Arts, University of Novi Sad, where she was under the tuition of Biserka Cvejić. She has also been coached by Nikola Mitić, principal baritone of the National Opera Belgrade, and Olivera Miljaković of the Vienna State Opera, Austria. Pavlović's debut leading role was as Đula in the comic opera Ero s onoga svijeta (Ero the Joker) by composer Jakov Gotovac.
At that point, he attempted a career in theater. He composed some ballets, but his attempts to write a comic opera were opposed by the producers, who forced him to instead debut with a dramma, Iginia d'Asti, first seen in Pisa in 1838 but was immediately jeered at in Bologna few months later (see also the section Librettos).Claudio Sartori, Casamorata, Luigi Ferdinando (sub voce), in Enciclopedia dello spettacolo, edited by Silvio d'Amico, executive editor Sandro d'Amico, editor of "music theatre" section Fedele d'Amico, vol. III: Car-Daf, Roma, Le Maschere, 1954, new edition Roma, Unedi, 1975, p. 155.
Several critics have likened Gianni Schicchi to Verdi's Falstaff, as both are masterpieces of operatic comedy from composers more usually associated with tragedy. Both composers took the conventions of comic opera into consideration, choosing a baritone for the principal role, setting the tenor- soprano love story against family opposition to the marriage, and constructing a hoax which permits the happy ending.Girardi, p. 415 Charles Osborne cites in particular the trio for three female voices, Spogliati, bambolino, as equal to anything in Falstaff, "its exquisite harmonies almost turning the unprepossessing women into Wagnerian Rhine maidens", and its lilting melody reminiscent of Rossini.
Schneider recorded especially the works of Telemann, both as a player and conductor, including his wind concertos (6 volumes), recorder concertos, orchestral suites, Trauermusik (funeral music) for Karl VII, Trauermusik for Hamburg's mayor Garlieb Sillem and the Hamburgische Kapitänsmusik (1755). He recorded the oratorio Der aus der Löwengrube erettete Daniel, the comic opera Don Quichotte auf der Hochzeit des Comacho, the opera Damon and the one-act Pimpinone. From the Italian Baroque, he recorded Stradella's Christmas cantatas, Vivaldi's recorder concertos, Geminiani concertos, and a Scarlatti recital with Dimitri Egorov. He conducted the operas Piramo e Tisbe by Johann Adolph HassePiramo e Tisbe operone.
17 She made her Australian concert debut at the Princess's Theatre, Melbourne, in 1870, receiving good notices. After building her reputation in concert work, May made her operatic debut with Lyster & Cagli's Royal Italian Opera Company in 1872, soon becoming Australia's leading comic opera soprano.The Musical World, 16 August 1873, p. 555The Musical World, 29 November 1873, p. 797The Musical World, 13 September 1873, p. 619 She toured in New Zealand for a year, beginning in 1874, with Allen's Royal English Opera Company, followed by seasons with that company in Australia (Melbourne and Adelaide) and India (Calcutta and Madras).
She was born in Manchester, England, as Phyllis Partington; her father was John Herbert Evelyn Partington, a well-known painter, and her mother was Sarah Ann Partington (née Mottershead). Several of her siblings were in the arts, including her sisters Blanche, a writer, and Gertrude, an artist. The family emigrated to California when she was a child. In 1911 she was appearing in a comic opera in New York's Globe Theatre when the star, Marguerite Sylva, fell ill, and Peralta (who was still using her birth name at this time) was given the opportunity to sing the lead.
He entered into the service of the connoisseur of art and the theater, Louis Guillaume Baillet de Saint-Julien, in the bureau of the Comptabilité du Clergé de France. In 1752, after watching a performance of La serva padrona by Giovanni Battista Pergolesi at the Paris Opera, he decided upon his true vocation. He then became Pietro Gianotti's student, and a contra-bassist at the Paris Opéra. Secretly, with a text by La Ribardière, he wrote Les aveux indiscrets, his first comic opera, which premiered at the theater of the Foire St Germain in February 1759.
His graduation piece, incidental music to Shakespeare's The Tempest (1861), was received with acclaim on its first performance in London. Among his early major works were a ballet, L'Île Enchantée (1864), a symphony, a cello concerto (both 1866), and his Overture di Ballo (1870). To supplement the income from his concert works he wrote hymns, parlour ballads and other light pieces, and worked as a church organist and music teacher. In 1866 Sullivan composed a one-act comic opera, Cox and Box, which is still widely performed. He wrote his first opera with W. S. Gilbert, Thespis, in 1871.
Carte believed that a school of wholesome, well-crafted, family- friendly, English comic opera could be as popular as the risqué French works dominating the London musical stage in the 1870s. To that end he brought together the dramatist W. S. Gilbert and composer Arthur Sullivan and nurtured their collaboration on a series of thirteen Savoy operas. He founded the D'Oyly Carte Opera Company and built the state-of-the-art Savoy Theatre to host the Gilbert and Sullivan operas. Eight years after opening the Savoy Theatre, Carte built the Savoy Hotel next to it, and later acquired other luxury hotels.
Other charitable concerts were for the Indian Famine Fund and the Patriotic War Fund ft the time of the Boer war. They performed for dignitaries such as the Duke of York (later George V). They appeared with musical entities Antoinette Link, Amy Sherwin, Ilma de Murska, Heinrich Koehler, and Antonia Dolores. In 1867, following the death of Spietzschka, Carl Püttmann was appointed conductor, a post he held for 20 years. The first performance given by the choir under his baton was a comic opera Die Mordgrundbruck bei Dresden at the Theatre Royal in 1868; the first opera performed by amateurs in Adelaide.
Dibdin set a text by Garrick for The Installation of the Garter in 1771. In February 1773 the comic opera The Wedding Ring based on an Italian opera Il filosofo di campagna was brought out, but was almost withdrawn on the first night owing to the rumour that it was written by Bickerstaffe, who had fled to France, utterly ruined by the accusation of an 'abominable (i.e. homosexual) attempt'. Dibdin was obliged to appear on stage and claim authorship of both words and music, while salacious tittle-tattle (and worse) sought to embroil both him and Garrick in Bickerstaffe's offence.
In France, Jean-Baptiste Lully turned to Ariosto for his tragédie en musique Roland (1685). Rameau's comic opera Les Paladins (1760) is based on a story in canto 18 of Orlando (though Rameau's librettist derived the plot indirectly via La Fontaine's Contes). The enthusiasm for operas based on Ariosto continued into the Classical era and beyond with such examples as Johann Adolph Hasse’s Il Ruggiero (1771), Niccolò Piccinni's Roland (1778), Haydn's Orlando paladino (1782), Méhul's Ariodant (1799) and Simon Mayr's Ginevra di Scozia (1801). Ambroise Thomas wrote a comedic one act Angélique et Médor in 1843.
The comic opera The Miser a work of 17 scenes brought him most success. Its roles are: Scriagin, Liubima’s guardian; Liubima, his niece; Milovid, her beloved; Marfa, the servant girl that Scriagin is in love with; Prolaz, Milovid’s manservant who is in Scriagin’s service. Accordingly the speech and the names of the characters of Molière's comedy were turned into Russian as well as the music that combines some features of European form with typically Russian melodies. Catherine had literary ambitions, and Pashkevich was asked to set one of her own opera libretti for performance at the royal court.
On May 29, 1890, while playing at the Globe Theater in Columbus, Ohio with the Boston Comic Opera Company, she told a reporter of The Columbus Dispatch that she had been "on the stage more or less for the past fifteen years. She was the leading lady with George C. Milne, the preacher-actor, a few years since, and late with Grace Hawthorn. She made her first appearance on the stage at the Boston Globe Theater, in a minor part. She first appeared in this city at the old Comstock, now Metropolitan Opera House, about seven years ago with Palmer in the "Danites.
Three years later, she went to Stockholm where she studied under John Forsell, who was also the teacher of Jussi Björling. Schymberg and Bjorling were to sing together later, including a highly celebrated rendition of "O soave fanciulla", recorded in 1941. A scholarship gave her the opportunity for further study in Italy under Renato Bellini and Lina Pagliughi. Schymberg as Fiordiligi (Così fan tutte) in the 1940s, with Hugo Hasslo She made her stage debut in 1934 as Berthe in a matinée performance of Adolphe Adam's comic opera La poupée de Nuremberg.Sveriges Radio P2 (29 December 2008).
The following March at the Casino, Bell was Ruth to her husband's Sergeant of Police in The Pirates of Penzance, and to positive reviews in the spring of 1886 Bell and her husband toured with McCaull's company in an English-language version of Millöcker's comic opera The Black Hussars (Der schwarze Husar). Later in 1886 the two toured with the same company in Don Caesar, possibly from Boucicault's play Don Caesar de Bazan; or, Love and Honor, and The Crowing Hen, from Edmond Audran's Le Serment d'Amour.The New York Times: "The Casino", 6 May 1883, p. 8; "Amusements", 25 November 1883, p.
Julius Caesar in Egypt with Cecilia Bartoli, Salzburg Festival 2012 Leiser/Caurier attempt to bring even subject matter that seems remote from the present day to modern audiences by using contemporary expressions and mannerisms. They have two distinct styles. On one hand, there are their settings of comic opera, which show no fear of slapstick and visual effects, and can actually transform banal plots into coherent narratives. On the other hand, they compress the unfolding of tragic events, for example, by shifting Der Ring des Nibelungen to postwar Germany, or Norma to Benito Mussolini-era Italy.
On March 6, 1918 the theatre was reopened as an opera theatre. Shortly afterwards the Mikhailovsky started changing its names: in 1918–20 it was called the Ex-Mikhailovsky Theatre, in 1920 it was renamed to the State Academic Comic Opera Theatre, in 1921 the theatre changed its name to the Maly Operny Teatr (Little Opera Theatre), in 1926 it got the name of the Leningrad State Academic Maly Opera Theatre, MALEGOT for short. New management and artists followed. From 1920 to 1930 the Maly Operny Teatr established itself as one of the leading experimental stages in Russian new musical theatre.
Sylva founded an organization called the Bungert-Bund to promote his music. Apart from a comic opera called Die Studenten von Salmanca (The Students of Salamanca), he concentrated on two epic tetralogies based on the Iliad and the Odyssey entitled Homerische Welt (The Homeric World). The first part, The Iliad (unfinished), was divided into Achilles and Clytemnestra (with three further sections planned). The second part, which was completed and performed in Dresden between 1898 and 1903, was The Odyssey, which was divided into Circe, Nausicaa, Odysseus' Return and Odysseus' Death, and was performed more than 100 times in the rest of Europe.
The 19th century is the age of Romanticism in European literature, art, and music. Italian opera forsakes the Comic opera for the more serious fare of Italian lyric Romanticism. Although the generally light-hearted and ever-popular Rossini was certainly an exception to that, Italian music of the 19th century is dominated at the beginning by the likes of Bellini and Donizetti, giving to Italian music the lyrical melodies that have remained associated with it ever since. Then, the last fifty years of the century were dominated by Giuseppe Verdi, the greatest musical icon in Italian history.
When Harty introduced Gershwin's symphonic poem An American in Paris into a Hallé concert, Cardus proposed "a 150 per cent [import] tariff against this sort of American dry-goods". He professed to think that Sullivan's "preoccupation with comic opera, to the neglect of oratorio and symphony" was a "deplorable" loss to English music,Cardus: Autobiography, p. 242 although he also wrote that without Gilbert, nothing of Sullivan's music would have survived. Cardus championed Delius against the consensus of his fellow-critics: "His music looks back on days intensely lived through; it knows the pathos of mortal things doomed to fade and vanish".
Holman depicted in Thomas Holcroft's The Road to Ruin Holman appeared a few times at the Haymarket Theatre, (located at 18 Suffolk St, London SW1Y 4HT, UK) where he produced his What a Blunder, a comic opera in three acts, in which he was Count Alphonso d'Esparza. Holman went to Dublin, where he took for a time a share with Frederick Edward Jones in the management. He then took to farming. On 31 July 1806 Holman played in Dublin for his benefit Antony in All for Love, by John Dryden, to the Ventidius of Thomas Potter Cooke.
Le caïd, also spelled Le kaïd (The Qaid), is a comic opera (' or 'Designated opéra bouffon in the libretto and opéra bouffe in the score ().) in two acts composed by Ambroise Thomas to a libretto by Thomas Sauvage. It was premiered on 3 January 1849 by the Opéra-Comique at the second Salle Favart in Paris. The opera was originally titled Les boudjous (The budjus). Le caïd is a rarely performed opera and is known mainly for the popular coloratura bass aria "Air du Tambor Major" (Drum Major's Air) which has been recorded by many celebrated bass singers throughout the previous century.
Opéra de Toulon The sculptures on top of the Toulon Opera The Toulon Opera (L'opéra de Toulon), inaugurated on 1 October 1862, is the second-largest opera house in France, after the Palais Garnier in Paris, although it opened thirteen years before the Garnier. The inaugural performance was Les Mousquetaires de la reine, a comic opera by Fromental Halévy, followed a few days later by La Juive, Halévy's most famous opera. Today, the opera house is one of the country's national historic monuments. It is currently the home of the Opéra Toulon Provence Méditerranée, under the direction of Claude-Henri Bonnet.
These "musical comedies", as he called them, revolutionized the London stage and set the tone for the next three decades. Sidney Jones' The Geisha Edwardes' early Gaiety hits included a series of light, romantic "poor maiden loves aristocrat and wins him against all odds" shows, usually with the word "Girl" in the title, including The Shop Girl (1894) and A Runaway Girl (1898), with music by Ivan Caryll and Lionel Monckton. These shows were immediately widely copied at other London theatres (and soon in America), and the Edwardian musical comedy swept away the earlier musical forms of comic opera and operetta.
The theatre opened with productions by the McCaull Comic Opera Company. It was first managed by producer and composer Rudolph Aronson, and later by Canary & Lederer from 1894 to 1903, and from 1903 by the Shuberts. As the center of the Broadway theatre district moved uptown, north of 42nd Street, the Casino closed in 1930. It was demolished the same year, along with the nearby Knickerbocker Theatre, to make way for the expanding Garment District. The Casino hosted a series of successful operettas and other musical theatre pieces in the 1880s and 1890s, including the extraordinarily successful Erminie.
Henry Bracy in Australia, 1890s Henry Bracy (8 January 1846 – 31 January 1917) was a Welsh opera tenor, stage director and opera producer who is best remembered as the creator of the role of Prince Hilarion in the Gilbert and Sullivan comic opera Princess Ida. Bracy often played the leading tenor role in the works in which he appeared, becoming one of the most popular comic tenors of the Victorian era. His wife, Clara, was an actress. After beginning his career in Plymouth, Bracy spent four years performing at London's Gaiety Theatre in the early 1870s.
