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330 Sentences With "comic operas"

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

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His comic operas, meanwhile, do not have a strong tradition of translation for the English-speaking world.
"Hoffmann," which Offenbach left incomplete upon his death in 1880, represents a different side of the composer than his comic operas, which constitute the largest part of his oeuvre.
And of course you can lie in music: Look at Mozart's "Così Fan Tutte," for instance, or even Verdi's "Falstaff" or any number of comic operas that depend on pretense.
The theatrical impresario Richard D'Oyly Carte, who built the Savoy Theater in London's West End in 1881 to showcase the comic operas of Gilbert and Sullivan, then built the Savoy Hotel next door in 1889.
Ian Woodfield's new book, " Cabals & Satires: Mozart's Comic Operas in Vienna ," identifies the true operatic villain of Josephine Vienna: Carl Ditters von Dittersdorf, a second-tier composer whose posthumous reputation rests mainly on his concertos for underserved instruments (oboe, viola, double-bass).
Fanciulli also wrote two comic operas, The Maid of Paradise and The Interpreter.
He wrote 12 comic operas for Vienna and Prague as well as vocal, orchestral, and chamber works.
'Richard Graves, 'The Comic Operas of Stephen Storace', Musical Times 95 no. 1340 (October 1954), pp. 530–532.
After Offenbach's death his reputation in France suffered a temporary eclipse. In Faris's words, his comic operas were "dismissed as irrelevant and meretricious souvenirs of a discredited Empire".Faris, p. 219 Obituarists in other countries similarly took it for granted that the comic operas, including Orphée, were ephemeral and would be forgotten.
Graham Hood. Leonardo Leo (1694-1744) and His Comic Operas Amor vuol sofferenze and Alidoro (Ph.D., Musicology, Cornell Univ., 1973).
His verse was always fluent, but otherwise of very slender merit. For the stage he translated many French comic operas.
He also wrote libretti for two comic operas by M. Ekkel and a dramatic dialogue on the opening of Petrovka Theatre in Moscow.
He studied piano with the virtuoso pianist Charles-Valentin Alkan; and operatic composition with Daniel Auber and Ferdinand Hérold. At the age of 19, Boulanger was awarded the Grand Prix de Rome in 1835 with his cantata "Achille". In 1842, he began making a name as a composer of comic operas and as a conductor. Boulanger made a dozen comic operas between 1842 and 1877.
Reginald De Koven in 1904 Henry Louis Reginald De Koven (April 3, 1859January 16, 1920) was an American music critic and prolific composer, particularly of comic operas.
Thorne wrote several pantomimes, some burlesques, two comic operas, and adaptations of several of Charles Dickens's novels for the stage. He also wrote a volume of reminiscences, entitled Jots (1897).
One of the best known of these types of collaborations is that between Gilbert and Sullivan. Librettist W. S. Gilbert wrote the words for the comic operas created by the partnership.
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.
Cambridge University Press, 1999. . Page 70. He also wrote six comic operas operas and eight tragedies, which, as D.S. Mirsky put it, "breathe an almost revolutionary spirit of political freethinking".D.S. Mirsky.
Daily expenses at the theatre were about half the possible takings from ticket sales.Dark and Grey, p. 85 The last eight of Gilbert and Sullivan's comic operas were premièred at the Savoy.
Benjamin E. Woolf (February 16, 1836 - February 7, 1901) was a British-born American violinist, composer, playwright, and journalist. His best-known works were the comic operas The Mighty Dollar and Westward Ho.
He composed and staged operas to the libretti of N. Porta. At the end of 1777 he moved to Vienna, where he was engaged as a music teacher and composer. His comic operas were often performed in the Burgtheater.
He returned to Paris in 1849 and died there the following year. Piccinni wrote over 200 works for the stage, including 25 comic operas. His genres also included melodrama; ballet; vaudeville airs; cantatas; romances; sonatas; piano-music; and opera.
Article on long-runs in the theatre before 1920 Several of Gilbert and Sullivan's comic operas broke the 500-performance barrier, beginning with H.M.S. Pinafore in 1878, and Alfred Cellier and B. C. Stephenson's 1886 hit, Dorothy, ran for 931 performances.
Arthur Playfair in 1915 Arthur Wyndham Playfair (20 October 1869 - 28 August 1918) was an English actor and singer. Beginning in Victorian burlesque and comic operas, Playfair became known for his roles in Edwardian musical comedy and, later, in musical revues.
W. S. Gilbert, c. 1870 From the mid-1860s to the early 1870s, W. S. Gilbert was extremely productive, writing a large quantity of comic verse, theatre reviews and other journalistic pieces, short stories, and dozens of plays and comic operas. His output in 1870 included dozens of his popular comic Bab Ballads; two blank verse comedies, The Princess and The Palace of Truth; two comic operas, Our Island Home and The Gentleman in Black; and various other short stories, comic pieces, and reviews appearing in various periodicals and newspapers. In 1871 he was even busier, producing seven plays and operas.
154 Neuendorff began to compose comic operas and operettas himself, most of which were written to librettos in German as well as in English. Besides, he translated German operas into English to be performed on Broadway, for example Franz von Suppé's Die Afrikareise.
La casa disabitata was the last of the 12 short comic operas which Princess Amalie had composed to her own libretti as entertainments for the Saxon court in Dresden.Schmid, Rebecca (29 May 2012). "Dresdener Musikfestspiele pay Tribute to Eastern Europe". Musical America.
By 1851, he was managing opera productions at various theatres in London and on tour. In 1855, Reed and his wife began to present and perform in "Mr. and Mrs. German Reed's Entertainments", consisting of brief, small-scale, family- friendly comic operas.
Caricature of Justin Cadaux by Nadar Justin Cadaux (13 April 1813 in Albi, France – 8 November 1874 in Paris) was a French organist, the composer of sixty-five known works including six comic operas, and a student of the Conservatoire de Paris.
Hopper trained for the stage in New York. While there, she had married DeWolf Hopper on June 28, 1893. They appeared in several comic operas together, including John Philip Sousa's El Capitan, before divorcing in 1898. The couple presented a striking physical contrast on stage.
Paulson, J. "Riddled Constructs: A Study of Musical Humour in Emmanuel Chabrier's Comic Operas." PhD diss. University of British Columbia, 2011. Cover of transcription of the Fête polonaise The opera was not to the taste of Cosima Wagner, who attended an 1890 performance in Dresden.
27 Sullivan asked to be released from the partnership on several occasions.Jacobs, Arthur. "Sullivan, Arthur Seymour" . Oxford Dictionary of National Biography, Oxford University Press, September 2004, accessed 11 April 2009 Nevertheless, they coaxed eight comic operas out of Gilbert and Sullivan in the 1880s.
In drama, farces, musical burlesques, extravaganzas and comic operas competed with Shakespeare productions and serious drama by the likes of James Planché and Thomas William Robertson. In 1855, the German Reed Entertainments began a process of elevating the level of (formerly risqué) musical theatre in Britain that culminated in the famous series of comic operas by Gilbert and Sullivan and were followed by the 1890s with the first Edwardian musical comedies. The first play to achieve 500 consecutive performances was the London comedy Our Boys by H. J. Byron, opening in 1875. Its astonishing new record of 1,362 performances was bested in 1892 by Charley's Aunt by Brandon Thomas.
The Idler magazine, 1897 George Grossmith (9 December 1847 – 1 March 1912) was an English comedian, writer, composer, actor, and singer. His performing career spanned more than four decades. As a writer and composer, he created 18 comic operas, nearly 100 musical sketches, some 600 songs and piano pieces, three books and both serious and comic pieces for newspapers and magazines. Grossmith created a series of nine characters in the comic operas of Gilbert and Sullivan from 1877 to 1889, including Sir Joseph Porter, in H.M.S. Pinafore (1878), the Major-General in The Pirates of Penzance (1880) and Ko-Ko in The Mikado (1885–87).
Wilhelm's 1882 design for the title role in Iolanthe William John Charles Pitcher (21 March 1858 – 2 March 1925), known as Wilhelm or C. Wilhelm, was an English artist, costume and scenery designer, best known for his designs for ballets, pantomimes, comic operas, and Edwardian musical comedies.
O'Keeffe contributed many Irish folksongs to the musical scores by Samuel Arnold and Shield such as I am a Friar of Orders Grey and The Thorn are still popular.Klein (2005), p. 31–34. For many of these songs, the comic operas are the earliest source.Fleischmann (1998).
John William Ivimey (12 September 1868 – 16 April 1961) was an English organist and composer who specialized in comic operas. He also worked as director of music in schools and churches. Ivimey was awarded the degree of Doctor of Music by the University of Oxford in 1916.
Ernest Boulanger (c. 1872) Ernest Henri Alexandre Boulanger (16 September 1815 – 14 April 1900 in Paris) was a French composer of comic operas and a conductor. He was more known, however, for being a choral music composer, choral group director, voice teacher, and vocal contest jury member.
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.
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).
In the 1870s Lecocq had supplanted Jacques Offenbach as Paris's favourite composer of comic operas, and had continued to enjoy frequent successes into the 1880s. After Le coeur et la main in 1882, success proved elusive. None of his nine subsequent operas had rivalled the popularity of his earlier works.Lamb, Andrew.
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.
Another opera, Semiramide riconosciuta, was dedicated to the "nobility of the Czech Kingdom". Rutini later moved with Locatelli and his group to the Russian St. Petersburg. He composed there the comic operas, mainly to the librettos of Carlo Goldoni. He was also the piano teacher of Catherine II, the future Russian empress.
Dorothy Furneaux Cook (1839 – 19 January 1903), born John Furneaux Cook, was an English opera singer and actor best known for baritone roles in the comic operas of Gilbert and Sullivan and Alfred Cellier on the London stage. Cook appeared on stage for over 30 years in London, the British provinces and America.
Gambling on prize-fights was one cause of his financial problems. He may have spent at least some months in debtors' prisons. He wrote frequently for the popular press in London on boxing and music. He wrote comic operas for the London stage, and four of these were produced between 1823 and 1833.
"Round the British Studios", Picture Show, London, Vol. 58, Issue 1518, 3 May 1952, p. 11 They decided to focus the script on the conflict between the composers caused by Sullivan's feeling that he was wasting his time writing comic operas. They used sections of eight of the Gilbert and Sullivan works.
The piece was the first of Sullivan's full-length operas that was produced. Although it was not a great success, it exhibits many of the qualities and techniques that Sullivan would employ in composing his twenty further comic operas, including the famous series of fourteen Gilbert and Sullivan operas produced between 1871 and 1896.
As late as the 1920s, he was still singing roles in comic operas such as Don Pasquale and Il barbiere di Siviglia. His last public performance was in 1921, in Domenico Cimarosa's opera Le astuzie femminili, staged in Rome. Kašman also taught singing. His finest student was Salvatore Baccaloni, a celebrated Italian buffo bass.
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.
The Grove Dictionary opines that "the chief characteristics of [his] conservative, three-movement symphonies are tautology and paucity of invention ... As a composer Van Swieten is insignificant." Known works include three comic operas: Les talents à la mode, Colas, toujours Colas, and the lost La chercheuse d'esprit. He also wrote ten symphonies, of which seven survive.
Her son, Ernest Boulanger, winner of the Grand Prix de Rome in 1835, was a composer of comic operas; her daughter-in-law, Princess Raissa Mychetsky, descended from St. Mikahil Tchernigovsky. Her granddaughters, Nadia Boulanger and Lili Boulanger, also competed in the Prix de Rome, Nadia earning second place in 1908 and Lili taking the first prize in 1913.
In 1898, a man steeped in popular music was chosen to lead the Orchestra. Victor Herbert was best known as a man of the theater and had composed a number of comic operas. He was born in Ireland, but then educated in Germany. A flamboyant conductor, he inspired musicians and audiences alike with his boundless enthusiasm.
After that, German all but ceased composing. Correspondence shows that he felt uncomfortable with the changing musical styles, such as jazz and modernist classical music. Like Sullivan before him, he regretted that his popularity stemmed mostly from his comic operas. However, German was a perfectionist and continually revised his works and produced new arrangements for publication.
Walter Lewis was a graduate from the New England Conservatory of Music. Together, Taylor as librettist and Lewis as composer, they staged three comic operas. On November 16, 1895, Taylor married Emma Bonner of Providence, Rhode Island. The following year, they moved west to Duluth, Minnesota after Taylor accepted an editor position at the News- Tribune.
Gilbert and Sullivan's H.M.S. Pinafore A change came in the Victorian era with a profusion on the London stage of farces, musical burlesques, extravaganzas and comic operas that competed with productions of Shakespeare's plays and serious drama by dramatists like James Planché and Thomas William Robertson. In 1855, the German Reed Entertainments began a process of elevating the level of (formerly risqué) musical theatre in Britain that culminated in the famous series of comic operas by Gilbert and Sullivan and was followed by the 1890s with the first Edwardian musical comedies. The length of runs in the theatre changed rapidly during the Victorian period. As transport improved, poverty in London diminished, and street lighting made for safer travel at night, the number of potential patrons for the growing number of theatres increased enormously.
Clarence M. Leumane in 1890 Clarence M. "Jack" Leumane (died 23 February 1928) was an English-born singer, actor, songwriter and librettist. He played leading tenor roles in opera, especially the comic operas of Gilbert and Sullivan, in the 1880s, first in Britain and then Australia. He was also a librettist and writer of the song '"The Lambton Worm" in 1867.
Lamb, Andrew. "Alfred Cellier in Australia", Sir Arthur Sullivan Society Magazine, No. 97, Summer 2018, p. 22 His last comic operas, Doris (1889, with Stephenson) and The Mountebanks (with Gilbert, produced in January 1892, a few days after the composer's death), were both modestly successful. Also after Cellier's death, Rutland Barrington used some of his music in his 1902 adaptation of Water Babies.
Sullivan had written some 20 operas, including fourteen comic operas with W. S. Gilbert, and a large volume of songs, orchestral pieces and other music. Although he was in the middle of composing his next opera, The Rose of Persia (which was to be his last completed opera), Sullivan agreed.Cannon, John. "The Absent-Minded Beggar", Gilbert and Sullivan News, March 1997, Vol.
Charles Wyndham, the manager of the Criterion, starred as the lead character, Frederick Foggerty. Despite Wyndham's star power, interest in the play's bold and original premise and reviews that were at least partly positive, the play was not a success. It closed on 6 January 1882 after about 25 performances. Disappointed, Gilbert turned back to writing comic operas with Arthur Sullivan.
Operette001 at Theatrehistory.com, accessed 4 January 2009 Working on the same model, Jacques Offenbach quickly surpassed him, writing over ninety operettas. Whereas earlier French comic operas had a mixture of sentiment and humour, Offenbach's works were intended solely to amuse. Though generally well crafted and full of humorous satire and grand opera parodies, plots and characters in his works were often interchangeable.
From Milan, Salieri included stops in Venice and Rome before returning to Milan. During this tour he wrote three new comic operas and he collaborated with Giacomo Rust on one opera, ' (The Talisman). Of his Italian works one, La scuola de' gelosi (The School for Jealousy), a witty study of amorous intrigue and emotion, proved a popular and lasting international success.
Pauline Rita as a young woman Pauline Rita (c.1842 – 28 June 1920) was an English soprano and actress. During her early career, she was best known for her performances in operettas and comic operas at the Opera Comique and was associated with impresario Richard D'Oyly Carte. Later, she married flautist John Radcliff, and the two performed together for many years.
Wolf-Ferrari circa 1906 Ermanno Wolf-Ferrari (born Ermanno Wolf) (January 12, 1876 - January 21, 1948) was an Italian composer and teacher. He is best known for his comic operas such as Il segreto di Susanna (1909). A number of his works were based on plays by Carlo Goldoni, including Le donne curiose (1903), I quatro rusteghi (1906) and Il campiello (1936).
Gafforini made the first of her many appearances at La Scala in March 1801. That spring she sang in four comic operas there: revivals of Mayr's Che Originali!, Gazzaniga's Fedeltà ed amore alla prova, and Portugal's Le Donne cambiate, and the premiere of Orlandi's Il Podestà di Chioggia. In April she also sang in the premiere of cantata Il Trionfo della pace.
Les amours de Ragonde (The Loves of Ragonde, original title: Le mariage de Ragonde et de Colin ou La Veillée de Village) is an opera in three acts by Jean-Joseph Mouret with a libretto by Philippe Néricault Destouches. It was first performed at the Château de Sceaux in December, 1714. It is one of the first French comic operas.
Fred Clifton as the Sergeant of Police Thomas Husler Greene (29 May 1844 – 7 September 1903), who performed as Fred Clifton, was an English opera singer and actor known for creating three roles in the early Gilbert and Sullivan comic operas: the Notary in The Sorcerer (1877), the Boatswain in H.M.S. Pinafore (1878) and the Sergeant of Police in The Pirates of Penzance (1879).
Wright, Allen W. "Changes to the Legend: Children's Stories and Comic Operas". From Wolfshead Through the Ages: The History of Robin Hood. Retrieved November 22, 2008. After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C. Wyeth, were children's novels after Pyle's fashion.
He also wrote incidental music for West End productions of several Shakespeare plays, and held conducting and academic appointments. Sullivan's only grand opera, Ivanhoe, though initially successful in 1891, has rarely been revived. In his last decade Sullivan continued to compose comic operas with various librettists and wrote other major and minor works. He died at the age of 58, regarded as Britain's foremost composer.
Jacobs, Arthur. "Sullivan, Arthur Seymour" , Oxford Dictionary of National Biography, Oxford University Press, September 2004, accessed 11 April 2009 Nevertheless, Carte was able to coax eight comic operas out of his partners between 1879 and 1896.Joseph, pp. 18–19 When Princess Ida closed after a comparatively short run of nine months, for the first time in the partnership's history, a new opera was not ready.
The island was called Folly Eyot until the eponymous owner bought it. Richard D'Oyly Carte was the producer of the Gilbert and Sullivan comic operas from 1875 to 1896, founder of the Savoy Theatre and Royal English Opera House (now the Palace Theatre) in London, and a hotelier. He bought the island in about 1890, and it acquired his middle name and surname.Barrington, Rutland (1908).
Carr in 1894 Frank Osmond Carr (23 April 1858 – 29 August 1916), known as F. Osmond Carr, was an English composer who wrote the music for several Victorian burlesques before turning to the new genere of Edwardian musical comedy, and also composing some comic operas. He often worked with the lyricist Adrian Ross, and several of his pieces were created for the producer George Edwardes.
4, col. B In January 1871, Cellier became the first conductor and music director at the Royal Court Theatre in London. From 1871 to 1875 he was conductor and musical director at the Prince's Theatre in Manchester. During this period he composed many comic operas and operettas, the first of which was Charity Begins at Home (1872 at the Gallery of Illustration), with librettist B. C. Stephenson.
Also on the bill were Trying a Dramatist, by W. S. Gilbert, and Trial by Jury. Gilbert produced four more pieces for Reed, including A Sensation Novel in 1871 and Eyes and No Eyes in 1875. He also wrote several comic operas with Clay, the last of which was Princess Toto in 1876. Thomas German Reed played Ebenezer Tare, while his wife played Mrs. MacMotherly.
47; and Wagstaff, p. 77 Messager and Chabrier were close friends until the latter's death in 1894. Both were known for their comic operas and opérettes, but Chabrier's one serious opera, Gwendoline, appealed strongly to Messager, who vowed to conduct it in Paris, which he later did. He also prepared a piano reduction of the orchestral parts for the vocal score of the work.
Unlike some more risqué French comic operas of the era, the plot of La fille de Madame Angot proved exportable to more strait-laced countries without the need for extensive rewriting, and Lecocq's score was received with enthusiasm wherever it was played. Although few other works by Lecocq have remained in the general operatic repertory, La fille de Madame Angot is still revived from time to time.
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.
A talented musician, he wrote four comic operas and much musical criticism. Much of his humorous, commercial work was written under the pseudonym Cupid Jones. Saltus wrote and edited a comic paper entitled the Thistle in the 1870s, the entire contents of which were written by him and signed with various pseudonyms.The Bookman: an Illustrated Magazine of Literature and Life: Volume XXII, September, 1905-February 1906.
Five more of his comic operas were produced in Naples up to 1745, and he also received commissions for operas to be presented in Rome and other Italian cities. In 1746 he was engaged as a harpsichordist at the opera house in Palermo,Van Boer 2012; Libby et al 2001. and his opera seria Ataserse was performed there in 1747.Walker 1954; Libby et al 2001.
Antoine Banes studied music under the direction of Émile Durand, professor of harmony at the Paris Conservatoire. Early on, he thought to appear in the theater. He enjoyed light music and represented various successful comic operas or operettas. After trying his hand in various musical pochades at the Eldorado, he represented works including, among others, la Nuit de noce (1881) ; les Délégués (1887) ; Toto (1892)...
He never learned to swim or ride a bicycle; however, he did learn to drive a car after he moved to Boston. In his humor book Asimov Laughs Again, he describes Boston driving as "anarchy on wheels". Asimov's wide interests included his participation in his later years in organizations devoted to the comic operas of Gilbert and Sullivan and in The Wolfe Pack,See NeroWolfe.
Charlottetown is the capital and largest city on the island. Its documented music history begins in the 19th century, with religious music, some written by local pump and block maker, and organ-importer, Watson Duchemin. Several big bands including the Sons of Temperance Band and the Charlottetown Brass Band, were active. By the end of the century, Charlottetown had its own opera house, performing comic operas by Gilbert and Sullivan.
Dora Wiley, c. 1880–1885 (by José Maria Mora) Dora Wiley (1852 or 1853 – 2 November 1924) was an American soprano who performed in operas and concerts in the United States, England, and Australia during the last three decades of the 19th century. Nicknamed "The Sweet Singer of Maine", her chief successes were in operettas and comic operas. She enjoyed popularity on the New York stage during the 1880s.
Also in 1896 A.E. Housman published at his own expense A Shropshire Lad.The Norton Anthology of English Literature, 7th edition, vol. 2, p. 2041. Writers of comic verse included the dramatist, librettist, poet and illustrator W.S. Gilbert (1836–1911), who is best known for his fourteen comic operas, produced in collaboration with the composer Sir Arthur Sullivan, of which the most famous include H.M.S. Pinafore, and The Pirates of Penzance.
The Athenaeum called the piece "clever, but rather remote... an exercise rather than an amusement."Quoted in Stedman, p. 123 From the mid-1860s through the early 1870s, W. S. Gilbert was extremely productive, writing a large quantity of comic verse, theatre reviews and other journalistic pieces, short stories, and dozens of plays and comic operas. His dramatic writing during this time was evolving from his early musical burlesques.
Peñaflorida was the author of many works in his lifetime. They include Los aldeanos críticos (1758), Ensayo de la Sociedad Bascongada de amigos del país (1766), and Gabon- Sariac (1762) a religious epic dealing with the life of Louise de La Vallière (although some attribute this one to Manuel Larramendi). He also wrote the music and librettos of two bilingual (Spanish-Basque) comic operas, El borracho burlado (1764) and Comedia famosa.
Beginning in 1871, Gilbert and Sullivan wrote fourteen comic operas together."The Gilbert and Sullivan Operas", at The Gilbert and Sullivan Archive, 7 June 2006, accessed 24 October 2009 Most of these were tremendously popular, both in London and on tour.Crowther, Andrew. "The Carpet Quarrel Explained", The Gilbert and Sullivan Archive, 28 June 1997, accessed 7 October 2009 Their success eclipsed Gilbert's playwriting career, during which he produced dozens of plays.
In 1997 he created the Chesky Records Kids division to encourage children to listen to classical music. The first release was Classical Cats: A Children's Introduction to the Orchestra (1997), followed by Snowbears of Lake Louise (1998). Other works for children include the ballet The Zephyrtine (2013) and the opera The Mice War. He has written two comic operas for adults: The Pig, the Farmer, and the Artist, and Juliet & Romeo.
124–25 (1904)The two probably met at a rehearsal for a second run of Ages Ago at the Gallery, probably in July 1870. See Crowther (2011), p. 84 The two later collaborated on fourteen comic operas that became the most enduring pieces of musical theatre from the Victorian era. Gilbert would later reuse many ideas and plot elements from these earlier works in the Gilbert and Sullivan operas.
By 1815 he had established himself in a promising career which continued until the late 1820s in Italy, France and London and then in Northern Ireland from 1829 where he also ran an opera company. He continued to sing and manage opera companies in Scotland and from New York from 1838, where he lived until his death in 1849. He has been described as "an ideal interpreter of Rossini's comic operas".
In 1868, he began a long association with W. S. Gilbert, staging the dances for most of the original productions of the Gilbert and Sullivan operas, including H.M.S. Pinafore (1878) and The Mikado (1885), as well as many other Savoy operas. Between the 1860s and 1909, D'Auban choreographed more than 150 productions, including pantomimes, burlesques, musical comedies and comic operas. He also taught dance to many who became famous performers.
An employee at the Préfecture of Paris, he became an editor at Le Figaro where he was responsible for the theatre critics. His comic operas, vaudevilles, operettas and other works, written from the 1870s to the 1890s, were performed on the most significant Parisian stages of his time, including Théâtre des Folies-Dramatiques, Théâtre de la Renaissance and Théâtre des Variétés. He is buried at the Père Lachaise Cemetery (47th division).
Garcin was born in Bourges. His maternal grandfather, Joseph Garcin, was director of a travelling company playing comic operas in the central and southern provinces of France. Having entered the Paris Conservatoire in adolescence, studying under Clavel and Alard, Garcin took the Premier Prix for violin in 1853, and entered the Opéra orchestra in 1856. He became solo violinist, then third conductor in 1871, and finally chief conductor in 1885.
Architect Seth Geer designed eye-catching row houses called LaGrange Terrace for the development, and the area became a fashionable, upper-class residential district. This location made the gardens accessible to the people of both the Broadway and Bowery districts. In the summer of 1838, the owners opened a saloon for the staging of vaudeville comic operas. Later theatre managers expanded the offerings to appeal to a wider range of patrons.
His serious operas suffer from a coldness and severity of style, but in his comic operas he shows a keen sense of humour. His ensemble movements are spirited, but never worked up to a strong climax. A fine and characteristic example of his sacred music is the Dixit Dominus in C, edited by CV Stanford and published by Novello. A number of songs from operas are accessible in modern editions.
Robin Hood did not appear on the Restoration stage, except for "Robin Hood and his Crew of Souldiers" acted in Nottingham on the day of the coronation of Charles II in 1661. This short play adapts the story of the king's pardon of Robin Hood to refer to the Restoration.Dobson and Taylor, pp. 45, 247 However, Robin Hood appeared on the 18th-century stage in various farces and comic operas.
Terence Albert Ladd Rees (24 February 1928 – 15 November 2014) was a microbiologist but was best known as a collector of material relating to the theatre and music in Wales and Britain. He was also a published theatre historian and researcher, and, in particular, was an authority on the works of W. S. Gilbert and Arthur Sullivan who, as Gilbert and Sullivan, wrote 14 comic operas in the late Victorian era.
"David Cantor", Ovrtur.com, accessed October 14, 2014 Cantor has performed principal roles in all of the Gilbert and Sullivan comic operas in the U.S., Great Britain, and Italy. Cantor appeared in the films Prince of the City (1981), So Fine (1981), The Chosen (1981) and Working Girl (1988). In the early 1980s, he played a number of television soap opera roles in All My Children, Loving, Another World, and Ryan's Hope.
Christian Gottlob Neefe Christian Gottlob Neefe (; 5 February 1748 - 28 January 1798) was a German opera composer and conductor. Neefe was born in Chemnitz, Saxony. He received a musical education and started to compose at the age of 12. He studied law at Leipzig University, but subsequently returned to music to become a pupil of the composer Johann Adam Hiller under whose guidance he wrote his first comic operas.
Born in Rome, Alessandri was trained at the Naples Conservatory. After completing his studies he became maestro di cappella at the Turin Cathedral. He then moved to Paris, France where he lived for 4 years. After a brief return to Italy, he came to London in 1768 where he was active as a concert pianist and two of his comic operas were staged: La moglie fedete and Re alia caccia.
Programme for Ivanhoe, 1891 Throughout the 1880s, Sir Arthur Sullivan chafed at the restrictions of the comic operas for which he was famous. His friends and associates, and even the queen, encouraged him to write a serious opera.Jacobs, pp. 188, 267 and passim His usual collaborator, W.S. Gilbert, declined to join him in writing a full- scale romantic opera, and recommended Sturgis as "the best serious librettist of the day".
Bettany, unnumbered page (there are no page numbers in the book)Wilson and Lloyd, p. 29 Daily expenses at the theatre were about half the possible takings from ticket sales.Dark and Grey, p. 85 Patience The work that opened the new theatre was Gilbert and Sullivan's comic opera Patience, which had been running since April 1881 at the smaller Opera Comique. The last eight of Gilbert and Sullivan's comic operas were premièred at the Savoy: Iolanthe (1882), Princess Ida (1884), The Mikado (1885), Ruddigore (1887), The Yeomen of the Guard (1888) The Gondoliers (1889), Utopia, Limited (1893), and The Grand Duke (1896), and the term Savoy opera has come to be associated with all their joint works. After the end of the Gilbert and Sullivan partnership, Carte, and later his widow, Helen (and her manager from 1901 to 1903, William Greet), staged other comic operas at the theatre by Arthur Sullivan and others, notably Ivan Caryll, Sydney Grundy, Basil Hood and Edward German.
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.
He accompanied the prince on his many travels, to France (Paris), Bohemia (Prague) and Austria (Vienna), where his two first comic operas were performed in Schönbrunn: Le Déguisement pastoral (1756) en Les Amours champêtres (1758). Van Maldere also played for the empress Maria Theresia in Vienna. His works were known to Wolfgang Amadeus Mozart and Joseph Haydn. Carl Ditters von Dittersdorf notes him as one of the most important virtuosos of his time.
"The business of this piece is made up of the scheme of a petulant old man, who proposes to marry a young lady, and of the efforts of a rattle brained young lover to baffle him and to carry off the prize.""Theatre", The Morning Post, 20 August 1817, p. 3 Beazley continued to write for the stage, producing more than a hundred comedies, farces, comic operas, and operettas.Earl and Sell, p.
On his return to Paris, he produced several comic operas, all public failures, including Linnée (1808), La Dupe de son Art (1809), and Cagliostro (1810).Bara (2001), c. 1346. In 1816, he was appointed full professor of harmony and counterpoint, a position he held until 1842. Among his pupils were Charles-Valentin Alkan, François Bazin, Louis Désiré Besozzi, Alexandre Goria, Henri Herz, Félix Le Couppey, Antoine François Marmontel, Joseph O'Kelly, and Ambroise Thomas.
Cotticelli, Francesco and Maione, Paolo Giovanni (1996). Onesto divertimento, ed allegria de' popoli, p. 139. Ricordi. Comic operas dominated the theatre's repertoire throughout the 18th century, but it also presented prose comedies during that time, which like the operas were mainly written in Neapolitan dialect. Over the 137 years of its existence, the Teatro Nuovo presented hundreds of world premieres, including fifteen operas by Cimarosa, eleven by Piccinni, and seven by Donizetti.
He also played the baritone roles of Strephon in the original production of Iolanthe (1882), and Giuseppe in the New York production of The Gondoliers (1890). During the next two decades, Temple played in, or directed, a variety of comic operas, musical comedies and plays, and sang in concerts, both in London and on tour. He also taught acting and directed productions at music schools, primarily at the Royal College of Music.
Temple continued to appear in various comic operas and musical comedies, including A Prince of Borneo (1899), billed as "an operatic farce";The Times, 6 October 1899, p. 11 The Gay Pretenders (1900), with George Grossmith senior and junior, and Frank Wyatt;The Observer, 11 November 1900, p. 6The Times, 12 November 1900, p. 13 and the captain in San Toy on tour in 1901.The Manchester Guardian, 14 May 1901, p.
In 1871, the producer John Hollingshead brought together the librettist W.S. Gilbert and the composer Arthur Sullivan to create a Christmas entertainment, unwittingly spawning one of the great duos of theatrical history. So successful were the 14 comic operas of Gilbert and Sullivan, such as H.M.S. Pinafore (1878) and The Mikado (1885), that they had a huge influence over the development of musical theatre in the 20th century.Brockett and Hildy (2003, 326–327).
1 Lancelot, a comic role, marked the beginning of Pounds's transition from juvenile leads to character and comedy parts in both straight and musical theatre.Gänzl, Kurt. "Pounds, Courtice", Grove Music Online, accessed 2 August 2010 This was succeeded by two more comic operas, both by Justin Clérice: The Royal Star, in which Pounds played Jack Horton,"Theatrical Gossip", The Era, 10 September 1898, p. 8 and The Coquette, in which he played Michele.
In 1881 she was Griolet in La fille du tambour-major and the Countess in Olivette. During the next 13 years, Stuart was to take leading parts in 35 comic operas. In December 1883, she played the title role in Gilbert and Sullivan's Patience. As principal boy in the following Christmas pantomime, Stewart was careless when climbing the beanstalk, fell and broke her arm, had it set in the theatre, and completed the part.
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.
Loomis also composed works for children; also in his catalog may be found numerous stage works, including comic operas and pantomimes; sonatas for violin and for piano; and incidental music to numerous stage plays. Little of his music has been committed to disc, although some of the Lyrics may be found on a recording of Indianist piano music released by Naxos Records on the Marco Polo label. Loomis died on Christmas Day, December 25, 1930.
Others of his more than forty stage works receive occasional revivals. After study at the Paris Conservatoire, Lecocq shared the first prize with Georges Bizet in an operetta-writing contest organised in 1856 by Offenbach. Lecocq's next successful composition was an opéra-bouffe, Fleur-de-Thé (Tea-flower), twelve years later. His comic operas Les cent vierges (The Hundred Virgins, 1872), La fille de Madame Angot (1872) and Giroflé-Girofla (1874) were all successes and established his international reputation.
Edward Solomon, Oxford Dictionary of National Biography, Oxford University Press, October 2007; accessed July 16, 2014. While in London, she was engaged to create the title role in Gilbert and Sullivan's Princess Ida (1884), but she clashed with W.S. Gilbert and was dismissed during rehearsals.Stedman, Jane W. (1996) W. S. Gilbert, A Classic Victorian & His Theatre, pp. 200–01, Oxford University Press Solomon's comic operas were not highly successful in Britain, so Russell and Solomon returned to America.
12 In 1903, a memorial to him was raised in Victoria Embankment Gardens, close to the site of the Savoy Theatre where many of his and Gilbert's comic operas premiered. The sculptor was Sir William Goscombe John . John modelled the head and shoulders bust in bronze, subsequently adding the figure of a disconsolate woman, which he had sculpted in Paris in 1890–1899. Sources variously describe the figure as representing "Grief" or the Greek muse of music, Euterpe.
Thus was brought into strong relief a fact without which there can be no true appreciation of Plautus, viz., that his plays were comic operas rather than comic dramas. In conjectural criticism Ritschl was inferior not only to his great predecessors but to some of his contemporaries. His imagination was in this field (but in this field only) hampered by erudition, and his judgment was unconsciously warped by the desire to find in his text illustrations of his discoveries.
May and Allen began to have a relationship, and she travelled with him to Australia in 1870, where they performed together in concerts. Beginning in 1872, May began star in comic operas in Australia. May and Allen returned to England in 1876, where she continued to perform in Offenbach works, earning good notices. In 1877, May created the role of Aline in The Sorcerer, earning warm reviews, but she left the company after only two months.
Four years later, the impresario Richard D'Oyly Carte engaged Gilbert and Sullivan to create a one-act piece, Trial by Jury (1875). Its box-office success led to a series of twelve full-length comic operas by the collaborators. After the extraordinary success of H.M.S. Pinafore (1878) and The Pirates of Penzance (1879), Carte used his profits from the partnership to build the Savoy Theatre in 1881, and their joint works became known as the Savoy operas.
After meeting James Townley and being influenced by his farce High Life Below StairsJames Townley, High life below stairs: A farce of two acts. As it is performed at the Theatre-Royal in Drury-Lane, J. Newbery, 1759. Bate Dudley started writing scripts for comic operas. Following his The Rival Candidates, his libretto for The Flitch of Bacon (1778) was the first of his collaboration with the composer William Shield, whom he assisted in bringing to prominence.
Gilbert, Workman and German at a rehearsal of Fallen Fairies Workman then left the D'Oyly Carte organisation and became an actor-manager. He leased the Savoy and produced two comic operas: Eden & Somerville's The Mountaineers (1909), appearing as Pierre, and W. S. Gilbert and Edward German's Fallen Fairies (1909), appearing as Lutin. He then produced an Edwardian musical comedy, Two Merry Monarchs (1910), appearing as Rolandyl, and an opera, Gluck's Orpheus, (1910). None of these was a financial success.
Jessie Bond Jessie Charlotte Bond (10 January 1853 – 17 June 1942) was an English singer and actress best known for creating the mezzo-soprano soubrette roles in the Gilbert and Sullivan comic operas. She spent twenty years on the stage, the bulk of them with the D'Oyly Carte Opera Company. Musical from an early age, Bond began a concert singing career in Liverpool by 1870. At the age of 17, she entered into a brief, unhappy marriage.