By 1895, they were living in Chicago, performing, touring, and teaching at the Chicago Conservatory. Young composed the music for the comic opera Mr. Sampson of Omaha (1888), one of the first operas by a woman to be produced in the United States; the libretto was by Fred Nye. Sheet music for songs from the opera continued to be published for years after its debut. Other compositions by Young included a one-act opera, The Maiden and the Reaper, and short works for voice, including a song in French, "Le Roi Don Juan", and a setting of Psalm 130.
The following month Johnston Forbes-Robertson transferred his production of The Light that Failed from the Lyric, after which there were seasons featuring Mrs Patrick Campbell and then Cyril Maude. Fred Terry and Julia Neilson played an annual season of about six months at the New from 1905 to 1913, including many revivals of their great success, The Scarlet Pimpernel. Between these seasons, productions at the New Theatre included Amasis, a comic opera by Frederick Fenn and Philip Michael Faraday (1906), with Ruth Vincent,"New Theatre", The Times, 10 August 1906, p. 3 and Count Hannibal (1910).
His principal compositions were "The Queen of a Day," a comic opera, and "A Summer Night's Love," an operetta, both produced at the Haymarket. He also wrote the overture, act, and vocal music of the Green Bushes for the Adelphi Theatre, the overtures and music of all the Haymarket pantomimes, and of many that were brought out at the Theatre Royal, Liverpool. The music of Perea Nena's Spanish ballets, El Gambusino and Los Cautivos, were entirely his composition. His works were distinguished by an intelligence that gave promise of great excellence had he lived to fully master the technicalities of his art.
Trial by Jury is an 1875 curtain-raiser and comic opera that enacts a satirical trial for breach of promise. The successful musical is credited with launching the careers of librettist W.S. Gilbert and composer Arthur Sullivan. In the 1935 film We're in the Money, Joan Blondell and Glenda Farrell play two process servers trying to serve a rich playboy, Ross Alexander, with a 'Breach of Promise' suit. The episode "A Woman's Privilege" of the featurette series The Scales of Justice recounts the unusual case of a man who sues a woman for breach of promise following a cruise ship romance engagement.
The libretto and score were first published in 1866 in St Petersburg, by the firm of F. Stelovsky. In 1902, the Ukrainian composer Oleksandr Horily wrote the aria Prylyn', prylyn ( – "Come, come"), when arranging the comic opera for Mykola Sadovsky's theatrical troupe. The aria essentially extended the vocal range of the character Oksana, who had previously been played by mezzo- sopranos; this aria is intended for a soprano. After 1898, the original role of Prokop Teren (), a rival of Andriy for the affections of Oksana, was eliminated (although in Moscow, the role was performed up until 1915).
Arthur Williams as William Lurcher (A Sheriff's Officer), in Dorothy Edwardes's first show was Dorothy. Although Dorothy called itself a comic opera, as did most of the British musical works of the era that were neither burlesque, pantomime nor low farce, Dorothy incorporated some of the elements that US duo Harrigan and Hart were using on Broadway, integrating music and dance into the story line of the comedy. Edwardes sold that production, but it went on to become the longest-running hit that the musical stage had ever seen. Edwardes then returned the theatre to burlesque for a half dozen more years.
In 1762, the two competing comic opera theaters were merged under a royal charter, and were allowed to perform all year long, not just during the fairs. The two groups first performed independently on the stage at the Hôtel de Bourgone, and engaged the best composers of the time, including Pierre-Alexandre Monsigny, François-André Danican Philidor and André Grétry. In 1783, they built a brand-new theater, between rues Favart, Marivaux, and the future boulevard des Italiens. The new theater, called Salle Favart, opened on April 28, 1783, in the center of what soon became the city's main theater district.
After a fire burned the Salle Favart in 1838, the troupe had several homes before it finally settled in the Salle Ventadour in 1841. Rossini continued to produce lavish operas with spectacular sets, rapid pace, the use of unusual instruments (the trombone, cymbals and triangle) and extravagant emotion. He staged Siege of Corinth (1827), followed by Moses and the comic opera Le comte Ory. He then undertook to write an opera that was entirely French; he wrote William Tell based on a play by Schiller, which premiered at the Salle Le Peletier on August 3, 1829.
It defied all conventions of comic opera, with its musical style, the profession of its heroine and its tragic ending. At its premiere on March 3, 1875, it scandalized both the critics and the audience; one critic reported it "was neither scenic nor dramatic." It was defended by Camille Saint-Saëns, who called it a masterpiece, but when Bizet died three months after the premiere, it was considered a failure. With time it became one of the most- performed works of Paris opera. Camille Saint-Saëns (1835-1921) was born in Paris and was admitted to the Paris Conservatoire when he was thirteen.
They had six children: Dan Jr, Ritchie, Arthur (who died in infancy), Mary, known as Lidie (later Hunsberger), Jane (Manderson), and Frank. They lived in a reconstructed mansion on West 20th Street, near 10th Avenue, until about 1898, when they moved to 442 West 24th Street, in a row of two-story houses known as Chelsea cottages. Later, in response to Jennie's inability to use stairs due to worsening rheumatism, they moved to a flat at 312 West 20th Street. Quinn retired from recording in 1906 but continued to work in vaudeville, clubs, concerts, and occasionally comic opera.
Some of his other popular later works included a melodrama, The Purse (1794), a Robin Hood pantomime, Merry Sherwood (1795) (especially the drinking song I am a friar of orders grey) and a comic opera, The Cabinet (1802). At the time of his death in London, Reeve owned seven of Sadler's Wells's 40 shares, which he bequeathed to his daughter, Charlotte. His family pursued theatrical careers as well: his wife Mrs. Reeve sang at Astley's and in Mirth's Museum, his daughter Charlotte was an actress, and his son George composed for Sadler's Wells and played the trumpet.
The operas were staged by Arno Assmann, and the ballet by Tatjana Gsovsky, in a production which was recorded. It was the first of many performances by contemporary composers. On 1 March 1962, he conducted the world premiere of Die Alkestiade by Louise Talma, with a libretto by Thornton Wilder based on his play A Life in the Sea, in a German version with Inge Borkh in the title role. On 24 September 1964, he conducted the world premiere of Gerhard Wimberger's Dame Kobold, a comic opera after Calderón's play The Phantom Lady, staged by Otto Schenk.
The couple married in 1917 and divorced acrimoniously two years later, a fact which caused a New York judge to deny his 1921 request to become a naturalized US citizen.The Sunday Chronicle (July 17, 1921) p. 24 Following its Broadway run, Katinka toured to several American cities including Los Angeles, Boston, Baltimore, St. Louis, and Atlanta and had regular revivals in the US until the late 1940s, as well as radio broadcasts. One of its rare 21st century revivals was in November 2009, when it was performed in concert version by the Comic Opera Guild of Ann Arbor, Michigan.
Weather or No is a one-act comic opera, styled a "musical duologue", by Bertram Luard-Selby with a libretto by Adrian Ross and William Beach. It was produced at the Savoy Theatre from 10 August 1896 to 17 February 1897 as a companion piece to The Mikado, and from 2 March 1897 to 24 April 1897 with His Majesty, for a total of 209 performances. Copies of the libretto and the vocal score (published in 1896 by J. Williams) are found in British Library. There are five musical numbers, including three duets and a solo for each character.
She starred as the title character in Offenbach's La Périchole, uniting "vivacity as an actress" with "taste and skill as a singer".The Times, 2 February 1875, p. 8 As a replacement afterpiece to La Périchole, her new theatre manager, Richard D'Oyly Carte, commissioned Trial by Jury from W. S. Gilbert and Arthur Sullivan.In late January 1875, The Times ran advertisements for the Royalty Theatre: "In preparation, a new comic opera composed expressly for this theatre by Mr. Arthur Sullivan, in which Madame Dolaro and Nelly Bromley will appear" (Allen, p. 28), and commentators took this as an advertisement for Trial by Jury.
In 1987, he recorded the roles of Dick Deadeye in Pinafore and Roderic in Ruddigore with the New Sadler's Wells Opera.Shepherd, Marc. "Artist Index – L". The Gilbert and Sullivan Discography, accessed 14 April 2011 His other recordings include parts in The Rake's Progress by Stravinskly, Marie-Magdeleine by Massenet, La riconoscenza by Rossini, Cendrillon by Pauline Viardot and Le Carrosse du Saint-Sacrement, a comic opera by Lord Berners."Lawlor, Thomas", WorldCat, accessed 18 August 2015 He also appeared in television movies of The Marriage of Figaro as Antonio (1973) and The Rake's Progress as The Keeper of the Madhouse (1975).
In early 1898 she and her singing partner John C. Havens formed the Lyric Phonograph Company. The company showcased records of the Lyric Trio (of Mann, Havens, and bass William F. Hooley) singing opera, comic opera and concert solos, duets and trios. By September of the same year, the company had begun shipping records abroad, had begun recording other artists such as Joseph Weber and Jack Simonds, and had opened a branch office in San Francisco. The company moved to an expanded headquarters in early 1899 and added band, violin, organ, mandolin and other types of records to their catalog throughout the year.
"The Foundation of S.F. Success" is a 1954 pastiche by American writer Isaac Asimov, of the patter song "If you're anxious for to shine" from the Gilbert and Sullivan comic opera Patience, describing the easy way to become a successful writer. Asimov borrows Gilbert's rhythm and rhyme schemes in the song. It includes the classic lines: With a tiny bit of cribbin' from the works of Edward Gibbon and that Greek, Thucydides, in which Asimov is lampooning himself, referring to the inspiration for the Foundation stories. The piece was first published in The Magazine of Fantasy and Science Fiction, October 1954, p. 69\.
Poster showing Scott Fishe as Ferdinand de Roxas The Chieftain is a two-act comic opera by Arthur Sullivan and F. C. Burnand based on their 1867 opera, The Contrabandista. It consists of substantially the same first act as the 1867 work with a completely new second act. It premiered at the Savoy Theatre on December 12, 1894, under the management of Richard D'Oyly Carte, for a run of 97 performances (by Sullivan's standards, a flop). The opening cast included Florence St. John, Courtice Pounds, Walter Passmore, Richard Temple, Scott Russell, Florence Perry, Emmie Owen, R. Scott Fishe and Rosina Brandram.
The Remorse of Orestes, where he is surrounded by the Erinyes, by William-Adolphe Bouguereau, 1862 The Erinyes persist as a theme that appears in modern literature. They are mentioned in the poem "To Brooklyn Bridge" by Hart Crane. The Eumenides are also featured in T. S. Eliot's play, The Family Reunion, Neil Gaiman's comic book series, The Sandman, and Rick Riordan's book series, Percy Jackson and the Olympians. In the 1875 comic opera Trial by Jury by W.S. Gilbert and Arthur Sullivan, the Learned Judge describes himself as having once "danced a dance like a semi- despondent fury" while in Westminster Hall.
La liberazione di Ruggiero dall'isola d'Alcina (En. "The Liberation of Ruggiero from the island of Alcina") is a comic opera in four scenes by Francesca Caccini, first performed 3 February 1625 at the Villa di Poggio Imperiale in Florence, with a libretto by Ferdinando Saracinelli based on Ludovico Ariosto's Orlando Furioso. It is the first opera written by a woman and was long considered to be the first Italian opera to be performed outside of Italy. It was performed to celebrate the visit of Prince Władysław of Poland during Carnival 1625, and it was revived in Warsaw in 1628.
The harlequinade lost popularity by the 1880s, when music hall, Victorian burlesque, comic opera and other comic entertainments dominated the British comedy stage. In pantomime, the love scenes between Harlequin and Columbine dwindled into brief displays of dancing and acrobatics, the fairy-tale opening was restored to its original pre- eminence, and by the end of the 19th century the harlequinade had become merely a brief epilogue to the pantomime. It lingered for a few decades longer but finally disappeared completely by the middle of the 20th century. The last harlequinade was played at the Lyceum Theatre in 1939.
La fiera featured characters singing in three languages, a bustling portrayal of the Ascension-tide Fair and Carnival in Venice, and large and lengthy ensembles and choruses. It also included an innovative scene that combined a series of on-stage dances with singing from both solo protagonists and the chorus. This was a pattern imitated by later composers, most famously and successfully by Wolfgang Amadeus Mozart in Don Giovanni. Salieri also wrote several bravura arias for a soprano playing the part of a middle-class character that combined coloratura and concertante woodwind solos, another innovation for comic opera that was widely imitated.
La fuga in maschera is a comic opera by Gaspare Spontini premiered in the Carnival season in Naples in 1800 at the Teatro Nuovo. The work was thought lost but found in 2007 and given its modern premiere at Jesi’s Teatro Pergolesi in 2012.Gramophone review "The work itself was rediscovered only in 2007 and it was first performed again (and filmed) in Iesi’s Teatro GB Pergolesi in 2012, over two centuries after its premiere run in Naples in 1800. " The opera is scored for 2 oboes, 1 clarinet, 1 bassoon, 2 horns, strings and basso continuo.
Thespis was the title character in an 1871 comic opera by W.S. Gilbert and Arthur Sullivan, the first collaboration between the two men, although the musical score has mostly been lost. The story involves Thespis and his troupe of actors temporarily replacing the Gods of Olympus, while the latter come down to earth to "mingle" with humanity. A branch of the National Theatre of Greece expressly instituted in 1939 to tour the country is named "The Wagon of Thespis" (Greek: Άρμα Θέσπιδος, Árma Théspidos) in his honour. A first-season episode of the TV series Sports Night was named "Thespis" and referenced him.
Gaetano Martinelli (? – 1802) was an Italian librettist active in the court theatres of Charles Eugene, Duke of Württemberg from 1766 to 1769 and in Lisbon as the court poet to Joseph I of Portugal and his daughter Maria I from 1769 until his death in 1802. He was one of a group of reforming Italian librettists which also included Calzabigi, Verazi, and Migliavacca, who moved away from the traditional Metastasian plot structures that had dominated opera during the first half of the 18th century. The majority of his early libretti were for comic (opera buffa) or semi-comic (dramma giocoso) operas.
Born in Antwerp, Grisar's family had intended for him to pursue a tradesman's career, but he defied their wishes to devote himself to music. He studied in Antwerp with Joseph Janssens, in Paris under Anton Reicha, and in the mid-1840s in Naples with Saverio Mercadante. Grisar was a successful comic opera composer, first winning success in Brussels in 1833 and in Paris later in the decade. He collaborated with Flotow on L'Eau merveilleuse (1839), with Flotow and Auguste Pilati in La Naufrage de la Méduse (1839), and with François-Adrien Boieldieu on L'Opéra à la cour (1840).