9 In 1934 Hesketh Pearson rated the libretto among Gilbert's best.Pearson, p. 135 In a 1937 review, The Manchester Guardian declared, :It is incomprehensible that Ruddigore should ever have been considered less attractive than the other comic operas in the Savoy series. The libretto gives us Gilbert at his wittiest, and in the music we hear Sullivan not only in his most tuneful vein but also as a master of more subtle rhythms than he commands elsewhere.
The actress Mademoiselle Montansier opened her own musical theater in the Palais-Royal. The great fair of Saint-Germain, was closed by the Revolution, but a new theater, the Théâtre Lyrique de Saint-Germain, opened on its old site in 1791. Seventy-six new comic operas or vaudeville programs were staged in 1790, and fifty new works in each of the following years. Censorship of theatrical works was abolished in 1791, but this freedom did not last long.
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.
This ban was lifted only after papal intervention on his behalf. He was particularly renowned for his performances in operas by Giuseppe Verdi and Richard Wagner. Towards the end of his stage career however, as the quality of his voice began to deteriorate due to age, he switched to the buffo repertoire of Rossini, Donizetti and other composers of comic operas. In 1903, he made a number of recordings in Milan for the British Gramophone & Typewriter Company.
She was also seen at the Queen's Theatre in Francesco Gasparini's Antioco and Ambleto; Giovanni Bononcini's Etearco; and in numerous pasticcios.Dean, page 382 A letter from 1716 described Pilotti-Schiavonetti as a servant of Caroline of Ansbach, the Princess of Wales. She and her husband returned to Germany a few years later. They were committed to the court at Stuttgart in 1726 where Elisabetta sang in several comic operas, including Pyramus and Thisbe under the direction of her husband.
"Toole's Theatre", The Standard, 17 February 1882, p. 3 Toole's staples were burlesque, light opera and comedies, including farces. Burlesques included Stage Dora; or, Who Killed Cock Robin, F. C. Burnand's parody of Sardou's Fédora (1883)"The Theatre", Pall Mall Gazette, 28 May 1883, p 2 and Paw Claudian (1884) Burnand's lampoon of a recent costume drama Claudian by Henry Herman and W. G. Wills. Comic operas included Mr. Guffin's Elopement"Toole's Theatre", The Standard, 9 October 1882, p.
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.
Patience Peter Pratt (21 March 1923 – 11 January 1995) was an English actor and singer. He was best known for his comic roles in the Gilbert and Sullivan comic operas. Pratt started his career in the chorus of the D'Oyly Carte Opera Company in 1945, moving up to small roles and then understudying Martyn Green, the principal comedian. From 1951 to 1959, he was the company's principal comedian, earning critical praise in the famous "patter" roles.
German returned to writing comic operas, achieving another success with Tom Jones for the Apollo Theatre in 1907, produced by Robert Courtneidge for the Fielding bicentenary. The score is one of German's finest works. It received a production in New York, with German conducting, and was performed for decades, spawning separate performances of its dance music. He next collaborated with W. S. Gilbert on his final (and unsuccessful) opera, Fallen Fairies, at the Savoy in 1909.
The collection of pamphlets stored in the Russell Library is approximately 12,000 in number showcasing all topics dating from approximately the 18th and 19th centuries made of Irish Language and Catholic Truth Society pamphlets. They display a large range of controversial yet topical issues: political satire, writers reacting to government policy, parliamentary speeches, charity sermons, comic operas, associations for developing as a society, developments in agriculture, inventions, military expedition accounts, medical theories, art exhibitions and finally court cases.
His composition for violin, Fantasia concertante was recorded by Andre Gertler. His two comic operas, A Palágyi Pekek and Balaton, were composed for the Hungarian theatre in London, the "Londoni Pódium". A Palágyi Pékek, (libretto, György Mikes) (1943), was the first collaboration of Mátyás Seiber and George Mikes. Balaton, (libretto, György Mikes) (1944), as George Mikes has reported, was aired during the war by the BBC and, after the end of the war even made it to Budapest.
Jennie McNulty, 1890 Jennie McNulty or Jenny McNulty (1866"Jennie McNulty", 1891 England Census, Ancestry.com (pay to view) - 1927"Jennie M Paulet", England & Wales, Death Index, 1916–2007, Ancestry.com (pay to view)) was an American-born British actress. Beginning her career as a Gaiety Girl, she went on to act in featured roles on the London stage in musical theatre around the close of the 19th century, including comic operas and operettas, Victorian burlesques, farces and Edwardian musical comedies.
So successful were the comic operas of Gilbert and Sullivan, such as H.M.S. Pinafore (1878) and The Mikado (1885), that they greatly expanded the audience for musical theatre.Brockett and Hildy (2003, 326–327). This, together with much improved street lighting and transportation in London and New York led to a late Victorian and Edwardian theatre building boom in the West End and on Broadway. Later, the work of Henry Arthur Jones and Arthur Wing Pinero initiated a new direction on the English stage.
Marie Jansen as Angelina in The Lion Tamer, c. 1892 In May 1889 Jansen played Tourouloupi, the wife of Cadi, in The Oolah, the first of three successful comic operas she performed in with Francis Wilson's Opera Company at the old Broadway Theatre on 41st Street, New York. The Oolah, by Sydney Aronson and Charles Lecocq, was memorable in part for Jansen's rendition of the song, "Be Good", which some considered too suggestive."Wilson in Oolah", New York World, May 14, 1889, p.
Winter was born in Pendleton, Oregon, one of five children, including four sons, of Melvin Winter, a car dealer and former Pendleton mayor, and Margaret Winter, a housewife.Rootsweb listing accessed 17 March 2010Aney, Kathy. "Singer lived life on the opera stage", East Oregonian, October 26, 2019 As a child, Winter was enchanted by the comic operas of Gilbert and Sullivan and by science. He graduated from Pendleton High School in 1970 and the University of Oregon (1978) with degrees in theater and music.
Dal Prato was a full-time professional singer during the years 1780 to 1805. He was very popular, handsome, and considered to be good-natured with everyone; his singing style was renowned for its high quality but his acting was thought to be of an average standard. His favourite role was that of the serious lover in comic operas, which he supposedly enjoyed immensely because it allowed him to flaunt his lyrical talents without requiring any great acting skills.Heriot, Angus.
Gänzl, Kurt. "Who WAS 'Little Buttercup'?", Kurt Gänzl's blog, 28 April 2018 Everard made her first known stage appearance in Exeter, at the Theatre Royal, about 1861, and in Swansea and Plymouth from 1862 to 1863, earning warm notices for her singing in the burlesques, pantomimes and comic operas, such as adaptations of Guy Mannering, Rob Roy, Aladdin, Ruy Blas and Fortunio. In 1864, she was at the Surrey Theatre in Sheffield appearing in Sinbad Guy Mannering and Rob Roy.
Sylva remained in the United States where she carved out an increasingly successful career in musical comedy, operetta and vaudeville. She appeared in the world premiere of The Fortune Teller by Victor Herbert and toured several U.S. cities playing the leading roles in The Princess Chic, Miss Bob White, and The Strollers. She eventually formed the Marguerite Sylva Opera Company to produce comic operas and operettas under the management of Samuel F. Nixon and J. Fred Zimmerman.New York Times, 10 August 1902, p.
"The Glamour of Evil", Urban Tulsa Weekly, June 6, 2007 It changed its name to Light Opera Oklahoma in 1997 in conjunction with its transformation into a professional repertory company and expanded its repertoire to works outside the corpus of Gilbert and Sullivan's comic operas. Eric Gibson was named the artistic director in 2002.Watts, James D., Jr. "LOOK Musical Theater cancels season to pay off debts", Tulsa World, August 9, 2015. The company rebranded itself again in 2012 under its present name.
Ivimey was only twenty when he was appointed as assistant to Alan Gray at Wellington College in 1888.Bernard Rainbow, Music and the English Public School (1990), p. 249 While composing about twenty comic operas, as well as a symphony, a grand opera, cantatas and other songs, and much organ music, Ivimey was successively organist at St Peter's, Norbiton, and St Paul's, Onslow Square. He also wrote articles for magazines and journals and edited hymn books and books of songs.
370 The composer Henry Février in his André Messager: Mon Maître, Mon Ami (1948) calls La Basoche "the last of the great nineteenth- century French comic operas" ("le dernier des grands opéras-comiques français du XIX siècle")Février, p. 49 and considers it of the greatest importance not only in Messager's career but in the history of French musical theatre. Gervase Hughes in his 1962 study of operetta considers the work to have a good claim to be the composer's masterpiece.Hughes, p.
Evelyn Gardiner as the Duchess of Plaza Toro in The Gondoliers, 1938 Evelyn Gardiner (12 March 1894 – 13 June 1970), born Enid Mary Griffin, was an English opera singer and actress known for her work as principal contralto in the Gilbert and Sullivan comic operas with the D'Oyly Carte Opera Company and J. C. Williamson, as well as for other stage acting. In 1933, Gardiner earned a pilot's licence and claimed to be only the second British actress ever to do so.
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.
Arturo Cadore Arturo Cadore (15 September 1877 – 25 June 1929) was an Italian composer and organist. Born in Soresina (Province of Cremona), he primarily composed operettas and parlor songs, and comic operas. He is also known for having completed Amilcare Ponchielli's opera I Mori di Valenza which had been left unfinished when the composer died in 1886 and was premiered posthumously in 1914. In his later years he was the organist at the Chiesa di San Vittore in Olona (near Varese).
Fuller Maitland gave up journalism in 1911, retiring to Borwick Hall near Carnforth in Lancashire. He continued to write books, including an autobiography, A Door-Keeper of Music (1929), in which he admitted that he had been wrong in earlier years to dismiss Sullivan's comic operas as "ephemeral"."Light Opera", The Times, 22 September 1934, p. 10 His aversion to modern music abated in his later years, and he recognised the importance of composers such as Richard Strauss and Claude Debussy.
Nevertheless, his music is always tastefully written, technically demanding and rewarding for performers. Throughout his life O'Kelly showed a keen interest in opera. All of his nine operas are one- act comic operas, four of which were published. Stella (1859) was expressly written as a salon opérette, but his best-known works were La Zingarella (1878, libretto by Jules Adenis and Jules Montini), performed in February and March 1879 at the Opéra Comique in Paris,Le Ménestrel, 2 March 1879, p.
The word "Royal" was dropped from the name of the theatre in 1876. Burnand and Charles Morton were both briefly managers there, presenting extravaganzas and comic operas respectively. Morton's season in 1876 included well-received productions of Offenbach's Madame l'archiduc and Lecocq's La fille de Madame Angot, featuring Soldene and Kate Santley and, in the second piece, W. S. Penley, promoted from the chorus. Morton also presented a successful double bill of Gilbert and Sullivan's Trial by Jury and Offenbach's Geneviève de Brabant.
Thereafter she lived at Babington House in Babington, Somerset, and became a local leader of charitable amateur productions such as performances of Gilbert and Sullivan comic operas. From around 1897, her own piano concert performances tailed off. She changed direction towards composing music for dramatic performances. An early success in this line came in 1903 when The Dancing Girl and the Idol, an oriental fantasy with words by Edith Lyttelton, was given an amateur production at a prestigious charity event in Chatsworth House.
The French organist-composer Alexandre Guilmant included this tune in his Fantaisie sur deux mélodies anglaises for organ Op. 43, where he also makes use of the song "Home! Sweet Home!". Arthur Sullivan, perhaps Britain's most popular composer during the reign of Queen Victoria, quoted from "Rule, Britannia!" on at least three occasions in music for his comic operas written with W. S. Gilbert and Bolton Rowe. In Utopia Limited, Sullivan used airs from "Rule, Britannia!" to highlight references to Great Britain.
Michael Gunn met Richard D'Oyly Carte in 1875 and later became a partner in his production company.Ainger, p. 111 He and young Edwardes moved to London to work for Carte at the Opera Comique in the late 1870s, with Edwardes being given the trusted position of treasurer. He eventually became Carte's manager at the Opera Comique and then was Carte's first managing director of the Savoy Theatre in 1881, helping to produce several of the famous Gilbert and Sullivan comic operas until 1885.
Plays could run longer and still draw in the audiences, leading to better profits and improved production values. The first play to achieve 500 consecutive performances was the London comedy Our Boys, opening in 1875. Its record of 1,362 performances was bested in 1892 by Charley's Aunt.Article on long-runs in the theatre before 1920 Several of Gilbert and Sullivan's comic operas broke the 500-performance barrier, beginning with H.M.S. Pinafore in 1878, and Alfred Cellier and B.C. Stephenson's 1886 hit, Dorothy, ran for 931 performances.
Gilbert helped to reform and elevate the respectability of the theatre, especially beginning with his six short family-friendly comic operas, or "entertainments", for Thomas German Reed.Stedman, pp. 62–68; Bond, Jessie, The Reminiscences of Jessie Bond: Introduction, The Gilbert and Sullivan Archive, accessed 21 August 2012 Ages Ago, during a rehearsal for which Frederic Clay introduced Gilbert to Sullivan At a rehearsal for one of these entertainments, Ages Ago, in 1870, the composer Frederic Clay introduced Gilbert to his friend, the young composer Arthur Sullivan.Crowther, Andrew.
Patience in 1881 Llewellyn "Lyn" Cadwaladr (1857 – 7 February 1909) was a Welsh operatic tenor who originated roles in, or starred in early tours of, comic operas and operettas of Gilbert and Sullivan, Solomon and Stephens, Robert Planquette and others in the Victorian era, often in America for the D'Oyly Carte Opera Company. He was touring as Ralph in H.M.S. Pinafore when he was asked to create the role of Frederic in the ad hoc 1879 British copyright performance of The Pirates of Penzance.
Reynolds worked on the revival of 18th century ballad operas. In 1923 he became Musical Director of the Lyric Theatre, Hammersmith, where he performed revivals of Sheridan's The Duenna (1924), Lionel And Clarissa (1925), with music mainly by Charles Dibdin, and Love in a Village (1928), with music by Thomas Arne. He wrote incidental music for several plays, including those by Molière, Farquhar, Shakespeare and Goldsmith, and review music for Nigel Playfair. The Lyric staged Reynolds's comic operas The Fountain of Youth and Derby Day.
Michael D. Largey Vodou Nation: Haitian Art Music And Cultural Nationalism 2006 "Justin Elie (1883–1931) enjoyed the most prominent international reputation of all the Haitian composers; ... Wilfred Bériot for piano, Émile Pessard for harmony, and Paul Vital for composition (Dalencour 1983; Herissé n.d.)." After 1895 he was a critic and director.Peter Lamothe Theater Music in France, 1864-1914 2008 Page 286, "Revived at the Odéon, 11 April 1901 with musical direction by Émile Pessard." He composed many comic operas and operettas, as well as masses.
From 1879 to 1887 he toured extensively in Gilbert and Sullivan's comic operas with the D'Oyly Carte Opera Company. His roles included the Pirate King from The Pirates of Penzance appearing in the opera's first performance in 1879. He also played, among other roles, Captain Corcoran in H.M.S. Pinafore, Colonel Calverley in Patience, Strephon in Iolanthe and Florian in Princess Ida. He appeared in the title role in The Mikado (1885) and as Sir Roderic in Ruddigore (1887) in the first authorised American productions of those works.
Scene from La Basoche The decade began well for Messager with the artistic and commercial success of La Basoche (1890). Février in his André Messager: Mon Maître, Mon Ami calls it "the last of the great nineteenth- century French comic operas" ("le dernier des grands opéras-comique français du XIX siècle")Février, p. 49 and considers it of the greatest importance not only in Messager's career but in the history of French musical theatre. Hughes says it has a good claim to be the composer's masterpiece.
The plot device of babies who are switched at birth, or in their cradles, has been a common one in American fiction since the 18th century. It is one of the several identifiable characteristics of melodrama that are plot devices dealing with situations that are highly improbable in real life. The use of this common theme has continued ever since. The device was used a number of times by W. S. Gilbert, including in the Gilbert and Sullivan comic operas H.M.S. Pinafore and The Gondoliers.
Of the British premiere of Il filosofo di campagna in 1761 Burney wrote, "This burletta surpassed in musical merit all the comic operas that were performed in England, till the Buona Figliuola."Burney (1789), p. 474 In April 1762 Galuppi was appointed to the leading musical post in Venice, maestro di capella of St Mark's, and in July of the same year he was also appointed maestro di coro (choir master) at the Ospedale degli Incurabili. At St Mark's, he set about reforming the choir.
Algernon Charles Swinburne (1837–1909) is also considered an important literary figure of the period, especially his poems and critical writings. Early poetry of W. B. Yeats was also published in Victoria's reign. With regard to the theatre it was not until the last decades of the nineteenth century that any significant works were produced. This began with Gilbert and Sullivan's comic operas, from the 1870s, various plays of George Bernard Shaw (1856–1950) in the 1890s, and Oscar Wilde's (1854–1900) The Importance of Being Earnest.
Frédéric Boulanger (June 1777-?) was a French cellist and professor of singing at the Paris Conservatory. From Dresden, he was the winner of the first prize in cello at the Conservatory in 1797 and a Professor of cello, attached to the King's Chapel. He was the father of Ernest Boulanger, a composer of comic operas, husband to mezzo-soprano Marie-Julie Halligner of the Théâtre de l'Opéra-Comique and grandfather to Nadia Boulanger and Lili Boulanger. He left his family though when Ernest was a small child.
Reece's The Forty Thieves, 1880 Poster for an 1886 production of Reece's Aladdin and the Forty Thieves Robert Reece (2 May 1838 – 8 July 1891) was a British comic playwright and librettist active in the Victorian era. He wrote many successful musical burlesques, comic operas, farces and adaptations from the French, including the English-language adaptation of the operetta Les cloches de Corneville, which became the longest-running piece of musical theatre in history up to that time. He sometimes collaborated with Henry Brougham Farnie or others.
Leber however did not stay there long, for he considered the attacks on the temporal property of the Holy See to be sacrilegious. On his return to Paris Leber resumed his administrative work, literary recreations and historical researches. While spending a part of his time writing vaudevilles and comic operas, he began to collect old essays and rare pamphlets by old French historians. His office was preserved to him by the Restoration, and Leber put his literary gifts at the service of the government.
Bruce Montgomery Bruce Eglinton Montgomery (June 20, 1927 – June 21, 2008) was an American composer, author, musical theater performer and painter; and a conductor and director, particularly of the Gilbert and Sullivan comic operas. "Monty", as he was known around the Philadelphia performing community, was perhaps best known for his long tenure as director of musical activities at the University of Pennsylvania, as Artistic Director for the Gilbert & Sullivan Players of Philadelphia for 32 years, and as the director of the Gilbert & Sullivan Society of Chester County.
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.
111–127 She leased the Savoy Theatre to William Greet in 1901 and oversaw his management of the company's revival of Iolanthe and the production of several new comic operas, including The Emerald Isle (1901), Merrie England (1902) and A Princess of Kensington (with music by German, libretto by Hood), which ran for four months in early 1903 and then toured.Joseph (1994), p. 138 When A Princess of Kensington closed at the Savoy, Mrs. Carte leased the theatre to other managements until 8 December 1906.
An early poster showing scenes from the first three Gilbert and Sullivan operas after Thespis Carte finally assembled a syndicate in 1877 and formed the Comedy Opera Company to launch a series of original English comic operas, beginning with a third collaboration between Gilbert and Sullivan, The Sorcerer, in November 1877. This work was a modest success,Ainger, pp. 147–52 and H.M.S. Pinafore followed in May 1878. Despite a slow start, mainly due to a scorching summer, Pinafore became a red-hot favourite by autumn.
His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to conduct at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments.Rees, p. 11.
Between 1950 and 1980 he was famous not only for his interpretations of roles in operas of Richard Wagner, but also of roles in the operas of Wolfgang Amadeus Mozart and Giuseppe Verdi. He also performed with success in comic operas like Zar und Zimmermann of Albert Lortzing. He worked with the great stars of the fifties and sixties like Kirsten Flagstad, Birgit Nilsson, Christa Ludwig, Herbert von Karajan, Wolfgang Windgassen, Hans Knappertsbusch and Dietrich Fischer-Dieskau. He was a member of the Hamburger Staatsoper from 1953-1971.
Ages Ago—Early Days, The Gilbert and Sullivan Archive, accessed 21 August 2012Gilbert and Sullivan met at a rehearsal for a second run of Gilbert's Ages Ago at the Gallery of Illustration, probably in July 1870. See Crowther (2011), p. 84 Over the next year, before the two first collaborated, Gilbert continued to write humorous verse, stories and plays, including the comic operas Our Island Home (1870) and A Sensation Novel (1871), and the blank verse comedies The Princess (1870), The Palace of Truth (1870) and Pygmalion and Galatea (1871).
Lortzing was a successful composer of Spielopern, comic operas with spoken dialogue, from Zar und Zimmermann in 1837 to Der Waffenschmied in 1846. He composed Die Opernprobe in 1850 when he was director of the new Friedrich-Wilhelmstädtisches Theater in Berlin, which rarely played operas. For the libretto, he freely adapted a 1733 French play by Philippe Poisson, L’Impromptu de campagne, which had translated to German in 1794, as Die Komödie aus dem Stegreif (The improvised comedy). Lortzing had appeared as a character in the play in Cologne in 1825.
She married Thomas German Reed in 1844. From 1847–54, she continued to play roles at the Haymarket, Drury Lane and Olympic theatres as well as in provincial tours. One 1851 role was Hecate in Macready's farewell Macbeth. Priscilla German Reed, mid-1860s In the spring of 1855, the German Reeds presented the first performance of "Miss P. Horton's Illustrative Gatherings," musical theatre performances usually consisting of one or two brief comic operas designed for a minimal number of characters and performed with either the piano and harmonium or a small ensemble of musicians.
Harriett Everard as Little Buttercup in H.M.S. Pinafore Harriett Everard (12 March 1844 – 22 February 1882) was an English singer and actress best known for originating the role of Little Buttercup in the Gilbert and Sullivan hit H.M.S. Pinafore in 1878. The character regretfully reveals a key secret that sets up the ending of the opera. Everard had a stage career of 20 years, although she died at the age of 37. She appeared, for the first 15 of these, in numerous burlesques, pantomimes, comic operas, comic plays and even some dramas.
In 1764, he accepted an invitation to act as musical director of the Smock Alley Theatre, Dublin, where he stayed for the next three years, performing comic operas and co-produced the first ever opera seria to be performed in Ireland, L'eroe cinese (1766). Following accusations of plagiarism, he went back to London in 1767, where for the next 16 years he was relatively successful as an opera composer. From 1783, Giordani returned to live in Ireland for the remainder of his life. He was particularly active in opera, as both composer and impresario.
It was also around this time that Haydn became interested in writing fugues in the Baroque style, and three of the Op. 20 quartets end with a fugue. Following the climax of the "Sturm und Drang", Haydn returned to a lighter, more overtly entertaining style. There are no quartets from this period, and the symphonies take on new features: the scoring often includes trumpets and timpani. These changes are often related to a major shift in Haydn's professional duties, which moved him away from "pure" music and toward the production of comic operas.
In the 18th century, many composers, including Alessandro Scarlatti, Leonardo Vinci, and Giovanni Paisiello, contributed to the Neapolitan tradition by using the local language for the texts of some of their comic operas. Later, others—most famously Gaetano Donizetti—composed Neapolitan songs that garnered great renown in Italy and abroad. The Neapolitan song tradition became formalized in the 1830s through an annual songwriting competition for the yearly Piedigrotta festival,Napoletana, notes to vol.1 dedicated to the Madonna of Piedigrotta, a well-known church in the Mergellina area of Naples.
458 a run of half that length was reckoned a success in the Parisian theatres of the time. "Edmond Audran" , Opérette – Théâtre Musical, Académie Nationale de l'Opérette (in French). Retrieved 13 April 2019 The writers Alfred Duru and Henri Chivot were established authors of librettos for comic operas, having collaborated with Lecocq, Léon Vasseur, Edmond Audran and, in 1868, Offenbach (L'île de Tulipatan). To follow Madame Favart the three wrote La fille du tambour-major for the Folies-Dramatiques and its company, which starred Parisian favourites including Juliette Simon-Girard, Caroline Girard and Simon-Max.
Around 2004 Taylor began work on a series of four comic operas using the music of classical composers whose music was out of copyright. Taylor said he hoped to bring the music of the classical composers to a wider audience through these works. The first of these was "Snow White and The Evil Queen", which takes the classic fairy tale and gives the "Evil Queen" a more central role. Instead of a "mirror mirror on the wall", the story features a masochistic hairdresser who acts as the queen's stylist as well as her vanity mirror.
Although the Quakers and other religious groups expressed their moral opposition to theatrical performances, comic operas by leading British composers were frequently performed, often soon after their premières in London. During the revolutionary period expensive theatrical entertainments were prohibited, except during the time of the British occupation, and the ban remained in effect until 1789. After the ban was lifted, Philadelphia became one of the nation's main theatrical centers. The New American Company, founded in 1792 by Reinagle and Thomas Wignell, recruited a large number of singers and composers from England.
Williams as Corporal Bundy in The Red Hussar Arthur Williams (9 December 1844 – 15 September 1915) was an English actor, singer and playwright best remembered for his roles in comic operas, musical burlesques and Edwardian musical comedies. As a playwright, Williams wrote several farces as well as some dramas. Born in Islington, London, Williams initially went into business as a law stationer but soon left to take up acting in 1861 when he was 17. He travelled to Gravesend, Kent, where he made his stage début as Alfred Martelli in "The Corsican Brothers".
Jessie Rose as Zayda in Fallen Fairies Jessie Kate Rose (18 November 1875 – 27 May 1928)Gänzl, Kurt. "Cartesians: Jessie Rose invades the 'C's!", Kurt of Gerolstein, 31 May 2020 was an English opera singer and actress primarily known for her performances as principal mezzo-soprano in the Gilbert and Sullivan comic operas with the D'Oyly Carte Opera Company. From 1896 to 1899 she originated several mostly smaller roles in Savoy operas and then continued to play a variety of smaller and larger roles in repertory with the company.
Léon Lévy Brunswick (20 April 1805, in Paris - 29 July 1859, in Le Havre) was a French playwright. He started as a journalist before turning to theater. He is the author of many comedies with Jean-François Bayard, Louis-Émile Vanderburch, and Arthur de Beauplan such as Boccaccio, or the Prince of Palmero by Franz von Suppé. But it is with Adolphe de Leuven that he is known for his greatest successes, notably booklets of comic operas by Adolphe Adam (Le Brasseur de Preston, Le Postillon de Lonjumeau, Le Roi d'Yvetot).
There he had the opportunity to create the roles of Harrington Jarramie in Mrs. Jarramie's Genie, Lieutenant Colmondeley in The Yeomen of the Guard (both in 1888) and Luiz in The Gondoliers (1889). He left the company to create the roles of Prince John in Arthur Sullivan's grand opera Ivanhoe and the Duc de Longueville in La Basoche (both in 1891). He next played in a number of comic operas in London through 1893, the year that he petitioned for divorce from his first wife, another member of the D'Oyly Carte.
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).
1994.127 Gillows was owned by the family until 1814 when it was taken over by Redmayne, Whiteside, and Ferguson; they continued to use the Gillow name. Gillows furniture was a byword for quality, and other designers used Gillows to manufacture their furniture. Gillows furniture is referred to by Jane Austen, Thackeray and the first Lord Lytton, and in one of Gilbert and Sullivan's comic operas. In 1903 Gillows merged with Warings of Liverpool to become Waring and Gillow and although the furniture remained of a high quality it was not as prestigious.
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.
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).
97 The theatre went through several more renovations, closures, and proprietors starting in the second half of the 18th century. By the 19th century, it had ceased being a leading opera house in the city and tended to concentrate on comic operas and plays (often in Roman dialect), acrobatic displays, and puppet shows. The theatre returned to the Capranica family in 1853 when Marchese Bartolomeo Capranica bought it back from Prince Alessandro Torlonia and spent a great deal of money renovating it. However, it never regained its former prestige.
Upon his return from Europe, he was involved with the New England Conservatory of Music, as well as Symphony Hall, Boston. He was also a member of the Harvard Musical Association. Atherton composed several comic operas, including “The Heir Apparent” (1890) and “The Maharaja” (1900), an Oriental opera comique. In addition, he wrote dozens of songs and a number of pieces for violin and piano, romances, folk songs, waltzes and numerous works of chamber music, pianoforte pieces and many songs, and a number of violin and piano pieces; all which entered public domain in 2015.
Naples has played an important and vibrant role over the centuries not just in the music of Italy, but in the general history of western European musical traditions. This influence extends from the early music conservatories in the 16th century through the music of Alessandro Scarlatti during the Baroque period and the comic operas of Pergolesi, Piccinni and, eventually, Rossini and Mozart. The vitality of Neapolitan popular music from the late 19th century has made such songs as 'O Sole mio and Funiculì Funiculà a permanent part of our musical consciousness.
The Queen inquires if he will write a grand opera. Just before the premiere of their next opera, Ruddigore, Sullivan asks Gilbert to write the libretto for his first grand opera. Gilbert declines, stating that in such a work the words play second fiddle to the music, and Sullivan is angered saying that he has always had to hold the music back so that the words could predominate, and that he no longer takes pleasure in writing comic operas. Ruddigore receives negative reviews and some negative audience response.
The Story of Gilbert and Sullivan is a 1953 British technicolor film that dramatises the story of the collaboration between W. S. Gilbert and Arthur Sullivan. Gilbert and Sullivan wrote 14 comic operas, later referred to as the Savoy Operas, which became the most popular series of musical entertainments of the Victorian era and are still popular today. The film was written by Sidney Gilliat and Leslie Baily, based on Baily's The Gilbert and Sullivan Book. It was directed by Gilliat, with cinematography by Christopher Challis and production design by Hein Heckroth.
It was based on a poem by Thomas Moore with characters including a virgin priestess and a mystic prophet, and a plot that culminates in poisoning and stabbing. Stanford offered the work to the opera impresario Carl Rosa, who refused it and suggested that the composer should try to have it staged in Germany: "Its success will (unfortunately) have much greater chances here if accepted abroad." Referring to the enormous popularity of Sullivan's comic operas, Rosa added, "If the work was of the Pinafore style it would be quite another matter."Rodmell, p.
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.
German audiences would prove more appreciative of his work; a revised version of Cenerentola was a hit in Bremen in 1902, while the cantata La vita nuova brought the young composer international fame. Wolf-Ferrari now began transforming the wild and witty farces of the 18th- century Venetian playwright Carlo Goldoni into comic operas. The resulting works were musically eclectic, melodic, and utterly hilarious; every single one became an international success. In fact, until the outbreak of World War I, Wolf-Ferrari's operas were among the most performed in the world.
Robert was succeeded by his sons: Richard managed the Lancaster production, and Robert set up a London operation. As a provincial he was unique in having a London showroom. It was a family business until 1813, when the Gillow family sold the firm to three partners, Redmayne, Whiteside, and Ferguson, who retained the name Gillow & Co. Gillows furniture is referred to by Jane Austen, Thackeray and the first Lord Lytton, and in one of Gilbert and Sullivan's comic operas. Much of the furniture in the Judges' Lodging was commissioned by specific clients.
Véronique, 1905 John Le Hay was the stage name of John Mackway Healy (25 March 1854 – 2 November 1926), an English singer and actor known for his portrayal of the comic baritone roles in the Savoy Operas. He also appeared in non-musical plays, adaptations of French comic operas and opérettes, and in Edwardian musical comedy, usually in comic roles, though sometimes in more serious character parts. As a skilled ventriloquist he appeared before royalty, and periodically he presented his own one-man entertainment during his half-century long stage career.
From the late 1870s through the 1880s, Gilbert wrote a series of successful comic operas, working almost exclusively with Arthur Sullivan. The Gilbert and Sullivan partnership dissolved for several years after the production of The Gondoliers (1889), because of a financial dispute, but in 1893 they reunited to write Utopia, Limited. Encouraged by the modest success of this piece, the two agreed to write a new piece. In January 1894, Gilbert was ready with the scenario for a libretto that would become His Excellency, and which he hoped Sullivan would set to music.
Carte after the failure of The Grand Duke Grossmith wrote numerous comic pieces for the magazine Punch, including a series of ten skits in 1884 inspired by his Bow Street experiences, which he called "Very Trying". He also wrote two memoirs, A Society Clown: Reminiscences (1888) and Piano and I: Further Reminiscences (1910). In his career, Grossmith wrote 18 comic operas, nearly 100 musical sketches, some 600 songs and piano pieces, and three books. He also wrote both serious and comic pieces for newspapers and magazines throughout his career, displaying a wide range of styles.
W. S. Gilbert in 1878 Sir William Schwenck Gilbert (18 November 1836 – 29 May 1911) was an English dramatist, librettist, poet and illustrator best known for his collaboration with composer Arthur Sullivan, which produced fourteen comic operas. The most famous of these include H.M.S. Pinafore, The Pirates of Penzance and one of the most frequently performed works in the history of musical theatre, The Mikado.Kenrick, John. G&S; Story: Part III, accessed 13 October 2006; and Powell, Jim. William S. Gilbert's Wicked Wit for Liberty accessed 13 October 2006.
Conducting in Cairo Opera House during the Spiros Project His vast repertoire ranges from symphonic, opera, oratorios and ballet conducting to musicals and light music. He conducted Rossini’s 3 comic Operas: Il Signor Bruschino, La Cambiale di Matrimonio, L'occasione fa il ladro, Verdi’s Rigoletto, Puccini’s La Boheme as well as highlights from Aida, La Traviata and Il Barbiere di Siviglia. He also conducted Prokofiev’s Ballet Romeo & Juliet and Ravel's Bolero. His Oratorios repertoire includes Mozart, Brahms, and Fauré Requiems as well as Rossini’s Petite Messe Solennelle and Schubert Stabat Mater.
Poster for A Gaiety Girl In the 1890s, Edwardes hit upon a new strategy for the Gaiety, which was a variation from the kinds of shows that he and Carte had produced and also had elements of the Gaiety burlesques and of music hall entertainments. The earliest of these shows, taking a cue from Dorothy, had a musical style similar to the Gilbert and Sullivan comic operas. Into this mix, he incorporated some of the elements of the form that Harrigan & Hart had established on Broadway a decade earlier.Kenrick, John.
The following year, he and the actor, , purchased it and produced plays there until 1890, including the premiere of Master Olof by August Strindberg. They presented many other recent foreign and domestic plays, as well as the classics, comic operas and operettas. During the latter part of the 1890s, he served as director and, from 1895 to 1896, as secretary of the Royal Swedish Opera. In addition to his plays, he published brochures dealing with theatrical issues; such as the process of directing, the theatre's relationship with its critics, and a critical study of Henrik Ibsen.
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.
Other professional theatrical production companies include the Lyric Opera San Diego, specializing in comic operas, operettas, and musical comedies, and the Starlight Musical Theatre, presenting musical comedies in the outdoor Starlight Bowl. Both the Lyric Opera and Starlight sought bankruptcy protection in 2011 and are currently inactive. Starlight is now under new management and being rebuilt to operate as an event space. www.savestarlight.org There are also numerous semiprofessional and amateur theatrical productions throughout the year by such groups as the Cygnet Theatre, Christian Community Theater, Vanguard Theater, Lamb's Players Theater, Diversionary Theatre, and San Diego Junior Theatre.
Hermann Abert offered background to the work thus: it "deals with a theme familiar not only from fairytales but also from French and German comic operas, namely the love of a mere portrait, a true fairytale miracle that music alone can turn into a real-life experience."Abert, p. 1265 Abert goes on to contrast Tamino's love with that of other male characters in Mozart opera: > Few, if any, experiences lend themselves to musical treatment as much as the > mysterious burgeoning of love in a young heart. It was an experience that > already preoccupied Mozart's attentions in the case of Cherubino.
The opera follows the Singspiel tradition, in which musical numbers are connected by spoken dialog. Nicolai referred to the work as a "komisch-fantastische Oper" ("comic/fantasy opera"), reflecting its fusion of romantic opera in the style of Carl Maria von Weber and the comic operas of Albert Lortzing, which were very popular at the time. On the romantic side are the love scenes between Anna and Fenton, the ghost and elf music and, naturally, the moonrise. The opera buffa element comes into play with the figure of Falstaff, the husbands, and both of the suitors spurned by Anna.
Calvesi was born in Rome, the son of Bernhard Calvesi, a papal chamberlain.Michael Lorenz: "Light on Vincenzo Calvesi's Origin" His date of birth, his musical education, and the details of his youth are now unknown. The first definite account of the singer was in 1777 for a series of performances in operas in Rome. He actively performed in comic operas in Italy up through 1782. From 1782 to 1783 he sang in Dresden at the newly opened Kurfürstliches Hoftheater. In 1784 he appeared at La Scala in the Milan premiere of Domenico Cimarosa's Chi dell'altrui si veste presto si spogli.