1884 press drawing of Nell Gwynne Nell Gwynne is a three-act comic opera composed by Robert Planquette, with a libretto by H. B. Farnie. The libretto is based on the play Rochester by William Thomas Moncrieff. The piece was a rare instance of an opera by a French composer being produced first in London. Farnie had written an earlier libretto on the same subject, with the same name, for composer Alfred Cellier, which was produced at the Prince's Theatre in Manchester in 1876.Cellier's Nell Gwynne The opera was first performed at the Avenue Theatre in London on 7 February 1884.
His first opera, the comedy L'errore amoroso, was presented, with great success, under the protection of the Marquis del Vasto, Giovanni Battista d'Avalos, in the winter of 1737 at the Teatro Nuovo of Naples. It was followed the next year by a second comic opera, Odoardo, in the Teatro dei Fiorentini. His first serious opera Ricimero rè de' Goti, presented in the Roman Teatro Argentina in January 1740, brought him to the attention and then the protection of the Duke of York, Henry Benedict. The duke would later be raised to the rank of cardinal and procure Jommelli an appointment at the Vatican.
Similarly, although he learned a substantial part of his craft while playing in theatre orchestras, Coates wrote no musical shows. When he toured with the London Philharmonic Orchestra, conducting his own music, in 1940, the reviewer in The Manchester Guardian urged him to find a librettist and write a comic opera: "He ought to succeed greatly in that line. He is quick-witted, has a gift for lilting melody, deals in spicy and exhilarating harmony, and scores his music with a brilliancy that tells of experienced craftsmanship"."Palace Theatre", The Manchester Guardian, 20 November 1940, p.
116 The comic opera Wang featured one of the more absurd stunts performed on the Tibbits stage with a beer-drinking elephant that downed a four-gallon glass of brew.Gillespie, pg. 118 All in all, 376 plays were performed on the Tibbits stage in the decade from 1894 to 1904 alone, a large increase from the Barton S. Tibbits era. Musical performances continued to be popular as well with such groups as the "Chicago Marine Band", "the Mexican Troubadours", the "Boston Ladies Symphony Orchestra", and the very famous "Sousa Band" featuring John Philip Sousa, which performed twice in 1897 and in 1900.
1881 programme cover In the Sulks is a one-act comic opera with a libretto by Frank Desprez and music by Alfred Cellier. It was first performed at the Opera Comique on 21 February 1880; revived 3 April 1880 to 2 April 1881 as a curtain raiser to The Pirates of Penzance, and again from 25 April to 2 May 1881 and from 11 to 14 October 1881 as a curtain raiser to Patience. It was also performed from 21 February to 20 March 1880 at matinees with the Children's Pinafore. The piece also toured frequently from 1879 to 1882.
245Wearing, pg. 67 Josiah Higgins in Morocco Bound (1893);Sketches from Morocco Bound - The Illustrated Sporting and Dramatic News, 29 April 1893 Sir Wormwood Scrubs in Howard Talbot's comic opera Wapping Old Stairs (1894);"The London Theatres", The Era, 24 February 1894, p. 9Review of Wapping Old Stairs, Public Opinion, Volumes 65-66, 23 February 1894, p. 246 as Lord Lavender in The Lady Slavey (1894);Review of Lady Slavey, The Sketch 28 November 1894, p. 4Cast List for The Lady Slavey (1894), British Musical Theatre website Detective in A Melodrama at the Trafalgar Theatre (1894);Wearing, p.
The Marriage of Figaro (, ), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on the 1784 stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"). It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity.
Dr Evadne Hinge and Dame Hilda Bracket were the stage names of George Logan and Patrick Fyffe respectively. The characters of Hinge (somewhat brittle and acerbic) and Bracket (more flamboyant) were elderly intellectual female musicians; in these personae the male Logan and Fyffe played and sang songs to comic effect. They made many appearances on television and radio. The two generally performed together, but on rare occasions appeared separately. Logan retired the character of Dr Hinge after Fyffe died in 2002, but returned her to the stage for a comic opera The Dowager's Oyster in 2016.
Albert Dupuis was born in Verviers on 1 March 1877. The son of a music teacher, Dupuis studied the finesses of the violin, the piano and the flute from the age of 8, at the conservatory in his hometown, Verviers, where Guillaume Lekeu, composer of classical music, and Henri Vieuxtemps, composer and violinist, had also taken residence. Orphaned at age 15, he worked as a tutor at the Grand Theatre of Verviers while pursuing his studies, including from Francis Duyzings for harmony. As he was a brilliant and precocious student, he composed his first comic opera already at the age of 18.
8 Helen Gilliland (Phyllis), Briercliffe (Iolanthe) and Sydney Granville (Strephon), 1919 Briercliffe joined D'Oyly Carte a third and last time for the 22-week 1929-30 season at the newly-rebuilt Savoy Theatre. Of her previous roles, she reprised Angela, Iolanthe, Melissa, Pitti-Sing, Phoebe and Tessa, and added a new role, Mad Margaret in Ruddigore.Rollins and Witts, p. 154 After the season ended, she appeared in Fountain of Youth, "an amusing comic opera of country life," by W. Graham Robertson with music by Alfred Reynolds at the Lyric Theatre, Hammersmith,The Manchester Guardian, 9 July 1931, p.
Cover of vocal selections The Mountaineers is an English "romantic comic opera" in three acts with a libretto by Australian-born Guy Eden (1864–1954) and Reginald Somerville (1867–1948), lyrics by Eden and music by Somerville. It opened at the Savoy Theatre in London on 29 September 1909, under the management of C. H. Workman, and ran for a total of 61 performances. It starred Workman, Elsie Spain, Claude Flemming, Jessie Rose and A. Laurence Legge. There was a provincial tour with many of the same cast, under the management of Harry P. Towers in the autumn of 1910.
In 1864, on Chauvet's recommendation, he was admitted to the Paris Conservatoire, where he studied composition under Ambroise Thomas. The following year he won France's most prestigious musical award, the Grand Prix de Rome, with his cantata Renaud in the Gardens of Armida to words by Camille du Locle. The Prize brought with it a two-year period of study at the French Academy in Rome, based at the Villa Medici. While there he successfully took part in a competition for dramatic composition; his three-act comic opera Le florentin, to a libretto by Henri de Saint-Georges.
On 7 April 1779, in the company of close friend and fellow singer Caterina Galli, Ray left her home to attend a performance of Isaac Bickerstaffe's comic opera Love in a Village. She had been approached by Hackman earlier that evening, but when she declined to tell him where she was going he followed her to the Royal Opera House at Covent Garden, where he murdered her. Hackman believed that she had taken another lover, William Hanger, Baron Coleraine, whom Hackman witnessed her meeting at Covent Garden. Whether she and Coleraine were involved in an affair has never been clearly established.
Jacobs, p. 287 Gilbert declined, but offered a compromise that Sullivan ultimately accepted: The two would write a light opera for the Savoy, and at the same time, Sullivan could work on a grand opera (Ivanhoe) for a new theatre that Carte was constructing to present British grand opera.Jacobs, p. 288 The new comic opera was The Gondoliers, which opened in December 1889 and became one of the partnership's greatest successes.Baily, p. 344 After Carte's first wife died in 1885, Carte married Helen Lenoir in 1888, who was, by this time, nearly as important in managing the company as Carte himself.
One son joined the British Navy. John's sister Louisa Brunton, an actress, married Major-General William Craven, 1st Earl of Craven. Ross wrote the comic opera The Cottagers when she was fifteen. It was published in 1788 and was performed at the Theatre Bury, as a benefit performance for Ross, on 24 October 1788 with a cast that included Ross, her mother and stepfather, and at the Crow Street Theatre in Dublin on 19 May 1789, starring her mother. The piece was never again performed on stage in Britain, but it has been anthologized and praised in studies of 18th-century dramatic writing.
Fischer is perhaps best remembered today for the role of Osmin in Die Entführung aus dem Serail, a part "tailor made" for him by Mozart and which he sang in the premiere production (first performance 16 July 1782,Deutsch 1965, 201) during the Vienna phase of his career. A year earlier, Antonio Salieri was inspired by his remarkable vocal range in composing his comic opera Der Rauchfangkehrer, writing for him the role of Herr von Bär. Further roles were Axur in Salieri's Axur, re d'Ormus, Osroes in Semiramis and Brenno in the eponymous opera by Johann Friedrich Reichardt.
Fête Galante is a 1930 Danish-language comic opera by Poul Schierbeck to a libretto by Max Lobedanz.Jean-Luc Caron - Allan Petterson: destin, douleur et musique : la vie et l'œuvre - 2007 Page 300 2825136395 "SCHIERBECK, Poul (1888-1949). ... Comme compositions il laisse un opéra Fête galante (1923-1930), une Symphonie (1916-1921), un Andante doloroso pour cordes (1942), des cantates, des œuvres chorales, des mélodies, de la musique ..." It was performed seven times at the Royal Theatre, Copenhagen 1931-32 with the composer's wife Sylvia Larsen in the main soprano role, but then not revived until 1960.
Third verse of "When a gentleman supposes" from His Excellency, Act II By 1894, the popular trend on the London stage had moved from traditional comic opera to a new genre, musical comedy, with such shows as The Gaiety Girl becoming quickly popular. Gilbert added elements of the new genre to his later works. In the case of His Excellency, after approaching George Henschel unsuccessfully, Gilbert selected Carr as the composer for the new piece. Carr had enjoyed success in musical comedy, with In Town (1892), Morocco Bound (1893) and Go-Bang (1894), but critics inevitably found him inferior to Sullivan.
According to Reinhard Strohm, at least 22 original or significantly re-worked opera libretti can be attributed to Lalli. Apart from his 1711 comic opera Elisa and four comic intermezzi, the remainder of the opera libretti attributed to him are all in the opera seria and dramma per musica genres. Lalli also wrote texts and libretti for several musical works in other genres: cantatas, serenatas, and azioni sacri (stage works on religious subjects and precursors of the oratorio). Albinoni. The opera is dedicated to Prince Carl Albert of Bavaria who was visiting Italy at the time.
Grossmith had appeared in charity performances of Trial by Jury, where both Sullivan and Gilbert had seen himGrossmith profile at the Memories of the D'Oyly Carte website, accessed 9 March 2008 (indeed, Gilbert had directed one such performance, in which Grossmith played the judge),Ainger, p. 138 and Gilbert had earlier commented favourably on his performance in Tom Robertson's Society at the Gallery of Illustration.Ainger, p. 136 Sullivan mentioned to Arthur Cecil, the leading tenor from the Gallery of Illustration, that he was looking for someone to play the comic title role in his new comic opera, The Sorcerer.
His next comic opera, in 1902, was Merrie England, with Basil Hood, the librettist for The Emerald Isle. This was perhaps German's greatest success, and its dance music was popular separately. It was revived frequently, becoming a light-opera standard in Britain, while several of its songs, including "The English Rose", "O Peaceful England" and "The Yeomen of England", remained popular until the middle of the 20th century. Merrie England has been so frequently chosen by amateur groups in England that it probably has been performed more often than any other British opera or operetta written in the 20th century.
When British statesman William Gladstone was Vice-President of the Board of Trade in the 1840s, his only luncheon consisted of an Abernethy biscuit, brought to him by his wife. In the libretto of the comic opera Princess Toto written by W. S. Gilbert (first performance 24 June 1876) the king disguises himself as an Abernethy Biscuit. In Charles Dickens' first novel The Pickwick Papers, the character of Mr. Solomon Pell is found, "in court, regaling himself,...., with a cold collation of an Abernethy biscuit and a saveloy"."The Posthumous Papers of the Pickwick Club", (1836) p.
Luchet held salons under the name of Marquis de La Roche, and was part of the Garde ordinaire du Roi, where he met André-Robert Andréa de Nerciat, who joined in 1771. Thereafter, he took the name of Jean-Pierre Luchet, Knight of St Louis. With Neciat he shone at the court of Frederick II. Neciat, attracted to the court of Hesse-Cassel by Luchet, who sought new parts for the Landgrave, towards the end of 1779 he proposed that Luchet did a comic opera, Constance ou l'heureuse témérité, which is preserved at the Stuttgart Library.
In 1875 Buck went to New York City to assist Theodore Thomas as conductor of orchestral concerts, and from 1877 to 1902 was organist at Holy Trinity Church in Brooklyn. By this time he had become well known as a composer. His compositions included church music, a number of cantatas (Columbus (1876), Golden Legend (1880), The Light of Asia (1886), etc.), an unperformed grand opera Serâpis, a comic opera Deseret (1880, survives only in fragments), a symphonic overture Marmion, a symphony in E flat, and other orchestral and vocal works. Buck also taught private music lessons throughout his career.
Some years passed before he again attempted romance writing, and then the first two parts of Gil Blas de Santillane were published in 1715, without the popularity of Le Diable boiteux. Lesage worked at it for a long time, and did not bring out the third part till 1724, nor the fourth till 1735. During these twenty years he was, however, continually busy. Notwithstanding the great merit and success of Turcaret and Crispin, the Théâtre Français did not welcome him, and in 1715 he began to write for the Théâtre de la foire, the comic opera held in booths at festival time.
The role of Aeneas was sung en travesti by the English soprano and stage actress, Anna Maria Crouch. Her lover and frequent stage partner, Michael Kelly, sang the tenor role of Iarbas. The pair had appeared in several earlier works by Storace, including No song, no supper (1790) and The Siege of Belgrade (1791) and would later appear in his comic opera The Pirates. Dido, Queen of Carthage opened on 23 May 1792 at The King's Theatre and was scheduled to run for five performances, one of which (28 May) was a benefit performance for Storace.
It also hosts a music conservatory and is the home of the Salento Chamber ensemble. The Teatro Comunale is named for Giovanni Paisiello, one of the great names in 18th century Neapolitan comic opera. The "city on two seas", Taranto, recalls its connection to ancient Greece in the names of musical organizations such as the Magna Grecia Orchestra, the Ionian Art Orchestra and the Magna Grecia Choir. The area hosts the Association for the Music of Paisiello (born here), sponsors the annual Nicolosi Song Competition, and is the site of the internationally known Valle d'Itria Festival.
She was particularly admired in Wagner.Hughes, Edwin (August 1909). "American Singers in European Opera- Houses" World Today 17: 828. Other roles in Munich included the title role in Emil von Reznicek's comic opera Donna Diana (1 December 1908), Chrysothemis in Richard Strauss's Elektra at the Munich premiere with Felix Mottl conducting (14 February 1909), Hermann Waltershausen's Oberst Chabert (3 November 1912), and the title role in Richard Strauss's Ariadne auf Naxos at the Munich premiere with Bruno Walter conducting (30 January 1913).400 Jahre Oper Theater - Opernhäuser Bau - Vernichtung - Wiederaufbau Dirigenten at the EURO-OPERA website.