R. Scott Fishe as Mr Goldbury in Utopia Limited in 1893 Robert Scott Fishe (12 February 1871 – 31 August 1898) was an English operatic baritone and actor best remembered for creating roles in the 1890s with the D’Oyly Carte Opera Company. As a boy, Fishe was a chorister with the Chapel Royal. After beginning his professional stage career, he was hired in 1891 by Richard D'Oyly Carte for the chorus of Arthur Sullivan's grand opera Ivanhoe. He soon toured in South America with other D'Oyly Carte artistes, performing in comic operas and surviving a shipwreck off the coast of Chile.
Pini-Corsi was born into a musical family in Zara, later known as Zadar, in what is now Croatia. (Many of his relatives sang professionally, most notably his brother Gaetano, who was a successful operatic tenor.) He made his professional opera debut in Cremona in 1878 as Dandini in La Cenerentola. Pini-Corsi subsequently appeared in opera houses throughout Italy for the next 15 years, specializing in the comic operas of Gioachino Rossini and Gaetano Donizetti. He made his La Scala debut in 1892 as Don Rolando Ximenes in the first performance of the revised version of Alberto Franchetti's Cristoforo Colombo.
Afterwards he was active as a piano teacher and composer before he moved to Bourges in 1836. In Bourges, he worked as an organist and gave lessons in solfège, piano, harmony and counterpoint, among others to the young Frédéric Barbier. In 1860, he returned to Paris, resuming his wide-spread contacts among notable musicians of his time, including Adolphe Adam and François Antoine Habeneck, and poets like Marc-Antoine Madeleine Désaugiers. He was closely attached to the Théâtre des Variétés and the second Théâtre de l'Ambigu-Comique, for which he composed (comic) operas, ballets and incidental music.
Many young singers start out as soubrettes but as they grow older and the voice matures more physically they may be reclassified as another voice type, usually either a light lyric soprano, a lyric coloratura soprano, or a coloratura mezzo-soprano. Rarely does a singer remain a soubrette throughout her entire career. The tessitura of the soubrette tends to lie a bit lower than the lyric soprano and spinto soprano. The soubrette roles are typically found in comic operas or operettas and they usually portray good-looking, youthful girls who are flirtatious, saucy, and street- wise.
In 1856 Delibes' first stage work was premiered at the Folies-Nouvelles: Deux sous de charbon (Two sous-worth of coal), a one-act comic piece to a libretto by Jules Moinaux, described as an "asphyxie lyrique".Curzon, p. 13 Over the next fourteen years he produced more comic operas, at an average rate of about one a year. Many were written for the Bouffes-Parisiens, the theatre run by Jacques Offenbach, including Deux vieilles gardes ("Two Old Guards"), Delibes's second opera, which enjoyed enormous success, attributable in Macdonald's view to the composer's gift for "witty melody and lightness of touch".
Built by Sefton Henry Parry as the Royal Avenue Theatre, it opened on 11 March 1882 with 1200 seats. The first production at the theatre was Jacques Offenbach's Madame Favart. In its early seasons, the theatre hosted comic operas, burlesques and farces for several years. For much of this time, the low comedian Arthur Roberts, a popular star of the music halls, starred at the theatre. By the 1890s, the theatre was presenting drama, and in 1894 Annie Horniman, the tea heiress, anonymously sponsored the actress Florence Farr in a season of plays at the theatre.
A great deal of Animaniacs' humor and content was aimed at an adult audience, revolving around hidden sexual innuendo and throwback pop culture references. Animaniacs parodied the film A Hard Day's Night and the Three Tenors, references that The New York Times wrote were "appealing to older audiences". The comic operas of Gilbert and Sullivan Pirates of Penzance and H.M.S. Pinafore were parodied in episode 3, "HMS Yakko". The Warners' personalities were made similar to those of the Marx Brothers and Jerry Lewis, in that they, according to writer Peter Hastings, "wreak havoc", in "serious situations".
In December 1890, near the end of their collaboration, and still estranged by their famous carpet quarrel, W. S. Gilbert and Sir Arthur Sullivan have neither seen nor spoken with each other in months. Now they must supervise a rehearsal for a revue of songs from their comic operas, a command performance for Queen Victoria at the Savoy Theatre. The underprepared show is set to open in about eight hours. Sullivan has been ill and has missed most of the rehearsals; he is in love with pretty Violet Russell, a young soprano of whom Gilbert disapproves.
From the mid-1860s through the early 1870s, W. S. Gilbert was extremely productive, writing a large quantity of comic verse, theatre reviews and other journalistic pieces, short stories, and dozens of plays and comic operas. In 1871, he produced seven plays and operas. Gilbert's dramatic writing during this time was evolving from his early musical burlesques to a more restrained style, as exemplified in his string of blank-verse fairy comedies. The first of these was The Palace of Truth, which opened in 1870 to widespread acclaim."Court Theatre" in The Times, 19 April 1871, p. 8, col. 2.
Barnfield, Paul. Old Hampton Wick poem - fascinating new information revealed, Hampton Wick Association, 2017 A Suite in D minor, op 58 with viola soloist has been orchestrated by Tim Seddon from a viola and piano manuscript that was in the collection of Lionel Tertis and passed on to his pupil Harry Danks.Dutton Epoch - July 2016 There are also two comic operas written early in his career, The Royal Vagrants: a story of Conscientious Objection (1899)Griffel, Margaret Ross. Opera in English: A Dictionary (2012) and Cupid’s Market, as well as many songs for solo and chorus.
Nadia Boulanger was born in Paris on 16 September 1887, to French composer and pianist Ernest Boulanger (1815–1900) and his wife Raissa Myshetskaya (1856–1935), a Russian princess, who descended from St. Mikhail Tchernigovsky. Ernest Boulanger had studied at the Paris Conservatoire and, in 1835 at the age of 20, won the coveted Prix de Rome for composition. He wrote comic operas and incidental music for plays, but was most widely known for his choral music. He achieved distinction as a director of choral groups, teacher of voice, and a member of choral competition juries.
Eric Lewis c. 1890 Frederic Lewis Tuffley (23 October 1855 – 1 April 1935), better known by his stage name, Eric Lewis, was an English comedian, actor and singer. In a career spanning five decades, he starred in numerous comedies and in a few musical comedy hits, but he is probably best remembered today as the understudy to George Grossmith in the Gilbert & Sullivan comic operas of the 1880s who left the D'Oyly Carte Opera Company just in time to give Henry Lytton his big break. Lewis began performing in comic musical sketches in Brighton in the 1870s.
The title roles of the heroic Tonino and the foolish Zanetto in the Nick Enright/Terence Clarke musical, The Venetian Twins, were written for Forsythe. He originated these dual roles for Nimrod Theatre Company in the first Sydney Theatre Company season in 1979, and subsequently in two revivals. Other stage appearances include the Gilbert and Sullivan comic operas H.M.S. Pinafore and The Mikado for Essgee Entertainment, receiving a Melbourne Green Room Award as Ko-Ko in The Mikado in 1995. For the film Caddie, Forsythe received the 1976 Australian Film Institute Award for Best Actor in a Supporting Role.
This is evident in his first reform opera, Orfeo ed Euridice, where his non- virtuosic vocal melodies are supported by simple harmonies and a richer orchestra presence throughout. Gluck's reforms have had resonance throughout operatic history. Weber, Mozart, and Wagner, in particular, were influenced by his ideals. Mozart, in many ways Gluck's successor, combined a superb sense of drama, harmony, melody, and counterpoint to write a series of comic operas with libretti by Lorenzo Da Ponte, notably Le nozze di Figaro, Don Giovanni, and Così fan tutte, which remain among the most-loved, popular and well-known operas today.
On 13 April 1867, a selection of songs from the opera were performed at The Crystal Palace, arranged for military band by Charles Godfrey Jr. The overture proved popular and went on to appear in numerous further concerts.Jacobs, p. 41 and passim Like many of Sullivan's early pieces, the overture is in the style of Mendelssohn and shows that The Sapphire Necklace was a more serious work than the comic operas for which Sullivan later became famous. The two other songs, "Over the Roof" and a now-lost recitative and prayer, "Then come not yet," were less successful.
The latter story, with its combination of adventurous narrative, travel themes, and detailed historical research, would later be described by Verne as "the first indication of the line of novel that I was destined to follow". Dumas fils put Verne in contact with Jules Seveste, a stage director who had taken over the directorship of the Théâtre Historique and renamed it the Théâtre Lyrique. Seveste offered Verne the job of secretary of the theater, with little or no salary attached. Verne accepted, using the opportunity to write and produce several comic operas written in collaboration with Hignard and the prolific librettist Michel Carré.
The first Waa-Mu show took place in 1929. A senior Northwestern student Joseph W. Miller and his classmate Darrell Ware wrote the script for and staged the college musical comedy that became "The Waa-Mu Show," the first co-educational college musical show. The Women's Athletic Association (WAA) and the Men's Union (MU) collaborated to put on the first show. The name "Waa-Mu" is derived from the synthesis of the two groups' acronyms. The WAA had been staging popular all- female musical comedies since 1912; the MU had presented less successful all- male comic operas for a number of years prior to 1929.
Producer Richard D'Oyly Carte brought together librettist W. S. Gilbert and composer Arthur Sullivan, and nurtured their collaboration. Among Gilbert and Sullivan's best known comic operas are H.M.S. Pinafore, The Pirates of Penzance and The Mikado. Carte built the Savoy Theatre in 1881 to present their joint works, and through the inventor of electric light Sir Joseph Swan, the Savoy was the first theatre, and the first public building in the world, to be lit entirely by electricity."The Savoy Theatre", The Times, 3 October 1881Description of lightbulb experiment in The Times, 28 December 1881 The success of Gilbert and Sullivan greatly expanded the audience for musical theatre.
The "patter" baritone (or "principal comedian", as these roles later were called) would often assume the leading role in Gilbert and Sullivan's comic operas, and was usually allotted the speedy patter songs. After the success of Trial by Jury, Gilbert and Sullivan were suddenly in demand to write more operas together. Over the next two years, Richard D'Oyly Carte and Carl Rosa were two of several theatrical managers who negotiated with the team but were unable to come to terms. Carte proposed a revival of Thespis for the 1875 Christmas season, which Gilbert and Sullivan would have revised, but he was unable to obtain financing for the project.
Jupiter and Callisto, 1759 Along with his painting, Boucher also designed theater costumes and sets, and the ardent intrigues of the comic operas of Charles Simon Favart closely paralleled his own style of painting. Tapestry design was also a concern. For the Beauvais tapestry workshops he first designed a series of Fêtes italiennes ("Italian festivals") in 1736, which proved to be very successful and often rewoven over the years, and then, commissioned in 1737, a suite of the story of Cupid and Psyche.Kathryn B. Hiesinger, "The Sources of François Boucher's 'Psyche' Tapestries" Philadelphia Museum of Art Bulletin 72 No. 314 (November 1976), pp. 7–23.
' (For the recovered health of Ophelia), K. 477a, is a solo cantata for soprano and fortepiano composed in 1785 by Antonio Salieri and Wolfgang Amadeus Mozart, and a third, unknown composer, Cornetti, to a libretto written by the Vienna court poet Lorenzo Da Ponte.Anon., "Mozart and Salieri 'lost' composition played in Prague", BBC News, February 16, 2016.Woodfield, I., Cabals and Satires: Mozart's Comic Operas in Vienna (Oxford: Oxford University Press, 2019), pp. 17–18. It is speculated that "Cornetti" may refer to Alessandro Cornetti, a vocal teacher and composer active in Vienna at the time,Keefe, S. P., Mozart Studies 2 (Cambridge: Cambridge University Press, 2015), p. 111.
Between 1868 and 1877, Carte wrote and published the music for several of his own songs and instrumental works, as well as three short comic operas: Doctor Ambrosias – His Secret (1868), Marie (1871), and Happy Hampstead (1876). On tour in 1871 he conducted Cox and Box by Arthur Sullivan and F. C. Burnand, in tandem with English adaptations of two one-act pieces by Offenbach, The Rose of Auvergne and Breaking the Spell, in which Carte's client Selina Dolaro starred."Theatres", Liverpool Mercury, 5 September 1871, p. 1. Carte's musical talent would be helpful later in his career, as he was able to audition singers himself from the piano.
Vasily Pashkevich entered court service in 1756 becoming a court composer to Tsar Peter III of Russia and later to his widow, Catherine the Great. He also played violin, and taught singing in the Academy of Arts 1773-1774 and later in the court capella. Between 1780 and 1783 he managed the Karl Kniper Theatre and in 1789 he became the first violin of the court orchestra, remaining in charge of imperial ballroom music until his death. Pashkevich wrote important comic operas, often re-working them at length, like Saint-Petersburg's Trade Stalls, begun in 1782 and revised in 1792, and also As you live you will be judged.
As early as 1823, Schott founded a branch in Antwerp, followed by Brussels in 1839, and further offices in musical centres such as Leipzig, London, Paris and Vienna. From the very beginning, it was its commitment to contemporary music that earned the publishing house its international reputation. Initially, the publishing programme included works by composers from the Mannheim School such as Carl Stamitz and Georg Joseph Vogler, as well as virtuoso ballroom music and comic operas. The publication of the piano scores and first editions of Mozart's opera Don Giovanni and Die Entführung aus dem Serail were among the highlights of the publishing house's early history.
Patience Alice Barnett (17 May 1846 - 14 April 1901) was an English singer and actress, best known for her performances in contralto roles of the Gilbert and Sullivan operas with the D'Oyly Carte Opera Company. Barnett began her career by 1873 in oratorio and other concert work. Using her imposing physical stature to her advantage, she originated several of the early Gilbert and Sullivan "formidable middle-aged ladies", namely Ruth in The Pirates of Penzance (1879), Lady Jane in Patience (1881) and the Fairy Queen in Iolanthe (1882). She then performed in various comic operas in Britain, America, Australia and New Zealand until 1889, earning strong critical praise.
The war of words between the "Lullistes" and the "Ramistes" continued to rage for the rest of the decade. Rameau made little attempt to create new genres; instead he took existing forms and innovated from within using a musical language of great originality. He was a prolific composer, writing five tragédies en musique, six opéra-ballets, numerous pastorales héroïques and actes de ballets as well as two comic operas, and often revising his works several times until they bore little resemblance to their original versions. By 1745, Rameau had won acceptance as the official court composer, but a new controversy broke out in the 1750s.
The Ständeklausel (estates-clause) was a principle in poetic theatre, by which attempts were made to transfer the principles of Classicist French drama into German theatre. It is often connected with Johann Christoph Gottsched. It stated that only kings, princes and other people of high rank were to be shown in tragedies and that those of the middle classes could only be shown onstage in comedies. It also demarcated audiences in theatre concessions granted by ancien regime princes - only theatres in courts were allowed to put on tragedies (including ballets and serious operas), while the rapidly proliferating Volkstheaters were only allowed to put on comedies, including comic operas and pantomimes.
Marie Studholme and George Grossmith, Jr. By the 1890s, Gilbert's partnership with Sullivan had unravelled, and Gilbert had to find other partners. He wrote The Mountebanks with Alfred Cellier, and then turned to George Grossmith, the comic baritone of the Gilbert and Sullivan pieces from The Sorcerer (1877) through to The Yeomen of the Guard (1888). Grossmith had composed hundreds of songs and duets for his own private drawing-room entertainments, as well as a few short comic operas, but never a full-length work as ambitious as Haste to the Wedding. By opening night, 27 July 1892, Gilbert was approaching a reconciliation with Sullivan, who was in attendance.
He later studied in Europe with Hugo Kaun, Harold Bauer, and Theodor Leschetizky. Early in his career, Tietjens's ambition was to establish himself as a successful composer of comic operas and operettas. He approached L. Frank Baum in March 1901, not long after the publication and success of The Wonderful Wizard of Oz. According to Baum's later recollection, :"The thought of making my fairy tale into a play had never even occurred to me when, one evening, my doorbell rang and I found a spectacled young man standing on the mat."Mark Evan Swartz, Oz Before the Rainbow, Baltimore, Johns Hopkins University Press, 2000; pp. 27–28.
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.
The most successful New York shows were often followed by extensive national tours.Mark Evan Swartz's Oz Before the Rainbow describes the enormous train trips required of the cast of the 1903 smash hit, The Wizard of Oz, which tour ran for nine years, including on the road. "Oz Before the Rainbow: L. Frank Baum's The Wonderful Wizard of Oz on Stage and Screen to 1939". The Johns Hopkins University Press, 2000 Meanwhile, musicals took over the London stage in the Gay Nineties, led by producer George Edwardes, who perceived that audiences wanted a new alternative to the Savoy-style comic operas and their intellectual, political, absurdist satire.
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.
Gilbert, Sullivan and Carte tried for many years to control the American performance copyrights over their operas, without success.Rosen, Zvi S. "The Twilight of the Opera Pirates: A Prehistory of the Right of Public Performance for Musical Compositions", accessed 26 May 2009 The Princess, illustrated here, into Princess Ida (1884). For the next decade, the Savoy Operas (as the series came to be known, after the theatre Carte later built to house them) were Gilbert's principal activity. The successful comic operas with Sullivan continued to appear every year or two, several of them being among the longest-running productions up to that point in the history of the musical stage.
A highly respected Rossini specialist, he made his Metropolitan Opera debut in 1988 as Count Almaviva in Il barbiere di Siviglia. He has performed Rossini's comic operas La scala di seta, L'occasione fa il ladro, L'italiana in Algeri, La gazza ladra, La Cenerentola, La pietra del paragone, Il viaggio a Reims, Le comte Ory as well as his opere serie Otello, Zelmira, Armida, Ricciardo e Zoraide, Maometto II, Semiramide, etc. He now mainly dedicates himself to teaching singing and giving master classes in Italy, Germany and Japan, but he has latterly founded an ensemble for recording Monteverdi operas, which has released recordings of L'incoronazione di Poppea and L'Orfeo.
Beethoven received Rossini politely and expressed praise for his comic operas (which were, at the time, greatly eclipsing Beethoven's work in popularity in Vienna). Rossini, who admired Beethoven greatly, later expressed sorrow over the squalor of his surroundings and the "indefinable sadness spread over his features".Sonneck (1926:116–120) In August 1824, the aging Carpani marshaled his efforts in defense of the composer Antonio Salieri, at a time when the story that Salieri had poisoned Wolfgang Amadeus Mozart was circulating broadly. Carpani obtained testimony from Guldener von Lobes, a doctor who was close to those treating the dying Mozart, and from two nurses who had attended Mozart.
Broadway by the Bay is an outgrowth of a San Mateo Recreation Department program that originated in the 1950s as "La Honda Music Camp", in Jones Gulch, near La Honda, California in the Santa Cruz Mountains. Each summer, that program employed the talents of young musicians, singers, and actors to produce primarily Gilbert and Sullivan's comic operas, which were staged at the camp site in Jones Gulch near La Honda, California."Broadway by the Bay", SFGate.com, accessed September 12, 2014 In June 1963, the San Mateo Recreation Department established the San Mateo Community Theatre, with Dr. Randolph Hunt (1925-2011) as music director and Robert Lynch as drama director, at Hillsdale High School in San Mateo, California.
In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. During this period he produced his most popular works including the comic operas L'italiana in Algeri, Il barbiere di Siviglia (known in English as The Barber of Seville) and La Cenerentola, which brought to a peak the opera buffa tradition he inherited from masters such as Domenico Cimarosa and Giovanni Paisiello. He also composed opera seria works such as Otello, Tancredi and Semiramide.
Edwardian musical comedy began in the last decade of the Victorian era and captured the optimism, energy and good humour of the new century and the Edwardian era, as well as providing comfort during the First World War. The Gaiety Theatre's well-loved but racy burlesques were coming to the end of their popularity, and so was the run of phenomenally successful family-friendly Gilbert and Sullivan operas. These two genres had dominated the musical stage since the 1870s. A few lighter, more romantic comic operas, beginning with Dorothy (1886) found success and showed that audiences wanted something lighter than operetta, but more coherent in construction than burlesque, that featured the modern fashions and culture of the day.
In October, Patience transferred to the new, larger, state-of-the-art Savoy Theatre, built with the profits of the previous Gilbert and Sullivan works. The rest of the partnership's collaborations were produced at the Savoy, and are widely known as the "Savoy operas". Iolanthe (1882), the first new opera to open at the Savoy, was Gilbert and Sullivan's fourth hit in a row.Jacobs, p. 178 Sullivan, despite the financial security of writing for the Savoy, increasingly viewed the composition of comic operas as unimportant, beneath his skills, and also repetitious. After Iolanthe, Sullivan had not intended to write a new work with Gilbert, but he suffered a serious financial loss when his broker went bankrupt in November 1882.
In 1947, he was appointed Professor of Aesthetics at the Conservatoire de Paris, where he remained until his retirement in 1961, making many contributions to musical theory and criticism, even assisting Igor Stravinsky by ghost-writing the theoretical work "The Poetics of Music". In addition to theoretical works, he wrote and composed various works for stage, especially comic operas, and screen, developing a partnership with director Jean Grémillon, for five of whose films he composed the scores.IMDB search Roland-Manuel's criticism included several monographs on the music of Ravel from the perspective of a respectful pupil and a lifetime friend. The titles include "Ravel", "Ravel et son oeuvre" and "Ravel et son oeuvre dramatique".
As a result, the tonal structure of a piece of music became more audible. The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred lighter, funny comic operas. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo—the rhythmic and harmonic groundwork of a piece of music, typically played by a keyboard (harpsichord or organ) and usually accompanied by a varied group of bass instruments, including cello, double bass, bass viol, and theorbo.
The early 1900s were a time of relative prosperity in Central City, Merrick County, and Nebraska more generally after the recession of the 1890s; this episode of prosperity culminated with World War I (1914-1918), which increased the demand and raised the prices for agricultural products. The early 1900s thus marked a period of considerable growth in Central City with a number of buildings built and businesses established. It was a time before radio or television, when silent movies were only beginning to become available in rural Nebraska. Entertainment was available to rural Nebraskans in the form of musical concerts, comic operas, performances by touring companies, and vaudeville performers, but only if there was a suitable venue.
Vicente Martín y Soler Anastasio Martín Ignacio Vicente Tadeo Francisco Pellegrin Martín y Soler (2 May 175430 January or 10 February 1806) was a Spanish composer of opera and ballet. Although relatively obscure now, in his own day he was compared favorably with his contemporary, Wolfgang Amadeus Mozart, as a composer of opera buffa. In his time he was called "Martini lo spagnuolo" ("Martini the Spaniard"); in modern times, he has been called "the Valencian Mozart". He was known primarily for his melodious Italian comic operas and his work with Lorenzo Da Ponte in the late 18th century, as well as the melody from Una cosa rara quoted in the dining scene of Mozart's Don Giovanni.
She oversaw his management of the D'Oyly Carte Opera Company's revival at the Savoy of Iolanthe, and several new comic operas including The Emerald Isle (1901; Sullivan and Edward German, with a libretto by Basil Hood), Merrie England (1902) and A Princess of Kensington (1903; both by German and Hood). The last of these ran for four months in early 1903 and then toured. When A Princess closed at the Savoy, Greet terminated his lease,The Penny Illustrated Paper and Illustrated Times, 11 July 1903 and Helen leased the theatre to other managements until 8 December 1906. She had married Stanley Boulter, a barrister, in 1902, but she continued to use the surname Carte in her business dealings.
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 scene from Le diable à quatre Sedaine's especial talent was, however, for light opera. He wrote Le diable à quatre, set mainly to vaudevilles with additional music by Philidor, Laruette and Baurans. First performed at the Foire Saint-Laurent on 19 August 1756, it was produced numerous times with music by different composers and became one of the most performed comic operas in the latter half of the 18th century. Other such works followed, including Blaise le savetier (1759) with music of Philidor; On ne s'avise jamais de tout (1761) Aline, reine de Golconde and others with Pierre-Alexandre Monsigny; Aucassin et Nicolette (1780), Richard Coeur-de-lion (1784), and Amphitryon (1788) with André Grétry.
About 1683, John Blow composed Venus and Adonis, often considered the first true English-language opera.Parker 2001, p. 42. Blow was followed by Henry Purcell and a brief period of English opera. After the death of Charles II in 1685, English opera began to fall out of fashion. By the 18th century, the most popular forms of musical theatre in Britain were ballad operas, like John Gay's The Beggar's Opera (1728), that included lyrics written to the tunes of popular songs of the day (often spoofing opera), and later the developing form of pantomime and comic operas with original scores and mostly romantic plot lines, like Michael Balfe's The Bohemian Girl (1845).
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.
Coincidentally, his father had been Drill Master of the Yeomen of the Queen's Body Guard.1871 Census PRO RG10/625 He next created the role of Luiz in The Gondoliers, which he played from the opera's premiere in December 1889 until April 1891. Brownlow left the D'Oyly Carte Opera Company to play Prince John in Arthur Sullivan's grand opera Ivanhoe and as the Duc de Longueville in La Basoche at the Royal English Opera House (both 1891). He next played in a number of comic operas in London through 1893, including the role of William in Blue-Eyed Susan, composed by F. Osmond Carr, at the Prince of Wales's Theatre in 1892.
High- flown language was generally avoided in favor of dialogue that the lower class would relate to, often in the local dialect, and the stock characters were often derived from those of the Italian commedia dell'arte. In the early 18th century, comic operas often appeared as short, one-act interludes known as intermezzi that were performed in between acts of opera seria. There also existed, however, self-contained operatic comedies. La serva padrona (1733) by Giovanni Battista Pergolesi (1710–1736), is the one intermezzo still performed with any regularity today, and provides an excellent example of the style. Lo frate 'nnamorato (1732) and Il Flaminio (1735), by Pergolesi as well, are examples of the three-act commedia per musica.
At the French Revolution he returned to Paris, embraced its principles with ardour, and joined the theatre in the rue Richelieu (the rival of the Comédie-Française), which, under Talma, with Dugazon, his sister Mme Vestris, Grandmesnil (1737–1816) and Mme Desgarcins, was soon to become the Théatre de la République. After the Revolution, Monvel returned to the reconstituted Comédie-Française with all his old companions, but retired in 1807. Monvel was made a member of the Institute in 1795. He wrote six plays (four of them performed at the Comédie-Française), two comedies, and fifteen libretti for comic operas, seven with music by N. Dezde (1740–1792), eight by Nicolas Dalayrac (1753–1809).
"House of the Democrat," Rose Valley, PA (1911-12). An unpretentious cottage went up on Price’s Lane, House of the Democrat, which became one of the most influential buildings of the American Arts and Crafts movement. Before it was built, Price published designs for this house in several influential magazines with a national circulation like Ladies’ Home Journal. Along with other Arts and Crafts proselytizers like Gustav Stickley, Price sought to convince Americans that they didn’t need to “keep up with the Joneses.” He admonished both rich and poor to “…dispense with the plush albums and tea-store chromos and self-playing melodeons and comic operas and the daily installment of wood- pulp which calls itself the modern newspaper.
Pearson, p. 225 Edward Elgar also turned it down, but did not say why.Gilbert interview in The Daily Telegraph, 9 December 1909 Gilbert finally found a willing collaborator in Edward German.Pearson, p. 226 Gilbert, Workman and German at a rehearsal Charles Herbert Workman, who had made a name playing the comic baritone parts in the Gilbert and Sullivan operas, assembled a production syndicate in 1909 to produce comic operas (starring himself) at the Savoy Theatre, beginning with The Mountaineers, followed by Fallen Fairies, in which he appeared in the comic role of Lutin. The piece opened on 15 December 1909, and the cast also starred Leo Sheffield as Phyllon, Percy Anderson designed the costumes.
Brandts Buys' oeuvre comprises piano pieces, organ pieces, chamber music, orchestral music, songs, pieces for choir and cantatas, operas and many arrangements - such as piano arrangements of all the symphonies of Schubert and Beethoven). However, his reputation today mainly rests on his comic operas and operettas, such as The Tailors of Schönau [1916] and The Man in the Moon [1922], which gained considerable international acclaim. These two operas, along with Glockenspiel [1913] and Der Eroberer [1918] were first performed at the Dresden Hofoper, with casts that included the young Richard Tauber. Of the ten chamber music works he wrote, only the Romantische Serenade (Romantic Serenade), composed in 1905, was performed with any regularity before disappearing shortly after his death.
Hitherto acts had ended in short choruses or ensembles, but the elaborate and substantial finales introduced by Galuppi and his librettist set the pattern for Haydn and Mozart. Galuppi's music for his comic operas is described by Luisi as "largely syllabic … designed to enhance the intelligibility of the text … without impairing the fluidity of the melodic lines." In his opere serie he observed the convention of the da capo aria, but used it sparingly in his comic works. In performances of his serious operas, leading soloists would as a matter of course interpolate arias written by other composers: the "opus integer" – a complete work not to be tampered with – was not the rule in 18th- century opera seria.
Accessed 5 February 2000 Although many Oberlin students still participate in College Light Opera Company each summer, it is no longer officially associated with Oberlin College nor is it solely a Gilbert and Sullivan troupe. The company's repertoire now also includes comic operas and operettas by other composers as well as contemporary and classic Broadway musicals such as Evita, Jekyll & Hyde, Brigadoon, and Carousel. CLOC is run by a Board of Trustees with Mark A. Pearson as Executive and Artistic Director. Its aim is to provide young actors and musicians with the opportunity to perform with professional directors and conductors during an 11-week resident program while providing cultural and musical entertainment to the people of Cape Cod.
The Pirates of Penzance was LOOM's first production in 1968 In the fall of 1968, William Mount-Burke (1936–1984), the former director of The Miami Light Opera"William Mount-Burke, Head of Light Opera of Manhattan". The New York Times, July 11, 1984, accessed April 18, 2011 and The Stamford Symphony, took steps to start an Off-Broadway company specializing in the comic operas of Gilbert and Sullivan. He first presented a free showcase performance of The Pirates of Penzance at his apartment in New York City.Kenrick, John, "A Brief History of LOOM", Musicals101.com, 2002, accessed October 26, 2013 The success of this performance encouraged Mount- Burke to move forward with his plan.
These included plays, revues, comic operas and other musical theatre. King Edward VII called for several performances each year. In 1911 a Great 'Gala' performance was given by the theatrical profession at His Majesty's Theatre in London in celebration of the coronation of King George V. In 1912, King George V and Queen Mary attended an all-star Royal Command Performance at London's Palace Theatre in aid of the Variety Artistes' Benevolent Fund, and the following year it was decided to make the evening an annual event. 1919 saw the first event to be named the Royal Variety Performance, and a variety of entertainment, including music (of all genres), comedy, dance, music-hall and speciality acts were included.
He renovated the interior, receiving praise from The Sunday Times: Among Clarke's productions was a revival of Sheridan's The Rivals, featuring Mrs Stirling as Mrs Malaprop and Clarke as Bob Acres; it ran for more than 50 performances, an unheard-of run at the time for an old classic. In 1874 Lydia Thompson starred in H. B. Farnie's burlesque Blue Beard, in which she had played in the US nearly 500 times;"Charing-Cross Theatre", The Morning Post, 21 September 1874, p. 6 her co-stars were Lionel Brough and Willie Edouin. The following year the theatre featured Kate Santley in a series of comic operas, and later Virginie Déjazet in a French season.
The Epsom Derby; painting by James Pollard, c. 1840 Popular forms of entertainment varied by social class. Victorian Britain, like the periods before it, was interested in literature (see Charles Dickens, George Eliot, Elizabeth Gaskell, Arthur Conan Doyle, Charlotte, Emily and Anne Brontë, Robert Louis Stevenson and William Makepeace Thackeray), theatre and the arts (see Aesthetic movement and Pre-Raphaelite Brotherhood), and music, drama, and opera were widely attended. Michael Balfe was the most popular British grand opera composer of the period, while the most popular musical theatre was a series of fourteen comic operas by Gilbert and Sullivan, although there was also musical burlesque and the beginning of Edwardian musical comedy in the 1890s.
In 1733, he composed a comic opera, but his operatic career did not take off. Brunetti earned a living as a singer in Neapolitan churches until he was hired as the Chapel Master for the Duke of Monte Nero, who brought him to Sicily for 6 months, where he composed a serenata for the arrival of Charles of Bourbon in Messina (1735), as well as at least two comic operas on Pietro Trinchera's librettos. For six more months, he taught at the Filipino Oratorio of Genoa, after which he was hired at the Turchini Conservatory as assistant director from 1745 until 1754. At this time, he accepted to succeed Clari, as Chapel Master of the Duomo of Pisa.
1901 publicity photo for The Emerald Isle Isabel Emily Jay (17 October 1879 – 26 February 1927) was an English opera singer and actress, best known for her performances in soprano roles of the Savoy Operas with the D'Oyly Carte Opera Company and in Edwardian musical comedies. During Jay's career, picture postcards were immensely popular, and Jay was photographed for over 400 different postcards. After studying at the Royal Academy of Music, Jay joined the D'Oyly Carte Opera Company in 1897, with whom she began singing principal roles immediately, becoming the company's leading soprano in 1899, where she played leading roles in comic operas including The Rose of Persia, The Pirates of Penzance, Patience, The Emerald Isle and Iolanthe. She married and left the company in 1902.
She starred in a number of successful comic operas, Edwardian musical comedies, and comic plays in New York, Boston, Philadelphia and London during the 1880s and 1890s. After gaining notice for her role in the American production of Olivette (1880), she became known for her performances in the title role of the original American production of Iolanthe (1882), in the long-running comic opera Erminie (1886), the title roles in Featherbrain (1884) and Nadjy (1888), and her role in The Oolah (1889). Later in her career, she performed in vaudeville and formed her own touring theatre company. Jansen ran into financial difficulties, by the late 1890s, partly due to losses as a producer, that left her in reduced circumstances for the remainder of her life.
In 1925, CNRT in Toronto broadcast a complete performance of Yeoman of the Guard as well as performances of classical music. In the same year, CNRM in Montreal broadcast a complete in-studio production of The Mikado and other Gilbert and Sullivan comic operas with a full orchestra and CNR Radio signed a contract with the Hart House String Quartet and in 1927, put them on national tour with broadcasts from each station in celebration of Beethoven's centenary. By the 1930s, the network was airing condensed studio productions of great operas. In 1929, CNR Radio launched North America's first transcontinental concert series, the All-Canada Symphony Concerts featuring the Toronto Symphony Orchestra conducted by Luigi von Kunits for a series of 25 broadcasts.
Dark and Grey, p. 85 The last eight of Gilbert and Sullivan's comic operas were premiered at the Savoy, and all their operas came to be known as Savoy operas. Savoy Hotel viewed from the Thames, 1890s The Savoy Hotel, designed by the architect Thomas Edward Collcutt, opened in 1889. Financed by profits from The Mikado, it was the first hotel lit by electric lights and the first with electric lifts."Savoy 2009 Leading the Past" , Savoy Hotel website, 2009 In the 1890s, under its famous manager, César Ritz, and chef Auguste Escoffier, it became a well-known luxury hotel and would generate more income and contribute more to the D'Oyly Carte fortunes than any other enterprise, including the opera companies.
She nonetheless continued composing, starting on an opera at age 11, Aminaide, one scene of which was produced at the Peabody Conservatory, a prominent music school in Baltimore that Steiner was not able to attend. Music historians are unsure exactly how or when, but by the age of 21, Steiner had left her family behind to pursue her musical career. She moved to Chicago, where she became assistant music director at a small opera company. In the following years, she worked as a conductor for a series of touring light opera companies that performed Gilbert and Sullivan and other comic operas that were popular during that period. In 1889 and again in 1891, her opera Fleurette was produced to good reviews.
He married Virginia Belving on September 16, 1905. Their only son was also called Robert Hood Bowers (born in 1906, he became a Professor of English at the University of Florida.) Working as a conductor for Victor Herbert for five years, and as a conductor at the radio stations WMCA, WEAF and WOR, as well as for the Columbia Phonograph Company, Robert Hood Bowers composed songs, school music, operettas and musicals. He also composed dances in an 'oriental' style for modern dance pioneer Ruth St. Denis and music for comic operas of Jesse Louis Lasky. He was employed at the School of Radio Technique at the Rockefeller Center, as the head of the musical department for five years before his death.
Ivan Caryll After composing a few comic operas early in his career, Caryll became extraordinarily successful in the 1890s, writing the music to hit musical comedies produced by George Edwardes, including The Shop Girl (1894), The Gay Parisienne (1896), The Circus Girl (1896) and A Runaway Girl (1898). After the turn of the century, he continued to write some of the most successful musical comedy scores of the era, including The Messenger Boy (1900), The Toreador (1901), The Girl From Kays (1902), The Earl and the Girl (1903) and The Orchid (1903). With The Duchess of Dantzic, he turned back to comic opera. Although the piece met with success, it was not the kind of blockbuster hit that the above-mentioned musical comedies were.
Albert Bergeret, Artistic Director, and David Wannen, Executive Director, of NYGASP New York Gilbert and Sullivan Players (often known as NYGASP) is a professional repertory theatre company, based in New York City that has specialized in the comic operas of Gilbert and Sullivan for over 40 years. It performs an annual season in New York City and tours extensively in North America. Beginning in New York City in 1974 by performing the Savoy operas with piano accompaniment, the company hired its first orchestra in 1979 for its seasons at Symphony Space theatre in New York. The company was fully professional by the 1980s and began touring, presenting its full-scale productions at such venues as Wolf Trap in Virginia, as well as its New York seasons.