Furst's comic opera Electric Light was produced and conducted by him in 1878, and for the five seasons following he received engagements as conductor of opera. By the 1880s, he was composing theatrical music for productions starring Herbert Beerbohm Tree, Maude Adams, Otis Skinner, William Faversham, Viola Allen and Mrs. Leslie Carter. He composed the music for five Shakespeare productions by Margaret Anglin at the Berkeley Stadium in California, as well as her production of Electra."Veteran Composer Wm. Furst Is Dead", The New York Times, July 12, 1917 One of his earliest operettas was My Geraldine (1880).
Settling once again in Paris, he formed a productive partnership with Victor Koning, co- librettist of La fille de Madame Angot and now the proprietor of the Théâtre de la Renaissance. Lecocq consolidated his reputation as a composer of comic opera with two more long-running pieces, La petite mariée (The Little Bride, 1875) and Le petit duc (The Little Duke, 1878); they have remained in the French, though not the international, operetta repertory. For Le petit duc he worked with Offenbach's favoured librettists, Henri Meilhac and Ludovic Halévy,Letellier, p. 239 which, in Traubner's words, "left no doubt that the composer had succeeded Offenbach".
Patience, 1882 When Russell was 18, her parents separated, and she, her mother and her younger sister moved to New York City, where her mother did suffrage work for Susan B. Anthony. Russell studied singing under Leopold Damrosch and considered pursuing an operatic career; her very religious mother disapproved of her working in theatre, which she considered disreputable. Russell began dating Walter Sinn, whose father owned the Brooklyn Park Theatre. Walter's mother helped Russell get a chorus job (as Nellie Leonard) with Edward E. Rice, who was touring his musical Evangeline to Boston beginning in September 1879, together with Gilbert and Sullivan's comic opera H.M.S. Pinafore.
In the 'Orazi' she performed the part of the first soprano, Curiazio, that of the first woman being filled by Ferlendis. In 'Didone' she caused the rôle of Enea to be sung by Madame Dussek, who was entirely unfitted for it; and, in another opera, she made Madame Dussek act the first woman's part, choosing for herself that of the primo uomo. Subsequently, she assumed also the place of prima buffa, and succeeded equally well in that line; singing with greater simplicity and ease, she was by some preferred in comic opera. Her face and figure suited both styles; for her handsome countenance was capable of great varieties of expression.
According to a NODA National News feature in 2007, the Murgatroyd family are reputed to be the inspiration for the Murgatroyd Baronets in the comic opera Ruddigore by Gilbert and Sullivan, and the opera has been performed at the Hall. W. S. Gilbert is supposed to have often stayed at the Hall. The feature comments that the Murgatroyds became notorious "for their profanity and debauchery". A legend arose that the River Aire changed its course in shame, in order to flow further away from the hall and its occupants (the river sweeps into a wide U-bend to skirt the meadow, giving the building a wide berth).
In Honoré de Balzac's 1831 novel La Peau de chagrin, the curiosity shop Raphaël de Valentin enters in the opening sequence contains, among other paintings, "a Gerald Dow which resembled a page of Sterne," and the old shopkeeper is compared to "Gerald Dow's Money-Changer." In the comic opera The Pirates of Penzance, by Gilbert and Sullivan, the Major-General brags of being able to distinguish works by Raphael from works by Dou. Dou (as "Gerard Douw") is a character in J. Sheridan Le Fanu's short story "Schalken the Painter". In the 1979 BBC television adaptation of this work, Schalcken the Painter, he was played by Maurice Denham.
Poster for The Mountebanks The Mountebanks is a comic opera in two acts with music by Alfred Cellier and Ivan Caryll and a libretto by W. S. Gilbert. The story concerns a magic potion that causes the person to whom it is administered to become what he or she has pretended to be. It is similar to several "magic lozenge" plots that Gilbert had proposed to the composer Arthur Sullivan, but that Sullivan had rejected, earlier in their careers. To set his libretto to music, Gilbert turned to Cellier, who had previously been a musical director for Gilbert and Sullivan and had since become a successful composer.
The comic opera, trimmed by Ki from three hours to two, is now in pre-production for a British revival, hopefully in 2011. A "Stinkfoot Showcase" played the Thekla in Bristol, England (where it was written and first staged), on 20, 21, 22nd and 24 July 2010. This was a showcase of Stinkfoot's songs backed by a full band and selected cast members (including Nikki Lamborn and Vivian and Ki's daughter Silky Longfellow-Stanshall) plus Tony Slattery as narrator and singer. It attracted the attention of major press (The Word magazine, Mojo magazine, BBC London & BBC Bristol), and theatres like the Bristol Old Vic.
Martha, oder Der Markt zu Richmond (Martha, or The Market at Richmond) is a romantic comic opera in four acts by Friedrich von Flotow set to a German libretto by and based on a story by Jules-Henri Vernoy de Saint-Georges. Flotow had composed the first act of a ballet, Harriette, ou la servante de Greenwiche, derived from a text by Saint-Georges, for the ballerina Adèle Dumilâtre. This was first performed by the Paris Opera Ballet at the Salle Le Peletier on 21 February 1844. The time available for the composition was short, so the second and third acts were assigned, respectively, to Friedrich Burgmüller and Édouard Deldevez.
As the eighteenth century progressed, the social class of the women who composed music and what they chose to compose changed. Whereas seventeenth century noble women wrote simple songs for their families and friends to perform, the daughters of musicians and composers gradually began composing in more ambitious genres: sacred and secular Cantata and cantatille, opera, ballet, Comic opera, and even Oratorio. We do know that many women were achieving musically during this time period. The greater participation of women in music, traditionally associated exclusively with men, is largely attributable to political and social happenings across Europe in the early to mid-eighteenth century.
He used Ansell's given name for many characters in his novels. Barrie also authored Jane Annie, a comic opera for Richard D'Oyly Carte (1893), which failed; he persuaded Arthur Conan Doyle to revise and finish it for him. In 1901 and 1902, he had back-to-back successes; Quality Street was about a respectable, responsible old maid who poses as her own flirtatious niece to try to win the attention of a former suitor returned from the war. The Admirable Crichton was a critically acclaimed social commentary with elaborate staging, about an aristocratic family and their household servants whose social order is inverted after they are shipwrecked on a desert island.
After the Brussels premiere the reviews were highly favourable. The critic in The Standard wrote that the music was of very high quality, superior to that of La fille de Madame Angot, and proved that Lecocq was a composer of the first order. In the view of The Athenaeum, the work transcended the genre of ordinary buffa opera, and was true comic opera comparable with works by Rossini and Cimarosa, as satisfying to the academic as to the public. The paper's critic found the libretto less satisfying, the second and third acts being too similar in plot."Giroflé-Girofla", The Athenaeum, 28 March 1874, p.
''''' (Bastien and Bastienne), K. 50 (revised in 1964 to K. 46b) is a one-act singspiel, a comic opera, by Wolfgang Amadeus Mozart. ' was one of Mozart's earliest operas, written in 1768 when he was only twelve years old. It was allegedly commissioned by Viennese physician and 'magnetist' Dr. Franz Mesmer (who himself would later be parodied in Così fan tutte) as a satire of the 'pastoral' genre then prevalent, and specifically as a parody of the opera Le devin du village by Jean-Jacques Rousseau. The German libretto is by Friedrich Wilhelm Weiskern, and Johann Andreas Schachtner, based on ' by Justine Favart and Harny de Guerville.
The School for Scandal The first production in the theatre was an 1884 revival of W. S. Gilbert's The Palace of Truth starring Herbert Beerbohm Tree, preceded by a one-act comedy, In Honour Bound. This was soon followed by a free adaptation of Ibsen's A Doll's House, called Breaking a Butterfly. In 1885, Lillie Langtry, reputedly the first "society" lady to become an actress, played in Princess George and The School for Scandal. The first hit production at the theatre was the record-breaking comic opera, Dorothy, starring Marie Tempest, which was so successful that its authors used the profits to build the Lyric Theatre, where it moved in 1888.
Arthur Cecil Arthur Cecil Blunt (1 June 1843 – 16 April 1896), better known as Arthur Cecil, was an English actor, comedian, playwright and theatre manager. He is probably best remembered for playing the role of Box in the long-running production of Cox and Box, by Arthur Sullivan and F. C. Burnand, at the Royal Gallery of Illustration. Born in London, Cecil took up amateur dramatics at an early age. In 1869, he made his professional debut in the one-act comic opera Cox and Box at the Gallery of Illustration in the role of Mr. Box, a part that became his signature role.
The Classical Style: An Opera (of Sorts) is an American comic opera in seven scenes, with music by Steven Stucky and libretto by Jeremy Denk. The opera was a joint commission from the Aspen Music Festival, Carnegie Hall, the Ojai Music Festival, and Ojai North!, and was premiered under the conductor Robert Spano on June 13, 2014 at the Ojai Music Festival in Ojai, California. The opera is inspired by the musicologist and pianist Charles Rosen's 1971 book The Classical Style and thus follows composers Wolfgang Amadeus Mozart, Joseph Haydn, and Ludwig van Beethoven as they descend from heaven into a modern-day classical music climate.
From 1777 he studied theory and composition with Hermann Raupach, and from 1779 with Blasius Sartori. In 1782 he went to Bologna to study with Padre Martini and Stanislao Mattei; three years later he was accepted into the Accademia filarmonica. Returning to St. Petersburg in 1785, he taught at the theatrical school and composed operas. From 1797 he was répétiteur for the imperial theater under Paul I. He composed about 30 operas including Yamshchiki na podstave [The Coachmen at the Relay Station] (1787); Vecherinki [Soirées] (1788); Orfey i Evridika (1792), Amerikantsy [The Americans] (a comic opera) (1800), and Zolotoye yabloko [The Golden Apple] (performed after the composers death in 1803).
His religious works were performed in New York City at Temple Emanuel, (where he became a "house composer"), as well as the Park Avenue Syngagogue and the 92nd St. Y. He joined the music faculty of Hunter College and the (now defunct) NY College of Music. He continued to compose, perform, and teach. His comic opera, "The Pioneers" ("Hechalutz") (1924) was performed in concerts at Carnegie Hall in February, 1941 and again in February, 1947, and in the 1930s at City Center (then called "The Mecca Temple", with its Moorish architecture). It was also performed in Berlin in the 1930s by the Kulturbund, featuring the great soprano Mascha Benya.
The Wizard of the Nile was a burlesque operetta in three acts, composed by Victor Herbert to a libretto by Harry B. Smith. Herbert's second operetta after Prince Ananias, The Wizard of the Nile was his first real success. It was given 105 performances on Broadway at the Casino Theatre, opening on November 4, 1895, starring the comedian Frank Daniels (and his Comic Opera Company), and enjoyed productions in Britain and on the European continent – a rare achievement for an American work of the period – as well as a revival in New York. None of Herbert's later shows would achieve as much international success.
The style and these poets were satirised by Gilbert and Sullivan's comic opera Patience and other works, such as F. C. Burnand's drama The Colonel, and in comic magazines such as Punch, particularly in works by George Du Maurier. Compton Mackenzie's novel Sinister Street makes use of the type as a phase through which the protagonist passes as he is influenced by older, decadent individuals. The novels of Evelyn Waugh, who was a young participant of aesthete society at Oxford, describe the aesthetes mostly satirically, but also as a former participant. Some names associated with this assemblage are Robert Byron, Evelyn Waugh, Harold Acton, Nancy Mitford, A.E. Housman and Anthony Powell.
The actor Stephen Fry commented that making an opera setting of Wilde's play was like "taking a machete to a soufflé". However, critical reception of the opera has been generally very positive. The Los Angeles Times wrote of the staged premiere "The world now has something rare: a new genuinely comic opera and maybe the most inventive Oscar Wilde opera since Richard Strauss's Salome more than a century ago". Ninfea Cruttwell-Reade noted the climax to the confrontation of Cicely and Gwendolyn when the latter > proceeded to attack her tea-companion with acerbic remarks while 40 dinner > plates were systematically demolished by a percussionist on the off-beats.
In 1874 the theatre was the venue for the premiere of Alfred Cellier's comic opera The Sultan of Mocha. The years after the First World War saw a decline in the theatre's fortunes, and by the 1930s the increasing competition from cinema was threatening its viability. The final performance took place in April 1940, after which the building was sold to the ABC cinema company, who intended to replace it with a large cinema complex. Although the theatre was demolished shortly afterwards, the intervention of the Second World War meant that the cinema was never built; the site is now occupied by Peter House, a large office complex completed in 1958.
Lecocq enjoyed an early success in 1856, when he and Georges Bizet shared the first prize in a competition for composers of comic opera, organised by Jacques Offenbach. Lacking the connections to secure commissions from Parisian theatres, Lecocq spent the next decade in obscurity and routine work as a teacher, accompanist and répétiteur. His luck changed in 1867 when William Busnach, manager of the Théâtre de l'Athénée engaged him. His first two-act work, L'amour et son carquois, presented in January 1868, was a modest success, and Busnach commissioned a three-act piece, teaming Lecocq with the established duo of librettists, Alfred Duru and Henri Chivot.
His short comic opera Here Comes the Tiger was staged by Lyric Hammersmith theatre in London (1999). Zinik's dramatic narrative My Father’s Leg was commissioned and broadcast by BBC Radio 3 in 2005 and subsequently published as a novel in Russian in Ural magazine. Of Zinik's later works, his two collections of comic stories in Russian about his life in England At Home Abroad (2007) and Letters from the Third Shore (2008), and his collection of essays Emigration as a Literary Device (2011), were published in Moscow. His autobiographical tale History Thieves (2010) is about Zinik's grandfather in Berlin and the ambiguity of our ethnic roots.
7 In March 1883, she married Digby Bell. The same year, she was with the McCaull Comic Opera Company at the Casino Theatre performing Manola in an English adaptation of Offenbach's La princesse de Trébizonde, and that November, with Rice's Opera Bouffe Company, she appeared at the Bijou as Diana, then Juno, in Orpheus and Eurydice, Max Freeman's adaptation of Offenbach's Orphée aux enfers. Other roles during this period included Bathilde in Olivette, Donna Scolastica in Heart and Hand, Lady Clare in Nell Gwynne. From October 1884 Bell was engaged at the Casino as Palmatica in a revival of 'The Beggar Student, by Carl Millöcker.
Ackrill, Margaret and Leslie Hannah. Barclays: The Business of Banking, 1690-1996 (2001) Cambridge University Press, Chapter 1 The Times stated, shortly after the suspension: "It is understood that the suspension of Overend, Gurney & Co will not in the slightest degree compromise Gurney's Bank of Norwich. That establishment recently passed into the hands of new partners, whose resources are beyond all question".The Times, May 11, 1866; p. 11, col F, “Money-Market & City Intelligence” Section The Gurney family was known for its wealth; in Gilbert and Sullivan's 1875 comic opera Trial by Jury, a character describes his accumulation of wealth until he "became as rich as the Gurneys".
The Duenna is a three-act comic opera, mostly composed by Thomas Linley the elder and his son, Thomas Linley the younger, to an English-language libretto by Richard Brinsley Sheridan. At the time, it was considered one of the most successful operas ever staged in England,Fiske, Roger. English Theatre Music of the Eighteenth Century (London, 1973) p.414 and its admirers included Samuel Johnson, William Hazlitt and Lord George Byron (Byron called it "the best opera ever written"). First performed in the Covent Garden Theatre on 21 November 1775, The Duenna was performed seventy-five times in its first season, and was frequently revived in Britain until the 1840s.
Poster for Carmen, probably the most famous opéra comique The term opéra comique is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs (vaudevilles), with new words set to already existing music. The phrase opéra comique en vaudevilles or similar was often applied to these early-stage works. In the middle of the 18th century, composers began to write original music to replace the vaudevilles, under the influence of the lighter types of Italian opera (especially Giovanni Battista Pergolesi's La serva padrona).
His creative output also included comedies, opera librettos, and even music set to them. His operas Regeneration (Перерождение, 1777), and Saint-Petersburg's Trade StallsSometime translated as The Marketplace in St Petersburg or St Petersburg Bazaar; the full title: "As you live, so you will be judged, or Saint-Petersburg's Trade Stalls (Как поживёшь, так и прослывёшь' или Санкт Петербургский Гостный Двор") (Санкт Петербургский Гостный Двор) had considerable success. The second one, a scathing satire to the government officials and their thievish behaviour, is one of the first examples of Russian comic opera. It was staged on December 26, 1779 at the Knipper Theatre in St Petersburg and was repeated 16 times.
After a brief attempt to follow his late father's profession and a failure at acting in Glasgow, he moved to London and became a music hall comedian under the name of Chump Buchanan and first appeared on the West End in September 1912 in the comic opera The Grass Widow at the Apollo Theatre. Hardship dogged him for a while before he became famous whilst on tour in 1915 in Tonight's the Night. He produced and acted in his own plays both in London and New York City. Buchanan's health was not robust, and, to his bitter regret, he was declared unfit for military service in the First World War.
The success of these plays gave Gilbert a prestige that would be crucial to his later collaboration with as respected a musician as Sullivan. 1886 programme for a U.S. production starring May Fortescue 1874 was a busy year for Gilbert. He illustrated The Piccadilly Annual; supervised a revival of Pygmalion and Galatea; and, besides Sweethearts, he wrote Rosencrantz and Guildenstern, a parody of Hamlet; Charity, a play about the redemption of a fallen woman; a dramatisation of Ought We to Visit Her? (a novel by Annie Edwardes), an adaptation from the French, Committed for Trial, another adaptation from the French called The Blue-Legged Lady, and Topsyturveydom, a comic opera.
Originally, Strauss and Schnitzer intended the operetta as an opera but further revisions were made and the idea of a comic opera was conceived. Strauss's work on the operetta was interrupted in autumn 1883 due to nicotine poisoning and fainting fits and he was to recuperate in Franzensbad. Strauss work on the act 3 of the work was also interrupted when his third wife, Adele Strauss, was taken ill and the couple left for Ostend. Not until autumn 1885 was the work finally completed, with Schnitzer making various revisions of the libretto to suit Strauss's style of composing which were not present in the latter's previous stage works.
Cellier, s Alfred Cellier (1 December 184428 December 1891) was an English composer, orchestrator and conductor. In addition to conducting and music directing the original productions of several of the most famous Gilbert and Sullivan works and writing the overtures to some of them, Cellier conducted at many theatres in London, New York and on tour in Britain, America and Australia. He composed over a dozen operas and other works for the theatre, as well as for orchestra, but his 1886 comic opera, Dorothy, was by far his most successful work. It became the longest-running piece of musical theatre in the nineteenth century.
Often in ill health throughout his life,Stedman, p. 279 Cellier was unable to finish The Mountebanks, and Ivan Caryll completed the score.Gänzl, Kurt, "Caryll, Ivan (1861–1921)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 12 January 2011 A reviewer of the 2018 recording of The Mountebanks commented: "There is a free-flowing style to Cellier’s compositions, with fine lyrical detail and sumptuous orchestration with which he provides a wide variety of musical effects."Walker, Raymond J. "Alfred Cellier (1844-1891): The Mountebanks, comic opera (1892); and Suite Symphonique (1878)", Music Web International, 2018 Cellier owed much to the influence of Sullivan.
Poster for Paris revival, 1878 Orpheus in the Underworld and Orpheus in Hell are English names for Orphée aux enfers (), a comic opera with music by Jacques Offenbach and words by Hector Crémieux and Ludovic Halévy. It was first performed as a two-act "opéra bouffon" at the Théâtre des Bouffes- Parisiens, Paris, on 21 October 1858, and was extensively revised and expanded in a four-act "opéra féerie" version, presented at the Théâtre de la Gaîté, Paris, on 7 February 1874. The opera is a lampoon of the ancient legend of Orpheus and Eurydice. In this version Orpheus is not the son of Apollo but a rustic violin teacher.
Drawing of the Act I finale The Pirates of Penzance; or, The Slave of Duty is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. The opera's official premiere was at the Fifth Avenue Theatre in New York City on 31 December 1879, where the show was well received by both audiences and critics.Perry, Helga. Information from the Savoyoperas.org website, Savoy Operas, 27 November 2000, accessed 25 July 2009 Its London debut was on 3 April 1880, at the Opera Comique, where it ran for 363 performances, having already been playing successfully for more than three months in New York.
Given its lack of a D'Oyly Carte or Savoy connection, Thespis has a tenuous claim to be a "Savoy Opera." However, Rollins & Witts include it in their compendium of the Savoy Operas, as does Geoffrey Smith. The Oxford English Dictionary defines the phrase as: "Designating any of the Gilbert and Sullivan operas originally presented at the Savoy Theatre in London by the D'Oyly Carte company. Also used more generally to designate any of the Gilbert and Sullivan operas, including those first presented before the Savoy Theatre opened in 1881, or to designate any comic opera of a similar style which appeared at the theatre".
Again sustaining heavy losses, he declared bankruptcy. Bracy was re-engaged by Williamson and managed concert tours by Emma Albani in 1898 and Ada Crossley in 1903,"Mimes and Music", Evening Post, 1909, accessed 20 February 2010 and he directed the Bel Sorel season of grand opera. In Bracy resumed directing Williamson's Gilbert and Sullivan and other comic opera productions, in which he usually also appeared in the leading tenor role, including in Yeomen (1904), The Sorcerer (1905), Princess Ida (1905), The Mikado (1905), The Gondoliers (1905), and the first Australian production of Utopia, Limited (1905). His last role as a tenor was as Colonel Fairfax in Yeomen in 1908.
The patter song is characterised by a moderately fast to very fast tempo with a rapid succession of rhythmic patterns in which each syllable of text corresponds to one note. It is a staple of comic opera, especially Gilbert and Sullivan, but it has also been used in musicals and elsewhere."Patter song", OnMusic Dictionary, Connect For Education, Inc, accessed 2 May 2014 The lyric of a patter song generally features tongue-twisting rhyming text, with alliterative words and other consonant or vowel sounds that are intended to be entertaining to listen to at rapid speed. The musical accompaniment is lightly orchestrated and fairly simple, to emphasise the text.
With Decima Moore as Luiz and Casilda in The Gondoliers Brownlow continued in the chorus at the Savoy Theatre during the first London revivals of H.M.S. Pinafore, The Pirates of Penzance, and The Mikado. A one-act comic opera, Mrs. Jarramie's Genie, written by Frank Desprez and composed by Alfred Cellier and his brother Francois was the curtain raiser for these revivals, beginning in February 1888, and Brownlow created the role of the retired upholsterer, Harrington Jarramie. Brownlow created the role of Sir Richard Cholmondeley, the Lieutenant of the Tower of London in the next Savoy opera, The Yeomen of the Guard, in 1888 at the Savoy Theatre.
D'Arienzo made his debut as a composer at the age of 17 with the premiere of Monzù Gnazio o La fidanzata del parrucchiere at the Tearo Nuovo. A comic opera with a libretto in Neapolitan dialect, Monzù Gnazio made a strong impression on Mercadante who took D'Arienzo under his wing, offering both advice and encouragement. Eight more operas followed between 1866 and 1887, all but one in the opera buffa or semiseria genres, and most of them with libretti written in Neapolitan dialect. Of these, his greatest critical success was Il cuoco e il segretario (The Cook and the Secretary) which premiered at the Teatro Rossini in Naples in January 1873.
The Paris correspondent of The Era described Ninette as "a pretty, singularly innocent comic opera with tuneful, elegant music", and observed that it seemed possibly a little out of place at the Bouffes-Parisiens, and would have been well suited to the Opéra-Comique. The same critic commented that the plot was not novel but had been ingeniously arranged, and the music, though slightly old-fashioned in style, was "charmingly melodious and elegant", lacking only "a stronger dash of originality and drollery". The Monthly Musical Record felt that the new work "hardly suggests the once-delightful composer of the Cent Vierges, the Fille de Mme. Angot and Giroflé-Girofla".
He has improvised entire concert sets, and his album Badgers and Gophers and Squirrels Oh My: The 24-Hour Project, inspired by Scott McCloud's 24-Hour Comics Day, features seventeen songs written in twenty-four hours. In May 2006, he released the album The Last Hero on Earth, a comic opera which has twenty songs, all written in one day, to the same plot. In August 2006, emulating Jonathan Coulton's Thing a Week, he began iTom, a project where he released a new song every week for a year, and continued sporadically after that. So far, he has collected four albums of those songs.
In theater and music history, a burletta (Italian, meaning "little joke", sometimes burla or burlettina) is a brief comic opera. In eighteenth-century Italy, a burletta was the comic intermezzo between the acts of an opera seria. The extended work Pergolesi's La serva padrona was also designated a "burletta" at its London premiere in 1758.A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800: Tibbett to M. West, Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans, SIU Press, 1973, p51 In England, the term began to be used, in contrast to burlesque, for works that satirized opera but did not employ musical parody.
When the first dedicated opera house in Finland was finally completed and inaugurated in 1993, the old opera house was given back its original name, the Alexander Theater, after the Tsar Alexander II. In 2020, in response to the COVID-19 pandemic and the cancellation of many of its planned productions, Finnish National Opera commissioned, created, and produced Covid fan tutte, a comic opera using music from Mozart's Cosi fan tutte, starring a Finnish cast and premiering in late August 2020 with social distancing restrictions. A filmed performance of the opera, with English and Finnish subtitles, is made available online worldwide through 30 March 2021.
The owners of salons invited not only classical musicians, but also popular singers of comic opera from the Paris fairs, such as Pierre Laujon and Charles Collé, who became quite wealthy. The Masonic movement became immensely popular among the Parisian upper classes; the first lodge opened in Paris in 1736, and had four famous musicians among its first members. By 1742, there were more than twenty, each with its own musical director. One of the most famous concert societies was the Concert Spirituel, created in 1725, which organized public concerts of religious music in Latin, and later Italian and French, in a salon within the Tuileries Palace provided by the King.
Peter Moss served as musical director. (At the same time she was working on her first nonfiction, a memoir of her married life called, The Last Showboat, an Illustrated Memoir of Vivian Stanshall, the Old Profanity Showboat, & Stinkfoot, a Comic Opera."Interview with Longfellow", Barnes and Noble reading, San Francisco, November 2008, no publisher) A Stinkfoot Showcase played the Thekla in Bristol on July 20, 21, 22nd and 24, 2010. This was a concert showcase of Stinkfoot's songs backed by a full band and selected cast members (including Nikki Lamborn and Vivian and Ki's daughter Silky Longfellow-Stanshall) plus Tony Slattery as narrator and singer.
See also this article.Notes to "Ray Andrews Classic English Banjo," citing Reynolds, Harry: Minstrel Memories: The Story of Burnt Cork Minstrelsy in Great Britain 1836-1927 (London, 1928) Known as the Christy Minstrels and later the Moore and Burgess Minstrels, the Hall's resident minstrel troupe performed in one of the smaller halls located on the ground floor near the restaurant, below the main hall.Elkin 1946, 67. Gilbert and Sullivan's 1893 comic opera, Utopia, Limited, contains a joke in which the Court of St. James's is purposely confused with St. James's Hall and its minstrel shows, and a parody of a minstrel number is included in the same scene.
Paine was also among a group of reporters on board the Gussie, an officially sponsored supply vessel whose captain's extremely poor choice of landing spots resulted in two failed attempts to deliver cargo to Cuban rebels. They came under fire in what was exaggeratedly called the "Battle of Cabañas" by one newspaper and inspiration for a "comic opera" by another. In 1900, he covered the Boxer Rebellion and was with forces of the Eight-Nation Alliance in Tientsin and Peking. In 1902, he joined the New York Herald and ran a successful campaign against the beef trust, then became managing editor of the New York Telegraph.
When the Duchy of Parma and Piacenza was annexed to the French Republic in 1801, Orlandi moved to Milan, where his very successful comic opera The Mayor of Chioggia (Il podestà di Chioggia) was performed. Contemporary publicity noted that it was a satire on a Venetian magistrate during the turmoil of the Cisalpine Republic. Thereafter Orlandi pursued his career in Milan, where he had become professor at the Conservatory of Music, even after the duchy was restored to Austrian control in 1814. In 1822 he moved to Munich, the Bavarian capital, and the following year to the court of Württemberg in Stuttgart, where he remained as Kapellmeister until 1828.
The 21st century in Russian comic opera began with the noisy premieres of two works whose genre could be described as "opera-farce": Tsar Demyan (Царь Демьян) - A frightful opera performance. A collective project of five authors wrote the work: Leonid Desyatnikov and Vyacheslav Gaivoronsky from St. Petersburg, Iraida Yusupova and Vladimir Nikolayev from Moscow, and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto is by Elena Polenova, based on a folk-drama, Tsar Maksimilyan, and the work premiered on June 20, 2001, at the Mariinski Theatre, St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002".
Louise Beaudet played Paresina in the opera Apollo; or the Oracle of Delphi with Lillian Russell, Toffana in the adaptation of the burlesque opera Indigo, then again Christel in The Tyrolean, co-starring Marie Tempest and also Frinke in The Jolly Students. In 1892, she accepted the principal female role of Elizabeth in Pauline Hall's production of the comic opera in two acts Puritania, or the Earl and the Maid of Salem. In 1893, Beaudet starred in the eight-month run of Imre Kiralfy's America during the World's Columbian Exposition in Chicago, then began her own touring opera company, performing repertoire of French Opéra bouffe.