Chinese Theatre in Tsarskoe Selo, ca. 1900. He wrote a few librettos for comic operas and was especially celebrated for the text of the one-act opera Anyuta, which was given at the (Chinese Theatre, Tsarskoye Selo, September 6 [OS August 26] 1772). The music was a selection of popular songs specified in the libretto. The story is about a girl called Aniuta, brought up in a peasant household, who turns out to be of noble birth, and the story of her love for a nobleman, Victor, which eventually ends happily with wedding bells. The music hasn’t survived, and the composer is unknown, although it is sometimes attributed to Vasily Pashkevich or even to Yevstigney Fomin, who at that time was just 11 years old.
It is claimed that in the 1860s he moved to London and worked for Punch magazine, but no evidence has been found to support this claim. Delfico produced caricatures for Vanity Fair, a British society magazine, in the early 1870s. However, later in the 1870s his interest in caricature decreased, and he returned to a professional career in music as a conductor, and at one time appeared as a tenor to save a musical season that had been threatened with ruin. During this period he wrote the libretto and score for two comic operas, The Master Bombardone (1870) and The Return to Paris After the War (1872), as well as two musicals, The Fair and The Lightning (1876), his last musical work.
The most celebrated music from the opera are the orchestral interludes between scenes. His usual librettist up to that time, Hugo von Hofmannsthal, refused to work on the opera and suggested that Strauss himself write the libretto, which he eventually did after having been refused by other writers. This is why the libretto is not in verse but in prose and even mimics the dialect used by the servants in the play, against the more polished German of the principals. The opera's title is intended to refer to the intermezzi that used to be staged during the intermissions of serious operas during the 18th century, sort of mini-comic-operas, easy to follow with themes usually about marital confusions and other light comedies.
Babes in Toyland, 1903 In the United States, Victor Herbert was one of the first to pick up the family-friendly style of light opera that Gilbert and Sullivan had made popular, although his music was also influenced by the European operetta composers. His earliest pieces, starting with Prince Ananias in 1894, were styled "comic operas", but his later works were described as "musical extravaganza", "musical comedy", "musical play", "musical farce", and even "opera comique". His two most successful pieces, out of more than half a dozen hits, were Babes in Toyland (1903) and Naughty Marietta (1910)."Victor Herbert" at the Musical Theatre Guide, accessed 4 January 2009 Others who wrote in a similar vein included Reginald de Koven, John Philip Sousa, Sigmund Romberg and Rudolf Friml.
Rosina Brandram, from an advertisement for The Emerald Isle in The Sketch, 1901 Rosina Brandram (2 July 1845 – 28 February 1907) was an English opera singer and actress primarily known for creating many of the contralto roles in the Savoy operas with the D'Oyly Carte Opera Company. Brandram joined the D'Oyly Carte company in 1877 as a chorister and understudy. By 1879, she was originating roles with the company, and she became its principal contralto in 1884, creating roles in seven of the famous Gilbert and Sullivan operas, as well as many other Sullivan comic operas. She was the only principal to appear in every original Sullivan production at the Savoy Theatre, and she performed with the company until 1903.
His music was already popular there, and the emperor, Leopold II, appointed him Kapellmeister to the court, and commissioned a new opera. The result was Il matrimonio segreto, to a text by Giovanni Bertati, based on the 1766 play, The Clandestine Marriage, by George Colman the Elder and David Garrick. The opera, performed at the Burgtheater on 7 February 1792, was so successful that Leopold had it played again the same evening in his private chambers – "the longest encore in operatic history" as one critic put it. Cimarosa did not consider the work his best, but it has a better libretto than some of his other comic operas, the plot clear, the characters well drawn and elaborate disguises and coincidences dispensed with.
Rossini's first opera to be staged was La cambiale di matrimonio, a one-act comedy, given at the small Teatro San Moisè in November 1810. The piece was a great success, and Rossini received what then seemed to him a considerable sum: "forty scudi – an amount I had never seen brought together". He later described the San Moisè as an ideal theatre for a young composer learning his craft – "everything tended to facilitate the début of a novice composer": it had no chorus, and a small company of principals; its main repertoire consisted of one-act comic operas (farse), staged with modest scenery and minimal rehearsal. Rossini followed the success of his first piece with three more farse for the house: L'inganno felice (1812), La scala di seta (1812), and Il signor Bruschino (1813).
143 recognizing Billerica, Massachusetts as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported: > Upon their return to Boston [pursued by the Minutemen], one [Briton] asked > his brother officer how he liked the tune now, — "Dang them", returned he, > "they made us dance it till we were tired" — since which Yankee Doodle > sounds less sweet to their ears. The earliest known version of the lyrics comes from 1755 or 1758, as the date of origin is disputed: The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia.
Leonard McNally (1752–1820), sometimes spelled MacNally or Macnally, was a Dublin barrister, playwright, lyricist, founding member of the United Irishmen and spy for the British Government within Irish republican circles. He was a successful lawyer in late 18th and early 19th century Dublin, and wrote a law book that was crucial in the development of the "beyond reasonable doubt" standard in criminal trials. However, during his time, he was best known for his popular comic operas and plays, together with his most enduring work, the romantic song "The Lass of Richmond Hill". He is now mainly remembered as a very important informer for the British government within the Irish revolutionary society, the United Irishmen and played a major role in the defeat of the Irish Rebellion of 1798.
The Clark Library is one of the most extensive for British literature and history from the English Civil War through the reign of George II (1641-1761). Many of its collections are only rivaled by the British Library, especially its literary collections, which include literary giants John Dryden, John Milton, Daniel Defoe, Jonathan Swift, Alexander Pope, Henry Fielding, and Aphra Behn. The Clark Library also has substantial collections of music books and songs, scores, and musicology printed before 1750; ballad and comic operas; the edited works of Purcell, Handel, and their contemporaries in England; and a choice collection of manuscript anthems, hymns, and incidental music assembled by Theodore Finney. Among its most valuable collections are the scientific works of Isaac Newton, Robert Boyle, Edmond Halley, John Evelyn, and Sir Kenelm Digby.
After leaving her abusive husband, she continued her concert career and studied at the Royal Academy of Music in London with such famous singing teachers as Manuel García. At the age of 25, in 1878, Bond began her theatrical career, creating the role of Cousin Hebe in Gilbert and Sullivan's H.M.S. Pinafore, which became an international success. After this, she created roles of increasing importance with the D'Oyly Carte Opera Company in a series of successful comic operas, including the title role in Iolanthe (1882), Pitti Sing in The Mikado (1885), Mad Margaret in Ruddigore (1887), Phoebe in The Yeomen of the Guard (1888), Tessa in The Gondoliers (1889) and others. During the 1890s, she continued performing in the West End for several more years, while being courted by Lewis Ransome, a civil engineer.
In 1930, Leigh declined a teaching job and set about earning a living by accepting small commissions and becoming increasingly involved with the theatre. With V.C. Clinton-Baddeley he wrote a pantomime for the Festival Theatre at Cambridge, and two comic operas, the second of which, Jolly Roger, ran for six months at the Savoy Theatre in London, with a cast headed by George Robey. He composed an elaborate score for Basil Wright's documentary film The Song of Ceylon and the concert overture Agincourt, commissioned by the BBC in celebration of King George V's Silver Jubilee. The Harpsichord Concertino is one of a number of chamber works of the period: an elegant and concise work, more French than German in its spare- noted neo-classicism, the keyboard writing showing signs of Ravel's influence.
Galuppi by a Venetian artist, bearing date 1751 Baldassare Galuppi (18 October 17063 January 1785) was a Venetian composer, born on the island of Burano in the Venetian Republic. He belonged to a generation of composers, including Johann Adolph Hasse, Giovanni Battista Sammartini, and C. P. E. Bach, whose works are emblematic of the prevailing galant music that developed in Europe throughout the 18th century. He achieved international success, spending periods of his career in Vienna, London and Saint Petersburg, but his main base remained Venice, where he held a succession of leading appointments. In his early career Galuppi made a modest success in opera seria, but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his comic operas in the new dramma giocoso style.
Sullivan was still in his 20s when he composed this piece, which, like many of Sullivan's early works, shows the strong musical influence of Felix Mendelssohn.Includes the Gramophone review of the 2003 recording A rising star of British music, he had already produced his popular incidental music to Shakespeare's The Tempest,Interview by Arthur H. Lawrence, Part 1 , The Strand Magazine, vol. xiv, No. 84 (December 1897) See also Sullivan's Letter to The Times , 27 October 1881, p. 8, col C his Irish Symphony, a Cello concerto, his Overture in C, "In Memoriam",Description and analysis of Sullivan's early orchestral works The Masque at Kenilworth, his first ballet, L'Île Enchantée and two comic operas, Cox and Box and The Contrabandista, as well as other orchestral pieces and numerous hymns and songs.
The Russian opera is continuing its development in the 21st century. It began with the noisy premieres of two comic operas, whose genre could be described as "opera-farce": The first was Tsar Demyan – a frightful opera performance (a collective project of the five participants: composers Leonid Desyatnikov and Vyacheslav Gaivoronsky from Saint Petersburg, Iraida Yusupova and Vladimir Nikolayev from Moscow, and the creative collective "Kompozitor," (a pseudonym for the well-known music critic Pyotr Pospelov) to the libretto by Elena Polenova after a folk-drama Tsar Maksimilyan, premiere 20 June 2001 Mariinski Theatre, Saint Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002". Another opera The Children of Rosenthal by Leonid Desyatnikov to the libretto by Vladimir Sorokin, was commissioned by the Bolshoi Theatre and premiered on 23 March 2005.
The comedic model for these featured zany, unpredictable plots based on myths, tending towards caricature and mockery of various topics such as royalty, the Army, and politics. They do so with pleasant, catchy music with a certain popular, erotic tone. Comic operas of this sort were nevertheless quickly eclipsed by the expansion of the género chico and became less popular after the mid-1870s. Because of the need for short operetta-like works that could fit into one hour, the first performances were of old plays that were already popular, such as El Maestro de baile ("The Dancing Master", by Luis Misón, and predating the género chico by many years), or plays like Una vieja ("An Old Woman", Joaquín Romualdo Gaztambide) and El grumete ("The Cabin Boy", Juan Pascual Antonio Arrieta).
Leonora Braham Leonora Braham (3 February 1853 – 23 November 1931), born Leonora Lucy Abraham, was an English opera singer and actress primarily known as the creator of principal soprano roles in the Gilbert and Sullivan comic operas. Beginning in 1870, Braham starred for several years in the intimate musical German Reed Entertainments in London. In 1878, she moved to North America, where she continued to perform in comic opera. After returning to England, she was engaged by the D'Oyly Carte Opera Company, creating five of the principal soprano roles in the hit series of Gilbert and Sullivan operas, including the title role in Patience (1881), Phyllis in Iolanthe (1882), the title role in Princess Ida (1884), Yum-Yum in The Mikado (1885), and Rose Maybud in Ruddigore (1887).
Then, however, he fell in love, at the same time, with both Francesca and Ludmila, the 17-year-old identical twin sisters of the singer Teresa Stolz, also singers, and this inspired him to create (in 1845) an opera for them both to sing in, at Odessa. Back in Trieste he married Ludmila (without, however, letting go of the other). He then composed three more operas on his own, which were well received, although his greatest success of these years was actually Crispino e la comare, his last collaboration with his brother, of which he wrote the greater part. Comedy was Ricci's strong suit, and though not quite reaching the level of Donizetti (whom he himself greatly admired), Crispino is generally considered one of the best Italian comic operas of the period.
By the time You Bet Your Life debuted on TV on October 5, 1950, Marx had grown a real mustache (which he had already sported earlier in the films Copacabana and Love Happy). During a tour of Germany in 1958, accompanied by then-wife Eden, daughter Melinda, Robert Dwan and Dwan's daughter Judith, he climbed a pile of rubble that marked the site of Adolf Hitler's bunker, the site of Hitler's death, and performed a two-minute Charleston. He later remarked to Richard J. Anobile in The Marx Brothers Scrapbook, "Not much satisfaction after he killed six million Jews!" Marx as Ko-Ko, 1960 In 1960, Marx, a lifelong devotee of the comic operas of Gilbert and Sullivan, appeared as Ko-Ko, the Lord High Executioner, in a televised production of The Mikado on NBC's Bell Telephone Hour.
After making his mark with a number of brilliant comic operas (most notably Il barbiere di Siviglia, La Cenerentola, Il turco in Italia, and L'italiana in Algeri), Rossini turned more and more to serious opera (opere serie). During the years 1813 (when Rossini composed Tancredi) until 1822 he wrote a considerable series of them, mostly for the Teatro di San Carlo, Naples. One reason for his new interest in the serious genre was his connection with the great dramatic soprano Isabella Colbran, who was first his mistress, then his wife. She created the leading female roles in Elisabetta, regina d'Inghilterra (1815), Otello (1816), Armida (1817), Mosè in Egitto (1818), Maometto II (1820), and five other Rossini operas up to and including his final contribution to the genre, Semiramide, which was also written with Colbran in the major role.
Rossini, circa 1810–1815 In late 17th- century Italy, light-hearted musical plays began to be offered as an alternative to weightier opera seria (17th-century Italian opera based on classical mythology). Il Trespolo tutore (1679) by Alessandro Stradella was an early precursor of opera buffa. The opera has a farcical plot, and the characters of the ridiculous guardian Trespolo and the maid Despina are prototypes of characters widely used later in the opera buffa genre. The form began to flourish in Naples with Alessandro Scarlatti's Il trionfo dell'onore (1718). At first written in Neapolitan dialect, these works became "Italianized" with the operas of Scarlatti, Pergolesi (La serva padrona, 1733), Galuppi (Il filosofo di campagna, 1754), Piccinni (La Cecchina, 1760), Paisiello (Nina, 1789), Cimarosa (Il matrimonio segreto, 1792), and then the great comic operas of Mozart and, later, Rossini and Donizetti.
La Muette broke ground also in its use of a ballerina in a leading role (the eponymous mute), and includes long passages of mime music. Official and other dignities testified to the public appreciation of Auber's works. In 1829 he was elected a member of the Institut de France. Fra Diavolo, which premiered on 28 January 1830, was his most successful opera. That same year, 1830, he was named director of the court concerts. Next year, on 20 June 1831, he had another big success, with Le Philtre, starring Adolphe Nourrit. The libretto was translated into Italian and set by Donizetti as L'elisir d'amore, one of the most successful comic operas of all time. Two years later, on 27 February 1833, Gustave III, his second grand opera, also triumphed and stayed in the repertory for years.
The Simonsens arrived in Melbourne from Germany in August 1865 by the mail steamer Northam after a successful tour of China and India, and held a series of seven concerts at St George's Hall, Bourke Street, Melbourne, from Saturday 19 August 1865, with a different program every night. In June 1866 Mme Simonsen joined Lyster's Grand Opera Company as prima donna, commencing with Donizetti's Lucia di Lammermoor. This was followed by Meyerbeer's Les Huguenots (as Marguerite de Valois), the Australian première of L'Africaine (alternately with Lucy Escott, playing Selika), perhaps her most celebrated role This article has a photograph.) and Roberto il diavolo, perhaps their most popular production (as Isabel/Isabelle). In 1867 she played the name part in Maritana (Wallace), Amina in La Sonnambula (Bellini) and Auber's comic operas The Crown Diamonds as Catarina and Masaniello as Elvira.
Pierre Petit, Bibliothèque nationale de France E. Audran - birth record E. Audran - registry record of birth (contemporary transcription) Achille Edmond Audran (12 April 1840"Audran, Edmond" by Andrew Lamb in Grove Music Online . Other authorities, notably the Encyclopædia Britannica Eleventh Edition, give the date as 11 April 1842date of birth according to naturals record (see below)17 August 1901) was a French composer best known for several internationally successful comic operas, including Les noces d'Olivette (1879), La mascotte (1880), Gillette de Narbonne (1882), La cigale et la fourmi (1886), Miss Helyett (1890), and La poupée (1896). After Audran's initial success in Paris, his works also became a regular feature in the West End of London, in adaptations that Audran supervised. Most of his works are now neglected, but La mascotte has been revived occasionally and has been recorded for the gramophone.
Links to information about German's orchestral works and recordings of them at the Edward German Discography, accessed 16 July 2009 He also wrote a considerable body of songs,Links to information about German's songs and recordings of them at the Edward German Discography, accessed 16 July 2009 piano music, and symphonic suites and other concert music, of which his Welsh Rhapsody (1904) is perhaps best known. German was engaged to finish The Emerald Isle after the death of Arthur Sullivan in 1900, the success of which led to more comic operas, including Merrie England (1902) and Tom Jones (1907). He also wrote the Just So Song Book in 1903 to Rudyard Kipling's texts and continued to write orchestral music. German wrote little new music of his own after 1912, but he continued to conduct until 1928, the year in which he was knighted.
Poster for a performance of Tancredi in Ferrara, 1813Such structural integration of the forms of vocal music with the dramatic development of the opera meant a sea-change from the Metastasian primacy of the aria; in Rossini's works, solo arias progressively take up a smaller proportion of the operas, in favour of duets (also typically in cantabile- caballetta format) and ensembles. During the late 18th-century, creators of opera buffa had increasingly developed dramatic integration of the finales of each act. Finales began to "spread backwards", taking an ever larger proportion of the act, taking the structure of a musically continuous chain, accompanied throughout by orchestra, of a series of sections, each with its own characteristics of speed and style, mounting to a clamorous and vigorous final scene. In his comic operas Rossini brought this technique to its peak, and extended its range far beyond his predecessors.
For this show, completed in 2007, Taylor took a number of the most popular songs of Gilbert and Sullivan and incorporated them into a more modern story of a corporate mogul (a Franchise King, also known as the Corporate Pirate of Penzance) who is hoping his daughter will marry into the British aristocracy, and a penniless young poet who falls in love with the daughter. The show uses music from Pirates of Penzance, H.M.S. Pinafore, The Mikado, Iolanthe, Trial by Jury and The Gondoliers, mixing the music of Arthur Sullivan and the words of W.S. Gilbert with lyrics that reflect the modernized narrative. In 2011 the Texas Light Opera Company was set up by Nicole Erwin, in conjunction with the Josephine Theatre in San Antonio, Texas, to produce the show in 2012 as the first in a series of productions of the comic operas.