The legacy of the Danube Cossacks survived in a lyrical-comic opera called "A Zaprorozhian Cossack beyond the Danube" (Zaporozhetz za Dunayem) composed in the 1850s by Semen Hulak-Artemovsky, a student of Mikhail Glinka. Although the opera historically relates to the aftermath of the Russo-Turkish war of 1828-9, where according to a peace treaty, the Danube cossacks were granted the right to return to their homeland, Hulak-Artemovsky reset the opera to take place in the 18th century. The opera first opened in St. Petersburg at the Mariinsky Theatre on 14 March 1863. After its premiere it was censored and restricted from performance.
Gilmore's Isles Tryptych was the featured work for this tour. Three Miniatures for Violin and Piano was written for faculty members Haroutune Bedelian and Lorna Griffitt in 1992 and subsequently recorded by this duo. Coffee Date, a one-act comic opera was presented at UCI in 1998 with vocalists and piano, and was later performed with vocalists and chamber orchestra in 2003. Breed Street (2007), a work for orchestra evoking the spirit of the Breed Street Synagogue in Los Angeles, was his last piece written at UCI, and was performed by the UCI Orchestra conducted by Stephen Tucker in 2006, shortly before Gilmore retired.
Returning to musical cinema, she starred as Ruth in The Pirates of Penzance (1983), a film based on Gilbert and Sullivan's comic opera of the same name, and while filming it in London sang on a recording of The Beggar's Opera. This was followed by an appearance as the grandmother in the gothic fantasy film The Company of Wolves (1984). Lansbury had also begun work for television, appearing in a television film with Bette Davis titled Little Gloria... Happy at Last (1982). She followed this with an appearance in CBS's The Gift of Love: A Christmas Story (1983), later describing it as "the most unsophisticated thing you can imagine".
The classic Gilbert and Sullivan comic opera The Pirates of Penzance focuses on The Pirate King and his hapless band of pirates.Libretto of The Pirates of Penzance (1879), the Gilbert and Sullivan Archive, accessed May 1, 2014 Many sports teams use "pirate" or a related term such as "raider" or "buccaneer" as their nickname, based on the popular stereotypes of pirates. Such teams include the Pittsburgh Pirates, a Major League Baseball team in Pittsburgh, Pennsylvania: they acquired their nickname in 1891 after "pirating" a player from another team. The Las Vegas Raiders and Tampa Bay Buccaneers, both in the National Football League, also use pirate-related nicknames.
The Bartered Bride (, The Sold Bride) is a comic opera in three acts by the Czech composer Bedřich Smetana, to a libretto by Karel Sabina. The work is generally regarded as a major contribution towards the development of Czech music. It was composed during the period 1863 to 1866, and first performed at the Provisional Theatre, Prague, on 30 May 1866 in a two-act format with spoken dialogue. Set in a country village and with realistic characters, it tells the story of how, after a late surprise revelation, true love prevails over the combined efforts of ambitious parents and a scheming marriage broker.
Here, in 1968, she passed her school final exams ("Abitur"), which in her case included a special skilled-workers' qualification as a dealer ("Handelskauffrau") in laboratory and fine chemicals ("Labor- und Feinchemikalien"). Because of her artistic talent Backofen now took a job as a stage assistant and sculptor behind the scenes at the Berlin Comic Opera in 1968. She combined this with a part time study course at the Berlin-Weissensee arts academy. Between 1973 and 1975 she studied "Theatre sculpture" ("Theaterplastik") at the Dresden Academy of Fine Arts, which she followed up by studying visual arts (Plastic arts department) at the same institution between 1975 and 1980.
Gabriel biographer Daryl Easlea considered the song the most overlooked from the Gabriel-era of the band's history with its "sweet and touching" flavour and its resemblance to Genesis songs of the late 1970s. "Get 'Em Out by Friday" involved relocating tenants from London to Harlow New Town. "Get 'Em Out by Friday" is a song described as a "comic opera" that Gabriel described as "part social comment, part prophetic". It was partly inspired by Gabriel's own landlord problems he was having with his flat (apartment) on Campden Hill Road, and a television documentary he had seen about housing in the borough of Islington.
Sheet music details Another American adaptation was Seymour Barab's comic opera Chanticleer.Details online In the UK Michael Hurd set the tale as Rooster Rag, a pop cantata for children (1976).Details online A full-length musical stage adaptation of The Canterbury Tales, composed of the Prologue, Epilogue, The Nun's Priest's Tale, and four other tales, was presented at the Phoenix Theatre, London on 21 March 1968, with music by Richard Hill & John Hawkins, lyrics by Nevill Coghill, and original concept, book, and direction by Martin Starkie. The Nun's Priest's Tale section was excluded from the original 1969 Broadway production, though reinstated in the 1970 US tour.
Plays ran longer, leading to better profits and improved production values, and men began to bring their families to the theatre. The first musical theatre piece to exceed 500 consecutive performances was the French operetta The Chimes of Normandy in 1878. English comic opera adopted many of the successful ideas of European operetta, none more successfully than the series of more than a dozen long-running Gilbert and Sullivan comic operas, including H.M.S. Pinafore (1878) and The Mikado (1885). These were sensations on both sides of the Atlantic and in Australia and helped to raise the standard for what was considered a successful show.
Beck's short comic opera, Review, with a libretto by Patricia Marx, was one of three finalists in the 2010 National Opera Association's New Chamber Opera Competition. It was performed by Oberlin Opera Theater in February, 2014, and twice by Peabody Opera: in October, 2011 in Baltimore, and in Richmond, Virginia, at the College Music Society's annual convention. Review was previously included in the 2009 Opera America and Houston Grand Opera New Works Sampler. Following that successful showcase, Review was then produced by the Moores Opera Center at the University of Houston and later was given its New York premiere by the Center for Contemporary Opera.
In 1986, Idle provided the voice of Wreck-Gar, the leader of the Junkions (a race of robots built out of junk that can only speak in film catchphrases and advertising slogans) in The Transformers: The Movie. In 1987, he took part in the English National Opera production of the Gilbert and Sullivan comic opera The Mikado, in which he appeared in the role of the Lord High Executioner, Ko-Ko. In 1989, he appeared in the U.S. comedy television series Nearly Departed, about a ghost who haunts the family inhabiting his former home; the series lasted for six episodes as a summer replacement series.
The Paignton Pier Act received Royal Assent on 3 June 1874 and work commenced on its construction in October 1878 to the design of Bridgman. The pier, with its customary grand pavilion at the seaward end, was opened to the public for the first time in June 1879. The pier-head pavilion was home to many forms of entertainment including singing, dancing, recitals, music hall, and most famously Gilbert and Sullivan's comic opera, re-titled HMS Pinafore on the water, performed by Mr D'Oyley's full company on 27 and 28 July 1880. In 1881 the pier-head was enlarged to facilitate the construction of a billiard room, adjoining the pavilion.
Stone, David. "Amy Augarde" at Who Was Who in the D'Oyly Carte Opera Company, 27 August 2001, accessed 23 June 2019 Later in 1888 Augarde played Lydia Hawthorne in the long-running comic opera Dorothy at the Lyric Theatre, and the next year originated the part of Lady Anne Jerningham in Doris, also at the Lyric. She went on to appear in many successful musicals and operettas, including long runs in The Little Michus (1905 to 1906), The Chocolate Soldier (1910 to 1911), Shell Out (1915 to 1916), Nobody's Boy (1919),Wearing, J. P. The London Stage 1910–1919: A Calendar of Productions, Performers, and Personnel (London: Scarecrow Press, 1982), p.
Francesco Carattoli (1704 or 1705 – March 1772) was an Italian bass buffo, or singer of opera buffa. Carattoli was born in Rome, and began singing in the 1740s. He sang in a number of comic operas in various parts of Italy through the 1740s, 1750s, and early 1760s, by composers such as Gaetano Latilla, Baldassare Galuppi, Domenico Fischietti, and Niccolò Piccinni, both becoming prominent himself and helping to increase the popularity and prestige of opera buffa through his skillful performances. A number of the prominent comic opera bass roles of the 18th century were written for him, and his combination of voice and acting was much sought after.
Patrice Contamine de Latour (17 March 1867 – 24 May 1926),Revue internationale de musique française, (1987), issues 22–24, p. 18, born in Tarragona as José Maria Vicente Ferrer Francisco de Paola Patricio Manuel Contamine and published as J. P. Contamine de Latour, was a Spanish poet who lived in Paris. He was a friend of composer Erik Satie, whose famous piano suites Sarabandes (1887) and Gymnopédies (1888) were inspired by his poetry. Satie wrote a short comic opera with text by de Latour written under the pseudonym "Lord Cheminot", and also composed the piano piece The Dreamy Fish to accompany a lost tale by de Latour.
Poster for The Turtle (1898) Martinot returned to New York to star in the much anticipated comic opera Nadjy, but after a disagreement with the Casino Theatre stage manager, she withdrew from the production before the piece debuted. Her first performance after returning from Europe was played in German at Amberg's German Theatre early in 1889 as Bettina in Das Maskottchen (The Mascot). At the Garden Theatre on September 27 of the following year she played Mrs. Horton in Hamilton Aide's Dr. Billadapted from Le Docteur Jo-Jo by Albert Carrt and at the same venue that October 6, Lois in Jerome K. Jerome's Sunset.
Henry Lytton as the Major-General (1919) Drawing from 1884 children's Pirates "I Am the Very Model of a Modern Major-General" (often referred to as the "Major-General's Song" or "Modern Major-General's Song") is a patter song from Gilbert and Sullivan's 1879 comic opera The Pirates of Penzance. It has been called the most famous Gilbert and Sullivan patter song.Nicholson, David. "Pirates to Invade Virginia", Daily Press, November 10, 2007, accessed October 30, 2019 Sung by Major General Stanley at his first entrance, towards the end of Act I, the character introduces himself by presenting his résumé and admitting to a few shortcomings.
It is suggested that later in his career Jazet broadened his interests, and that the art work attributed to his father Alexandre-Jean-Louis Jazet , produced during the late Belle Époque and the Art Nouveau periods and signed by the pseudonym 'Japhet', was in fact produced by Paul-Léon Jazet. Such work included fans, postcards, posters and costume design for comic opera and theatre. This included costume designs for the famous dancer and actress Loïe Fuller whose swirling silk costumes and theme dresses, such as a dress strongly inspired by a butterfly, exemplified the new approach expressing organic forms characteristic of the Art Nouveau period.
Traubner, pp. 89–90 Caryll, known as a very expressive conductor, conducted W. S. Gilbert and Alfred Cellier's The Mountebanks at the Lyric in 1892. Cellier died during rehearsals for the piece, and Caryll wrote the overture, the entr'acte, and finished some of the orchestration. His work on the piece received critical praise.Walker, Raymond J. "Alfred Cellier (1844-1891): The Mountebanks, comic opera (1892); and Suite Symphonique (1878)", Music Web International, 2018 Also in 1892, with George Dance, Caryll adapted an opéra comique called Ma mie Rosette, based on a French piece by Paul Lacôme, starring Jessie Bond and Courtice Pounds at the Globe Theatre.
Wyatt as the Duke of Plaza-Toro in The Gondoliers (1889) Frank Wyatt (7 November 1852 – 5 October 1926) was an English actor, singer, theatre manager and playwright. After beginning his career as an illustrator and painter, in 1877 Wyatt began a stage career in comedy, Victorian burlesque, pantomime and operetta. In 1884 he had success in a Shakespeare role in Henry Irving's company, and in 1885 he created the role of Ravennes in the comic opera Erminie, which went on to become an international sensation. In this production he met Violet Melnotte, who also appeared in Erminie and who managed the theatre where it premiered; they married in 1886.
The Teatro de la Zarzuela in Madrid became the hub of activity, but scores of companies in the capital, the provinces, and Spanish-speaking Central and South America were busily performing zarzuela in repertory. Of particular note is composer Francisco Asenjo Barbieri who aimed to create a distinctively national operatic style which fused the traditional tonadilla and the old, aristocratic drama into a new form evolved from Italian comic opera. In contrast, Emilio Arrieta stayed closer to ‘pure’ Romantic Italian models in such zarzuelas as Marina (1855). The two became intense rivals within the eyes of the public and their competitive behavior made zarzuela extremely popular.
It draws heavily on Balfe's opera The Bohemian Girl (1843) and uses various shopworn theatrical devices and conventions, including the gypsy background (featured in The Bohemian Girl as well), a romance across class and station, the desertion of the bride at her betrothal ceremony, and the antics of the comedian. These would have been very familiar to London audiences at the time. Furthermore, this romantic type of opera was out of place at the Savoy Theatre, which was the home of Gilbert and Sullivan and their unique kind of less sentimental comic opera."The Call Boy", Judy: or The London Serio-comic Journal, 18 July 1894, p.
515The Sultan of Mocha, British Musical Theatre website at the Gilbert and Sullivan Archive, accessed 27 March 2020 Cellier dedicated the score to his friend, colleague and sometime employer, Arthur Sullivan. Following his success as Peter at the Strand Theatre Bracy took up the Australian rights to The Sultan of Mocha, producing the show with his Henry Bracy's Comic Opera Company at the Alexandra Theatre in Melbourne in November 1889 and at the Criterion Theatre in Sydney in March 1890. Bracy was Peter, Lilian Tree was Dolly, John Forde was Sneak, Knight Aston was the Sultan, Flora Granpner was Lucy and William Stevens was Flint.
Power, Leonora Braham, Jessie Bond and Julia Gwynne at Sullivan's memorial in 1914 Over the following months, Power performed mostly in society concerts. In May 1881, he appeared in the operetta Incognito, by Henri Logé, and in July 1881, Power played Lieut. de Blanc-Mange in a short operetta, Out of Sight, by Frederick Clay and B. C. Stephenson."Out of Sight", The Era, 9 July 1881, p. 7 In August 1881, he created the role of Charles Lorrimore in the Edward Solomon and Henry Pottinger Stephens comic opera Claude Duval, at the Olympic Theatre, opposite Marion Hood, who had been his partner in The Pirates of Penzance.
For his next piece, Morocco Bound (1893, with the song "Marguerite from Monte Carlo"), Ross concentrated on writing lyrics, leaving the "book" mostly to Arthur Branscombe. This proved to be his most successful model through most of his career."Adrian Ross" profile at the British Musical Theatre site of The Gilbert and Sullivan Archive, 7 October 2004 The position of "lyricist" was relatively new, as previously the writers of libretti would invariably write the lyrics themselves. As the new Edwardes- produced "musical comedies" took the place of burlesque, comic opera and operetta on the stage, Ross and Harry Greenbank established the usefulness of a separate lyricist.
Barbara Aleksi-Meskhishvili (1 February 1898, Tbilisi – 25 December 1972, Tbilisi) was a Georgian stage actress. After graduating she worked at the Moscow Art Theatre between 1916-1941, and in Kiev, Kharkov and other theaters between 1942-1944, performing comedy plays as adolescent boys. Her main roles were as Mirandolina in the eponymous comic opera by Bohuslav Martinů, based upon Carlo Goldoni's comedy The Mistress of the Inn, as Doña Juana in Tirso de Molina's Don Gil de las calzas verdes (Don Gil of the Green Stockings), and as Tugina in Alexander Ostrovsky's The Last Victim. She received the title of Honored Artist of Georgia in 1943.
His proficiency in harmony and counterpoint was, however, according to his own confession, at all times very moderate. His first great success was achieved by La vendemmiatrice, an Italian intermezzo or operetta, composed for the Aliberti theatre in Rome and received with universal applause. It is said that the study of the score of one of Pierre-Alexandre Monsigny's operas, lent to him by a secretary of the French embassy in Rome, decided Grétry to devote himself to French comic opera. On New Year's Day 1767 he accordingly left Rome, and after a short stay at Geneva (where he made the acquaintance of Voltaire, and produced another operetta) went to Paris.
1879 poster for the first American production Engaged is a three-act farcical comic play by W. S. Gilbert. The plot revolves around a rich young man, his search for a wife, and the attempts – from mercenary motives – by his uncle to encourage his marriage and by his best friend to prevent it. After frantic complications and changes of allegiance, all the main characters end up paired off, more or less to their satisfaction. The play opened at the Haymarket Theatre in London on 3 October 1877, the year before Gilbert's first great success with the composer Arthur Sullivan in their comic opera H.M.S. Pinafore.
She was also a piquant comedienne, and made progress toward fame since her appearance in the comic opera, "Tarantella," as Junie, in 1901. The next year, she was given the part of Annette in the cast of "King Dodo," and during the season of 1902–1903, she was Chiquita at the Tremont Theatre in Boston and Wallack's Theatre, New York. She was always under the management of the Castle Square Opera Company, and rendered them several important services, which naturally advanced her in their estimation and in her profession. Quinlan was not a member of any societies or clubs, but a most devoted parishioner of the Roman Catholic church.
In Donzelli's artistic career, it is possible to discern three separate periods. In the first he was mainly a comic opera tenorino; the second, more substantial period (enduring until about 1822), was spent as a singer of the Rossini stamp; the third, and most significant, was spent as a "tenore di forza" (a category of dramatic tenor). Donzelli was in fact an old-fashioned baritone-type tenor in the traditional Italian manner, with a fairly narrow vocal range. In the central period of his career he could sing up to high C, but only in "falsettone", a sort of head voice, but much more forceful and expressive than the proper falsetto).
Audran became organist of the church of St Joseph there, for which he wrote religious music including, in 1873, a mass that was also performed in Paris at St Eustache. He made his first appearance as a dramatic composer at Marseilles with L'Ours et le Pacha (1862), a musical version of one of Eugène Scribe's vaudevilles. This was followed by La Chercheuse d'Esprit (1864), a comic opera, also produced at Marseille. Audran's compositions included a funeral march on the death of Giacomo Meyerbeer, which was performed with some success; some songs in the Provençal dialect, including La cour d'amour (Marseilles, 1881), and various sacred pieces.
In addition to the regular Barry Gray score (drawn primarily from "Another Time, Another Place"), the 'space horror music' composed by Vic Elms and Alan Willis for "Ring Around the Moon" is heard during scenes portraying the Survivors' acts of violence. The introduction from Frank Cordell's composition 'The White Mountain' is used as the Darian theme. Robert Farnon's 'Experiment In Space--Vega' makes an appearance, as do excerpts from previous Joe 90 and Stingray scores, composed by Barry Gray."Mission of the Darians" episode guide; Fanderson - The Official Gerry Anderson website The ditty hummed by Bill Lowry is 'A Wand'ring Minstrel I' from the Gilbert and Sullivan comic opera The Mikado.
This piece consisted of a series of piano sketches, alternating with scenes and costumed recitations, including a two-person "satirical musical sketch", really a short comic opera, called Cups and Saucers, which they then toured. Grossmith also took a number of engagements, including recitals at private homes. In 1877, Lionel Brough introduced another popular Grossmith song, "The Muddle Puddle Junction Porter". By then, Grossmith had become friendly with many in the music and theatre establishments, including Arthur Sullivan and impresario Richard D'Oyly Carte; and Grossmith had the opportunity to perform in Gilbert and Sullivan's Trial by Jury and other Sullivan works at charity benefits.
The instrumentation of the three arias turns from the crowd in the Biblical scene to the individual believer, the first accompanied by violin and divided violas, the second by a lone recorder, the last only by the continuo. The chorale is arranged as a chorale fantasia in the manner of Pachelbel; every line is first prepared in the lower voices, then the soprano sings the cantus firmus, while the other voices interpret the words, for example by fast movement on "" (joy). The closing chorus is, according to conductor John Eliot Gardiner, "a sprightly choral dance that could have stepped straight out of a comic opera of the period".
Tutti in maschera was the twelfth of Pedrotti's eighteen operas and the tenth to be staged (the first two were never performed). Five of the previous eleven were opere serie (serious operas) and five were opere semiserie (operas combining drama and comedy). Only one, the one-act Il parrucchiere della reggenza (The hairdresser of the Regency) of 1852 was designated as a comic opera. After the premiere, Tutti in maschera was seen in Italy at the Teatro Regio di Parma in 1859, the Teatro Comunale di Bologna in 1860, the Teatro della Canobbiana in 1860 (with the famous baritone Antonio Cotogni as Abdalà) and the Teatro Comunale, Catania in 1871.
504 Our Irish Visitor;Author unknown, performed by the vaudeville team, Murray and Murphy in the mid-1880s, Brown, Thomas Allston', A History of the New York Stage; 1903; pg. 226 David Loyd's The Woman- Hater;Lloyd, David Demarest – The Woman-Hater accessed June 28, 2012 Gus Heege productions of A Lumber Camp in Winter and Yon Yonson; the comic opera Prince Pro Tem by Robert A. Barnet and Lewis S. Thompson, first performed at the Boston Museum on September 17, 1894;Barnett, Robert A., Thompson, Lewis S. Prince Pro Tem accessed June 28, 2012No title-The Sandusky Register 9 May 1894; pg. 6 col. 5; Ancestry.
Rayrick LCR1001a/b He played the drums and saxophone and appeared as Cousin Kevin in a production of The Who's rock opera Tommy at the Rainbow Theatre, Finsbury Park, London, on 9 December 1972. He has also contributed vocals to a Rick Wakeman album, Criminal Record. Oddie took part in the English National Opera production of the Gilbert and Sullivan comic opera The Mikado, in which he appeared in the role of the "Lord High Executioner", taking over the role from Eric Idle. During the early 1990s, Oddie was a DJ for London-based jazz radio station 102.2 Jazz FM. In 2007, Oddie appeared on the BBC series Play It Again.
The Grand Duke is longer than most of the earlier Gilbert and Sullivan operas, and more of the libretto is devoted to dialogue. Gilbert's cutting of parts of the opera after the opening night did not prevent it from having a shorter run than any of the earlier collaborations since Trial by Jury. In addition to whatever weaknesses the show had, as compared with earlier Gilbert and Sullivan pieces, the taste of the London theatregoing public had shifted away from comic opera to musical comedies, such as A Gaiety Girl (1893), The Shop Girl (1894) and An Artist's Model (1895), which were to dominate the London stage through World War I.
D'Oyly Carte production at the Savoy Theatre The Gondoliers; or, The King of Barataria is a Savoy Opera, with music by Arthur Sullivan and libretto by W. S. Gilbert. It premiered at the Savoy Theatre on 7 December 1889 and ran for a very successful 554 performances (at that time the fifth longest-running piece of musical theatre in history), closing on 30 June 1891. This was the twelfth comic opera collaboration of fourteen between Gilbert and Sullivan. The story of the opera concerns the young bride of the heir to the throne of the fictional kingdom of Barataria who arrives in Venice to join her husband.
There followed a production called The Mad Lovers, or the Beauties of the Poets, acted at the Haymarket, and printed in 1732 with a frontispiece representing the author in the part of Lord Wildfire. The name of a play by him performed—not to his satisfaction—in April 1735 is unknown. In 1737 was acted his comedy All Alive and Merry; it was received with applause on the second night, and ran five or six more. Also attributed to him are a comic opera, A Fool made Wise, and a farce, Sir John Falstaff in Masquerade, both acted in 1741, as well as a tragedy, Pompey the Great (all unprinted).
Santley as Toto Frederic Clay Princess Toto is a three-act comic opera by W. S. Gilbert and his long-time collaborator Frederic Clay. It opened on 24 June 1876 at the Theatre Royal, Nottingham, starring Kate Santley, W. S. Penley and J. H. Ryley. It transferred to the Royal Strand Theatre in London on 2 October 1876 for a run of only 48 performances. Brief New York and Boston runs followed in 1879–80 starring Leonora Braham and Ryley, and there were later tours in the US. Princess Toto was revived in 1881 at the Opera Comique in London for a run of 65 performances (starring Richard Temple).
The earliest recording of the song was by Dick Todd in 1940 on the Bluebird label. A resemblance between the main tune's first four lines and a passage within the theme of the last movement of Gustav Mahler's Third Symphony (1896) was pointed out by Deryck Cooke in 1970.Cooke's radio broadcast is described in Hans Keller, 'Truth & Music', Music and Musicians Magazine, November 1970 Mahler himself may have derived this passage from the overture to Daniel Auber's comic opera (Marco Spada (1852). Billie Holiday's 1944 recording of the song was the final transmission sent by NASA to the Opportunity rover on Mars when its mission ended in February 2019.
The Abduction of Figaro is a comic opera, described as "A Simply Grand Opera by P. D. Q. Bach", which is actually the work of composer Peter Schickele. It is a parody of opera in general, and the title is a play on two operas by Wolfgang Amadeus Mozart: The Abduction from the Seraglio and The Marriage of Figaro. Those two operas, Così fan tutte and Don Giovanni, as well as Gilbert and Sullivan's The Pirates of Penzance are among the core inspirations for the piece. Schickele was commissioned to "discover" this opera by the Minnesota Opera, where the piece premiered on April 27 and 28, 1984.
Starting in 1999, he served on the board of directors of the opera, one of a handful of positions he did not retire from even when he was made the president of the Constitutional Court. Korinek authored books on the relationship between government and the arts, on Joseph Haydn, and on the , a comic opera by Richard Strauss. In an interview, Korinek compared the work of a legislator to that of a composer: both are striving to combine clarity with harmony, a parallel that Korinek claimed used to be widely discussed and acknowledged in the past. Korinek also published a book on the life and times of Julius Raab, which became a local bestseller.
Thorne as Baron Popoff in The Merry Widow Frederick Thomas Thorne (1862 – 26 November 1922), stage name Eric Thorne, was an English singer and actor in musical theatre and comic opera. His professional career began in 1884 with the D'Oyly Carte Opera Company where he worked for almost two years, and then he played roles for more than a decade at London theatres in plays, operettas and Edwardian musical comedies such as In Town and Gentleman Joe. From 1897, he became better known on tour, especially as Hilarius in La Poupée, Baron Popoff in The Merry Widow and Mr. Bulgar in The Dollar Princess. He was still performing in the early 1920s.
Cover of the vocal score for King of Cadonia. Scene from Lonsdale's play Spring Cleaning as performed at the Royal Dramatic Theatre in Stockholm in 1925. Frank Curzon produced the young Lonsdale's first work, the musical King of Cadonia (1908). Lonsdale's more substantial than usual dialogue for the show's Ruritanian comic opera plot won King of Cadonia fine notices and helped the musical to a long career. His next success was also for Curzon, The Balkan Princess (1910); this was little more than King of Cadonia with the sexes reversed, but it enjoyed a good London run, a long and wide provincial tour, and foreign productions. Lonsdale's next success was five years later, for George Edwardes, with Betty (1915).
There are many instances in children's literature where a person's claim to be only a quarter of their actual age turns out to be based on counting only their leap-year birthdays. A similar device is used in the plot of Gilbert and Sullivan's 1879 comic opera The Pirates of Penzance: as a child, Frederic was apprenticed to a band of pirates until his 21st birthday. Having passed his 21st year, he leaves the pirate band and falls in love. However, since he was born on February 29, his 21st birthday will not arrive until he is eighty-eight (since 1900 was not a leap year), so he must leave his fiancée and return to the pirates.
Charles Towneley in his Sculpture Gallery, by Zoffany, 1782 In the comic opera The Pirates of Penzance, by Gilbert and Sullivan, the Major-General brags of being able to distinguish works by Raphael from works by Gerard Dou and Zoffany. A scene in Stanley Kubrick’s film Barry Lyndon (1975) is said to have been inspired by Zoffany’s Tribuna of the UffiziAnna Maria Ambrosini Massari, “Johan Zoffany (1733–1810): The Florentine tears and some discoveries, including a Madonna for the Grand Duke”, The British Art Journal, XVI/1, 2015. Zoffany Street in Holloway is named after him. This street name is notable as being the last to appear in the index of London's famous street atlas, the A–Z.
Fry helped to fund a 1988 London re-staging of Stanshall's Stinkfoot, a Comic Opera, written by Vivian and Ki Longfellow-Stanshall for the Bristol-based Old Profanity Showboat. Fry performed several of Stanshall's numbers as part of the Bonzos' 2006 reunion concert at the London Astoria. He also appeared as a shiny New Millennium Bonzo on their post-reunion album, Pour l'Amour des Chiens, on which he recited a recipe for "Salmon Proust", played a butler in "Hawkeye the Gnu", and voiced ads for the fictitious "Fiasco" stores. Following three one-man shows in Australia, Fry announced a 'sort of stand-up' performance at The Royal Albert Hall in London for September 2010.
Mrs Howard Paul in the 1870s Isabella Hill (1 April 1833 – 6 June 1879), better known as Mrs Howard Paul, was an English actress, operatic singer and actress-manager of the Victorian era, best remembered for creating the role of Lady Sangazure in the Gilbert and Sullivan comic opera The Sorcerer (1877). Her stage career began in 1853 in London in ballad operas, such as The Beggar's Opera. In 1854 she married the American writer Henry Howard Paul, in whose comic entertainments the two performed for much of the next two decades, often on tour, both in Britain and America. She was popular for her musical impersonations of singers of the day.
The Siege of Belgrade is a comic opera in three acts, principally composed by Stephen Storace to an English libretto by James Cobb. It incorporated music by Mozart, Salieri, Paisiello and Martini, and is therefore considered a pasticcio opera, as well as a Singspiel in English language, as it contained a spoken dialogue. It premiered on 1 January 1791 at the Theatre Royal, Drury Lane, in London with a great success,Stephen Storace. short biography featuring many famous singers and actors of the time, such as sopranos Nancy StoraceAnna (Nancy) Storace, list of performances and Anna Maria Crouch, tenor Michael Kelly as well as Shakespearean actors (in spoken roles) such as John Bannister and Richard "Dicky" Suett.
Suett was born in Chelsea in 1755, and at ten years of age entered the choir at Westminster Abbey as a pupil of Benjamin Cooke. In 1769 he sang at the Ranelagh Gardens, the Grotto Garden, and at Marylebone Gardens, and was in May 1770 employed by Foote at the Haymarket in some juvenile and unnoted parts. On 24 July 1771 at that house Master Suett was the original Cupid in 'Dido,' a comic opera assigned to Thomas Bridges. Charles Bannister then obtained for him an engagement on the York circuit with Tate Wilkinson, with whom he remained as singer and second low comedian for nine years, at the largest salary Wilkinson ever paid.
8 Clifton apparently returned to the US by the middle of the decade, as an actor of that name played the butler in Twins at the Standard Theatre in New York in May 1885."The Drama in America", The Era, 16 May 1885, p. 15 He appeared with Lillian Russell and fellow ex-D'Oyly Carte principals J. H. Ryley and Alice Barnett in Billee Taylor at New York's Casino Theatre in July 1885"The Drama in America", The Era, 4 July 1885, p. 7 and with Harry Paulton and company in the comic opera Paola by Edward Jakobowski, with a libretto by Paulton and Tedde at the Grand Opera House, Philadelphia, in 1889.
Hymen was mentioned in Euripides's The Trojan Women, where Cassandra says: Hymen is also mentioned in Virgil's Aeneid and in seven plays by William Shakespeare: Hamlet,ln. 3.2.147. The Tempest, Much Ado about Nothing,In 5.3. Titus Andronicus, Pericles, Prince of Tyre, Timon of Athens and As You Like It, where he joins the couples at the end — There is a song to Hymen in the comic opera H.M.S. Pinafore by W. S. Gilbert and A. Sullivan. Hymen also appears in the work of the 7th- to 6th-century BCE Greek poet Sappho (translation: M. L. West, Greek Lyric Poetry, Oxford University Press): Hymen is most commonly the son of Apollo and one of the Muses.
Rutland Barrington was a witness to the incident and later described it thus: As a consequence, Everard missed the opening performance on 3 April 1880, being replaced as Ruth by Emily Cross. Although she was able to assume the role in June, her run did not last long - she turned the part over to Alice Barnett in July when the company returned to England from its New York production. Everard then left the company and continued to work for only the next several months; her last recorded appearance was as Aunt Priscilla de Montmorency in Francis Marshall's comic opera Lola in January 1881."The London Theatres", The Era, 22 January 1881, p.
The work concerned the case of a patient suffering from Alzheimer's Disease. Langer and Maxwell went on to develop this into the opera The Lion's Face, which enjoyed a successful tour around England and Wales (including 4 performances at the Linbury Studio, Royal Opera House, Covent Garden) in a production by John Fulljames for The Opera Group. This work also initiated an ongoing collaboration between The Opera Group and the Institute of Psychiatry, and involved Professor Simon Lovestone, director of the Institute's Biomedical Research Centre, in a consultant role. Langer was subsequently commissioned by Dawn Upshaw to compose a one-act comic opera for performance at Bard College in upstate New York.
Streit started his career at American opera houses such as San Francisco, Santa Fe, Dallas, the Texas Opera Theater and the Milwaukee Skylight Comic Opera. His European career started with the Hamburg Staatsoper, where he sang in operas by Mozart, Donizetti, and Rossini. He appeared at music festivals in Schwetzingen, Aix- en-Provence, Salzburg and Glyndebourne. Streit performed at most international opera houses, including The Vienna State Opera, Theater an der Wien, The Metropolitan Opera New York, The Royal Opera House, Covent Garden in London, La Scala in Milan, both the Bastille and the Grand Opera in Paris, Teatro Real the Zarzuela in Madrid, and the Gran Teatre del Liceu in Barcelona, Munich, Brussels, Leipzig, Düsseldorf, San Francisco.
Vauxhall Gardens, where McNally's song, The Lass of Richmond Hill, was first performed in 1789. McNally was a successful dramatist and wrote a number of well-constructed but derivative comedies, as well as comic operas. His first dramatic work was The Ruling Passion, a comic opera written in 1771, and he is known to have authored at least twelve plays between 1779 and 1796 as well as other comic operas. His works include The Apotheosis of Punch (1779) a satire on the Irish playwright Sheridan, Tristram Shandy (1783), which was an adaptation of Lawrence Sterne's novel, Robin Hood (1784), Fashionable Levities (1785), Richard Cœur de Lion (1786), and Critic Upon Critic (1788).
Selected Tales (Oxford: Oxford University Press, 1980) It is played in chapter 10 of the Sherlock Holmes novel The Hound of the Baskervilles. A game of Écarté also figures prominently in Conan Doyle's The Exploits of Brigadier Gerard, Chapter 3, How the Brigadier Held the King. It is mentioned in the lyrics of a song from Gilbert and Sullivan's 1889 comic opera The Gondoliers, in which the character of the Duchess of Plaza-Toro sings "At middle class party, I play at Écarté, and I'm by no means a beginner.". The game is mentioned in Chapter VI of The Woman in White by Wilkie Collins, and in Chapter XII of the same author's Man and Wife.
Salvatore Di Giacomo (12 March 1860 - 5 April 1934) was an Italian poet, songwriter, playwright and fascist, one of the signatories to the Manifesto of the Fascist Intellectuals. Di Giacomo is credited as being one of those responsible for renewing Neapolitan language poetry at the beginning of the 20th century. The language of Salvatore Di Giacomo is, however, not the everyday Neapolitan language of his contemporaries; it has a distinct 18th- century flavour to it, with archaisms that recall the golden age of Neapolitan culture. This was the period between 1750 and 1800, when Neapolitan was the language of the best-loved form of musical entertainment in Italy, the Neapolitan comic opera.
Her significant production was credited to her exposure to a vast library of literary and theatrical culture, as well as her mastery of multiple contemporary and ancient languages. Her writings included translations, natural history works, a dozen poems scattered throughout her correspondence, and above all plays, which for the most part, were read aloud in small gatherings or performed in society. Among her plays were at least twelve comedies, four tragedies, a pastoral, an opera libretto and a fragment of a comic opera. However, only two of her works have been published: the comedy Ilphis and Zulie, published in 1766; and her correspondence, collected posthumously and published many years later in 1866 and in 1925.
Bell was born in London, the daughter of Maria Dalton Dauncey, a dramatic elocutionist and voice teacher (died 1917), and James Henry Maskell (1824–1897), a sometime theatrical agent and merchant. She was coached in acting by her mother and attended the London Academy of Music, studying music with Francesco Schira. In 1870, as an amateur, she appeared at the Royal Strand Theatre as Gertrude in a production of James Planché's Loan of a Lover. From this early period until 1883, Bell appeared as Laura Joyce in London in a comic opera titled Mina and played the Count of Flanders in Cupid 'Mid the Roses and The Ring and the Keeper by John Pratt Wooler.
The new King's Theatre, Haymarket, opened for Italian opera under other direction in 1793. In the meantime, Mazzinghi had set music to Merry's comic opera, ‘The Magician no Conjuror,’ produced at Covent Garden on 2 February 1792. Other English operas by Mazzinghi were: ‘A Day in Turkey,’ 1791; ‘The Wife of Two Husbands,’ 1803; ‘The Exile,’ the Covent Garden company acting at the Opera House, 1808; ‘Free Knights,’ with the popular duet, ‘When a little farm we keep,’ 1810; and in collaboration with Reeve, who wrote the lighter airs, ‘Ramah Droog,’ 1798; ‘The Turnpike Gate,’ 1799; ‘Paul and Virginia,’ 1800; ‘The Blind Girl,’ 1801; and ‘Chains of the Heart,’ which gave much pleasure to George III, 1802.
The ghost scene, depicted by H. M. Brock for the first D'Oyly Carte Opera Company revival in 1921 Ruddigore; or, The Witch's Curse, originally called Ruddygore, is a comic opera in two acts, with music by Arthur Sullivan and libretto by W. S. Gilbert. It is one of the Savoy Operas and the tenth of fourteen comic operas written together by Gilbert and Sullivan. It was first performed by the D'Oyly Carte Opera Company at the Savoy Theatre in London on 22 January 1887. The first night was not altogether a success, as critics and the audience felt that Ruddygore (as it was originally spelled) did not measure up to its predecessor, The Mikado.
A dramma per musica was thus originally (in Italy in the 17th century) a verse drama specifically written for the purpose of being set to music, in other words a libretto for an opera, usually a serious opera (a libretto meant for opera buffa, i.e. comic opera, would have been called a dramma giocoso). By extension, the term came to be used also for the opera or operas which were composed to the libretto, and a variation, dramma in musica, which emphasised the musical element, was sometimes preferred by composers. In the 18th century, these terms, along with dramma musicale, came to be the most commonly used descriptions for serious Italian operas.
Certosa e Museo di San Martino. "Pianta del Teatro San Carlo". Retrieved 12 June 2017 . Carasale and de Laurentis bought the land for their new theatre in March 1724, and seven months later its construction was completed. The Teatro Nuovo was inaugurated on 15 October 1724 with the premiere of Antonio Orefice's comic opera Lo Simmele set to a libretto in Neapolitan dialect by Bernardo Saddumene and dedicated to Michael Friedrich von Althann, the Viceroy of Naples. The theatre was initially run by the impresario Gennaro Donatiello who contracted with Carasale and de Laurentis to pay 650 ducats per year for the right to stage performances there.Capone, Stefano (2007). L'opera comica napoletana (1709-1749), p. 177. Liguori.
He perceived that audiences wanted a new alternative to the Savoy-style comic operas and their intellectual, political, absurdist satire. He experimented with a modern-dress, family- friendly musical theatre style, with breezy, popular songs, snappy, romantic banter, and stylish spectacle at the Gaiety, Daly's Theatre and other venues. These drew on the traditions of comic opera and also used elements of burlesque and of the Harrigan and Hart pieces. He replaced the bawdy women of burlesque with his "respectable" corps of dancing, singing Gaiety Girls to complete the musical and visual fun. The success of the first of these, In Town in 1892 and A Gaiety Girl in 1893, confirmed Edwardes on the path he was taking.
Bowers, David Q. "Bracy, Sidney: Volume III: Biographies", Thanhouser Films: An Encyclopedia and History, 1995, accessed March 30, 2020 He began his stage career in Australia in the 1890s, with J. C. Williamson's comic opera companies. On Broadway, in 1900, he appeared as the tenor lead, Yussuf, in the first American production of The Rose of Persia at Daly's Theatre in New York. He then moved to England, appearing as Moreno in the Edwardian musical comedy hit The Toreador at the Gaiety Theatre, London in June 1901. He next joined the D'Oyly Carte Opera Company on tour in Britain, playing Terence O'Brian in The Emerald Isle from September 1901 to May 1902.
He tried his hand as a lyricist in such works as His Majesty, a comic opera in the Gilbert and Sullivan vein, with music by Alexander Mackenzie, a libretto by F. C. Burnand and additional lyrics by Adrian Ross, presented at the Savoy Theatre in 1897.The Whitehall Review, 27 February 1897 He was editor of the Daily News in 1901. In 1906 Lehmann was elected Member of Parliament (MP) for Harborough which he held until 1910. He was sketched in A History of Punch by R.G.G. Price as indolent, but able to rouse to write a short piece, and as having given some of that character to the rest of the staff.
Stedman, p. 143 In 1877, D'Auban began working with Richard D'Oyly Carte, Gilbert and Arthur Sullivan by arranging the dances for their comic opera The Sorcerer."The Making of the Sorcerer" at The Gilbert and Sullivan Archive, accessed 15 December 2009 In 1878, D'Auban trained Gilbert in his dances as Harlequin for the Harlequinade section of The Forty Thieves.Stedman, p. 156 D'Auban arranged the dances for the next Gilbert and Sullivan opera, H.M.S. Pinafore, which became extraordinarily successful.H.M.S. Pinafore cast information at The Gilbert and Sullivan Archive, accessed 15 December 2009 For the Christmas season in 1879, he choreographed the extravaganza burlesque of Gulliver's Travels by H. J. Byron at the Gaiety.Macqueen-Pope, p.
"Lionel Monckton", British Musical Theatre, The Gilbert and Sullivan Archive, 31 August 2004, retrieved 5 June 2014 Talbot had a monstrous hit with A Chinese Honeymoon and had written such other long-running musicals as The Girl from Kays. He had worked with writer Alexander M. Thompson and producer Robert Courtneidge previously, including on The Blue Moon.Gänzl, Kurt. "Talbot, Howard (1865–1928)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 18 Sept 2008, Historically, musically and dramatically, The Arcadians and the other Edwardian musical comedies sit between the fading world of British comic opera, like the Gilbert and Sullivan works, and the later styles of musical comedy and music hall.
Rob Roy is an operetta by composer Reginald De Koven and lyricist Harry B. Smith, frequent collaborators, loosely based upon the life of Scottish folk hero Robert Roy MacGregor, better known as Rob Roy, and the Walter Scott novel about him. Rob Roy, designated "A Romantic-Comic Opera in 3 Acts", opens with a formal overture. The history-conflating plot covers the adventures of Rob Roy, a highland chieftain secretly married to the daughter of the mayor of Perth, and Bonnie Prince Charlie, the young pretender to the throne of Scotland, who in reality didn't set foot in Scotland until 11 years after the MacGregor's death. It included several songs in imitation of Scottish folk tunes.
These were played at the old Town Hall in 1887 with great success. He also stage-managed Iolanthe, which started an era of musical plays in October 1889, and the Crimson Scarf, a comic opera by H. B. Farnie and J. E. Legouix, in 1888 ; nor was he above giving an evening a week to coach the elder pupils of Raffles Girls' School in their Shakespeare. Although not very robust, he played a fair game at tennis, a good game of billiards, and was a staunch supporter of the Swimming Club, which has a fine portrait of their former President in the club-house. All who knew him had the highest esteem for his fine character and sterling work.
In 1760, Niccolò Piccinni wrote the music to La Cecchina to a text by the great Venetian playwright, Carlo Goldoni. That text was based on Samuel Richardson's popular English novel, Pamela, or Virtue Rewarded (1740). Many years later, Verdi called La Cecchina the "first true Italian comic opera" - that is to say, it had everything: it was in standard Italian and not in dialect; it was no longer simply an intermezzo, but rather an independent piece; it had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy the overture as an independent orchestral piece).

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