He made his London stage debut at the St James's Theatre in 1868, where his roles included Thomas in The Secret, Baron Factotum in a burlesque of Sleeping Beauty, and Moses in The School for Scandal. After playing in dramas in the 1870s, he appeared in comic operas in the 1880s, in which he created the roles Sir Mincing Lane in Billee Taylor, Sir Whiffle Whaffle in Claude Duval, Amaranth CVIII in Lord Bateman, his most famous role, Lurcher in Dorothy and Corporal Bundy in The Red Hussar. In the last decade of the century, he appeared in The Shop Girl, The Circus Girl and A Message from Mars, by Richard Ganthony, among others. In 1902, he began a long association with the hit musical A Chinese Honeymoon and went on to appear in a further six musicals and plays including The Belle of Mayfair (1906) and A Waltz Dream (1908).
Their first production The Wizard of the Nile,originally titled The Wizard a comic operetta by Victor Herbert and Harry B. Smith, proved to be a huge success that earned its producers a fortune.A New Comic Opera. New York Times, March 10, 1895, p. 3New York Athletic Club Journal, June 1905, p. 29 Retrieved June 9, 2014 La Shelle and Clarke followed with Daniels’ successful productions of the comic operas The Idol's Eye (1897), by Smith and Herbert, The Ameer (1899), written by La Shelle in collaboration with Frederic Ranken, and Miss Simplicity (1901) from R. A. Barnet and Harry Lawson Heartz.Barnet, R. A. 1901, 'Miss Simplicity: A Musical comedy by R. A Burnet Retrieved June 13, 2014 In 1899 La Shelle directed a touring company headed by Wilton Lackaye that presented a stage adaptation of the Charles Lever novel, Charles O'Malley, the Irish Dragoon.
Reviewing the original production, Les Annales du théâtre et de la musique commented that Carré's libretto was good enough to be presented as a straight play, without music, but that Messager's score lived up to it – "light and vivacious" – everything needed to maintain a place in the repertoire of the Opéra Comique.Noël and Stoullig, p. 114 The critic in Le Ménestrel praised Carré's imagination, though finding an excess of fantasy and some loose construction in the piece; he thought Messager had composed a major score, of which the first act contained the finest music. "Semaine théatrale", Le Menestrel, 1 June 1890, p. 170 In La Nouvelle Revue, the critic Louis Gallet praised the finesse, delicacy and spirit of the score, and hoped the success of the piece would encourage the Opéra-Comique to promote further comic operas, a genre that it had neglected of late.
Nellie Stewart, "My Life's Story," John Sands, Sydney, (1923) While living in Australia, Brownlow wrote the lyrics for several songs, including those to the ballad "Without Thy Love", the music to which was written by fellow D'Oyly Carte artiste Charles Kenningham. With his wife and daughter Brownlow then migrated to the United States, where he appeared in several Broadway productions of comic operas, appearing as Sergeant Bob Trivet in Love's Lottery (1904);Information about Brownlow in Love's Lottery in Giroflé-Girofla from January to February 1905, and in Boccaccio in March 1905.Information from the WhoWasWho in the D'Oyly Carte website Later, theatrical manager Hugh McIntosh found Brownlow in California, where he had gone to act in silent films, including the 1913 movie The Hoyden's Awakening, now living in dereliction, and brought him back to Australia under contract, but he soon "lapsed into his old habit".
Opera buffa (; "comic opera", plural: opere buffe) is a genre of opera. It was first used as an informal description of Italian comic operas variously classified by their authors as commedia in musica, commedia per musica, dramma bernesco, dramma comico, divertimento giocoso. Especially associated with developments in Naples in the first half of the 18th century, whence its popularity spread to Rome and northern Italy, buffa was at first characterized by everyday settings, local dialects, and simple vocal writing (the basso buffo is the associated voice type), the main requirement being clear diction and facility with patter. The New Grove Dictionary of Opera considers La Cilla (music by Michelangelo Faggioli, text by , 1706) and Luigi and Federico Ricci's Crispino e la comare (1850) to be the first and last appearances of the genre, although the term is still occasionally applied to newer work (for example Ernst Krenek's Zeitoper Schwergewicht).
The AHRC Research Centre for the History and Analysis of Recorded Music During and after the First World War Byng was one of the conductors, along with Arthur Wood and Harry Norris, who worked on the HMV project to record the Gilbert and Sullivan comic operas. This was an extensive undertaking, under the direction of Rupert D'Oyly Carte, proprietor of the D'Oyly Carte Opera Company.Rollins and Witts, Appendix pp. X–XI The Gilbert and Sullivan operas Byng conducted for HMV were The Mikado (1917), The Yeomen of the Guard (1920),Shepherd, Marc. "The 1920 HMV Yeomen", Gilbert and Sullivan Discography, 2008, accessed 1 May 2012 The Pirates of Penzance (1920),Shepherd, Marc. "The 1920 HMV Pirates", Gilbert and Sullivan Discography, 2008, accessed 1 May 2012 Patience (1921),Shepherd, Marc. "The 1921 HMV Patience", Gilbert and Sullivan Discography, 2008, accessed 1 May 2012 Iolanthe (1922), H.M.S Pinafore (1922)Shepherd, Marc.
In 1866, F. C. Burnand and Arthur Sullivan, then 24 years old, wrote the one-act comic opera Cox and Box for a private performance at Moray Lodge, where a group of friends called the "Moray Minstrels" gathered regularly. The success of the performance led to productions for charity at the Adelphi Theatre, at Thomas German Reed's Gallery of Illustration (where it would enjoy a long run in 1869), and elsewhere. Burnand had been a pioneer in Britain in the 1860s by collaborating on the creation of comic operas with original scores similar to Jacques Offenbach's highly successful French operettas, which had been a sensation in Paris beginning in the 1850s but were just becoming known in London. This was a departure from the burlesque style of musical theatre that was then popular in Britain, which used musical scores compiled from existing operas, popular songs, music hall and classical music.
Gould, p. 238 One of his early successes, The Serenade, borrows many of its situations from Ruddigore, Iolanthe and The Pirates of Penzance. The work's librettist, Harry B. Smith, went on to steal more Gilbertian ideas for future operettas with Herbert, who often would complement these ideas with music reminiscent of Sullivan. The Singing Girl, co-written by Smith and Stanislaus Stange, recalls The Mikado, and includes the plot element of a law against kissing without a licence.Gould, p. 302 Sheet music from The Red Mill Herbert tended to use a slightly larger orchestra than Sullivan did in his comic operas, mostly through use of more types of percussion and occasionally by adding a harp. He generally wrote his own orchestrations, which were admired by music critics and other composers. In revivals of his works, however, new orchestrations have substituted saxophones and brass for strings.
He was born at Bitonto (Province of Bari) in the Apulia region and was a pupil of Giovanni Veneziano and Giuliano Perugino at the Conservatorio di Santa Maria di Loreto. In 1738 he collaborated with Leonardo Leo and others in the hasty production of Demetrio; in the autumn of the same year he produced a comic opera, L'inganno per inganno, the first of a long series of comic operas, the success of which won him the name of "il Dio dell'opera buffa". He went to Palermo, probably in 1747, as a teacher of counterpoint; as an opera composer he is last heard of in 1760, and is supposed to have died about 1763 or 1765. Logroscino has been credited with the invention of the concerted operatic finale, but as far as can be seen from the score of Governatore and the few remaining fragments of other operas, his finales show no advance upon those of Leo.
D'Auban rehearsing W. H. Denny for Haddon Hall The 1890s were D'Auban's most prolific decade as a choreographer, with more than 70 productions in the West End, in some of which he also danced. In addition to the many comic operas that he choreographed at the Savoy in the 1990s, he choreographed a series of musical pieces at the Lyric Theatre, beginning with The Red Hussar (1889), and including La Cigale (1890), Little Christopher Columbus (1893) and others. In 1890, D'Auban played the Beast in the Drury Lane's Christmas pantomime of Beauty and the Beast, and he both performed in and choreographed Humpty Dumpty or, Harlequin the Yellow Dwarf, and the Fair One with the Golden Locks (1891).Theatre Royal, Drury Lane playbill, 26 December 1891 He and his wife danced in a revised version of The Golden Web, libretto by Frederick Corder and B. C. Stephenson, music by Arthur Goring Thomas at the Lyric in 1893.
Richard Temple as Strephon in Iolanthe (1882) Richard Barker Cobb Temple (2 March 1846 – 19 October 1912)Index of Birth, Marriage & Deaths for England & Wales, January – March 1846, St Pancras, vol 1, p. 377 was an English opera singer, actor and stage director, best known for his performances in the bass- baritone roles in the famous series of Gilbert and Sullivan comic operas. After an opera career in London and throughout Britain beginning in 1869, Temple joined the D'Oyly Carte Opera Company in 1877. There, he created most of the bass-baritone roles in the Savoy Operas, as follows: Sir Marmaduke in The Sorcerer (1877), Dick Deadeye in H.M.S. Pinafore (1878), the Pirate King in the London production of The Pirates of Penzance (1880), Colonel Calverley in Patience (1881), Arac in Princess Ida (1884), the title character in The Mikado, Sir Roderic in Ruddigore and Sergeant Meryll in The Yeomen of the Guard (1888).
La mascotte was followed by three more adaptations by Farnie: Suppé's Boccaccio, Planquette's Rip Van Winkle (with Fred Leslie as Rip) in 1882,Mander and Mitchenson, p. 49 and Chassaigne's Falka (with Violet Cameron in the title role in 1884."Falka at The Comedy", The Era, 23 February 1884, p. 9 The last of the series of operettas was Erminie in 1885,"Comedy Theatre", The Standard, 10 November 1885, p. 5 which starred, among others, Violet Melnotte, who became the lessee of the theatre in that year. She presented plays including The Silver Shield by Sydney Grundy; and Sister Mary by Wilson Barrett and Clement Scott (1886), and a season of comic operas in which she appeared herself. Melnotte sub-let the theatre in 1887 to Herbert Beerbohm Tree – his first venture into management – who presented and co-starred with Marion Terry in The Red Lamp by Outram Tristram."The London Theatres", The Era, 23 April 1887, p.
Although primarily known as a composer of silent film scores including those for D. W. Griffith's Birth of a Nation (1915) and Intolerance (1916), Joseph Carl Breil had also written several short operas prior to The Legend. His Orlando of Milan was composed when he was 17 and given an amateur performance in Pittsburgh. Three comic operas were to follow later, Love Laughs at Locksmiths (performed in Portland, Maine, 1910); Professor Tattle (performed in New York City, 1913); and The Seventh Chord (performed in Chicago, 1913). He began composing The Legend, his first attempt at a serious opera, in 1916 and finished it a year later.Hipsher (1934) pp. 87–88 He had originally written it for the American soprano Constance Balfour, who was living in Los Angeles at the time, and dedicated the work to her.Sanchez (1930) p. 441 His approach to the opera was influenced by his own film work and that of his librettist, Jacques Byrne, who wrote screenplays for early Hollywood films.
Meyerbeer's inherited wealth and his duties as official court composer to King Frederick William IV of Prussia meant that there was no hurry to complete the opera, and he and Scribe worked on the piece for more than four years before its premiere. Peter the Great did travel through Western Europe under the assumed name "Peter Michaeloff" and worked incognito for a time on a wharf as a shipbuilder. His second wife Catherine's origins are obscure; she worked as a servant for a time and seems to have had a connection with the Russian army, which provided the basis for the switch of the libretto from Frederick the Great of Prussia to Peter the Great of Russia. These adventures of Peter the Great while working in disguise as a shipbuilder in Western Europe had already served as the basis for numerous comic operas including Il borgomastro di Saardam by Donizetti, 1827, and Zar und Zimmermann by Albert Lortzing, 1837.
Rossini's final resting place, in the Basilica of Santa Croce, Florence; sculpture by Giuseppe Cassioli (1900) The popularity of Rossini's melodies led many contemporary virtuosi to create piano transcriptions or fantasies based on them. Examples include Sigismond Thalberg's fantasy on themes from Moïse, the sets of variations on "Non più mesta" from La Cenerentola by Henri Herz, Frédéric Chopin, Franz Hünten, Anton Diabelli and Friedrich Burgmüller, and Liszt's transcriptions of the William Tell overture (1838) and the Soirées musicales. The continuing popularity of his comic operas (and the decline in staging his opere serie), the overthrow of the singing and staging styles of his period, and the emerging concept of the composer as "creative artist" rather than craftsman, diminished and distorted Rossini's place in music history even though the forms of Italian opera continued up to the period of verismo to be indebted to his innovations. Rossini's status amongst his contemporary Italian composers is indicated by the Messa per Rossini, a project initiated by Verdi within a few days of Rossini's death, which he and a dozen other composers created in collaboration.
At that time she sang in a 13-week series with the network and also sang in Gilbert and Sullivan's comic operas with the CBC Light Opera Company. She was cast in CBC's North American radio premiere of Peter Grimes on October 12, 1949 and also in the repeat broadcast in 1952. As a concert soloist she appeared with the Toronto Symphony Orchestra in various pops concerts between 1949 and 1959 and with the Toronto Mendelssohn Choir in their 1950 performance of Beethoven's Missa solemnis. She was also a soloist in Halifax and Ottawa performances of The Creation during this period. In 1954 Hume moved to England, where she served from 1955 to 1970 as principal soprano soloist of the BBC Light Music department, giving over 1800 radio and TV performances under the direction of Robert Farnon, Sidney Torch, Carmen Dragon, and others. She was the soprano soloist in a November 16, 1957 London performances of Fauré's Requiem and on January 4, 1958 she was a soloist in a performance of Handel's Messiah with Maureen Forrester and Jon Vickers.
A Gaiety Girl (1893) was one of the first hit musicals Charles H. Hoyt's A Trip to Chinatown (1891) was Broadway's long-run champion (until Irene in 1919), running for 657 performances. Gilbert and Sullivan's comic operas were both pirated and imitated in New York by productions such as Reginald de Koven's Robin Hood (1891) and John Philip Sousa's El Capitan (1896). A Trip to Coontown (1898) was the first musical comedy entirely produced and performed by African Americans in a Broadway theatre (largely inspired by the routines of the minstrel shows), followed by the ragtime-tinged Clorindy, or the Origin of the Cakewalk (1898), and the highly successful In Dahomey (1902). Hundreds of musical comedies were staged on Broadway in the 1890s and early 20th century composed of songs written in New York's Tin Pan Alley by composers such as Gus Edwards, John Walter Bratton and George M. Cohan (Little Johnny Jones (1904)). Still, New York runs continued to be relatively short, with a few exceptions, compared with London runs, until the 1920s.
"The Origins of Comic Opera" at the stagebeauty website, accessed 4 January 2009 By the second half of the 19th century, the London musical stage was dominated by pantomime and musical burlesque, as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs. Thomas German Reed, beginning in 1855, and a number of other Britons, deplored the risqué state of musical theatre and introduced short comic operas designed to be more family-friendly and to elevate the intellectual level of musical entertainments. Jessie Bond wrote, > The stage was at a low ebb, Elizabethan glories and Georgian artificialities > had alike faded into the past, stilted tragedy and vulgar farce were all the > would-be playgoer had to choose from, and the theatre had become a place of > evil repute to the righteous British householder.... A first effort to > bridge the gap was made by the German Reed Entertainers.
Opera originated in Italy at the end of the 16th century (with Jacopo Peri's mostly lost Dafne, produced in Florence in 1598) especially from works by Claudio Monteverdi, notably L'Orfeo, and soon spread through the rest of Europe: Heinrich Schütz in Germany, Jean-Baptiste Lully in France, and Henry Purcell in England all helped to establish their national traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe (except France), attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his "reform" operas in the 1760s. The most renowned figure of late 18th-century opera is Wolfgang Amadeus Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro (Le nozze di Figaro), Don Giovanni, and Così fan tutte, as well as Die Entführung aus dem Serail (The Abduction from the Seraglio), and The Magic Flute (Die Zauberflöte), landmarks in the German tradition.
He was born of poor parents at Bort, Limousin (today in Corrèze). After studying with the Jesuits at Mauriac, Cantal, he taught in their colleges at Clermont-Ferrand and Toulouse; and in 1745, acting on the advice of Voltaire, he set out for Paris to try for literary success. From 1748 to 1753 he wrote a succession of tragedies (Denys le Tyran (1748); Aristomene (1749); Cleopâtre (1750); Heraclides (1752); Egyptus (1753)), which, though only moderately successful on the stage, secured Marmontel's introduction into literary and fashionable circles. He wrote a series of articles for the Encyclopédie evincing considerable critical power and insight, which in their collected form, under the title Eléments de Littérature, still rank among the French classics. He also wrote several comic operas, the two best of which probably are Sylvain (1770) and Zémire et Azore (1771). In the Gluck-Piccinni controversy he was an eager partisan of Piccinni with whom he collaborated in Roland (Piccinni) (1778) and Atys (1779), both using Jean Baptiste Lully's libretto by Quinault as basis, Didon (1783) and Penelope (1785).
But as the Pierrots of the Foires began to multiply—among dancers, tumblers, and actors—and to accommodate themselves to the disparate Foire genres—puppet shows, comic operas, and every imaginable permutation of both mute and spoken theater—his character began inevitably to coarsen.Storey (1978), pp. 53–54. It is therefore not surprising that Colombine should call Pierrot a "Gille" in Alexis Piron's L'Ane d'Or (The Golden Ass, 1725) or that a police report detailing the suspicious goings-on in Lesage's prologue to Arlequin, valet de Merlin (Harlequin, Merlin's Valet, 1718) should refer to Pierrot indiscriminately as "Pierrot" or as "Gilles".Storey (1978), p. 77, n. 15 (It should also not be surprising that, when the illustrious Pierrot Hamoche was forbidden, in 1721, to play opéras- comiques, impelling Lesage and Dorneval to lay his Pierrot to rest in Les Funérailles de la Foire [The Foire's Funeral, 1718], Gilles came bustling in in their subsequent play, Le Rappel de la Foire à la Vie [The Recall of the Foire to Life, 1721], to take his double's place.Storey (1978), p. 41.
9 who had enrolled him by means of a full scholarship in a school which he had set up. There he received detailed training in the arts of fugue and counterpoint. Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 19,Osborne 1994, p. 139 he wrote his first one-act opera, the comedy Il Pigmalione, which may never have been performed during his lifetime.Weinstock 1963, p. 13 An offer in 1822 from Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1844.Black 1982, p. 1 In all, Naples presented 51 of Donizetti's operas. Before 1830, success came primarily with his comic operas, the serious ones failing to attract significant audiences.Black 1982, pp. 50–51 However, his first notable success came with an opera seria, Zoraida di Granata, which was presented in 1822 in Rome.
It was inaugurated with the staging of the tragedy Matilde by Simon Falconio Pratoli. After hosting a season of opera seria in 1730, the Valle was limited through much of the latter half of the 18th century to staging prose dramas as well as a mix of intermezzos and comic operas, particularly those of Galuppi, Piccinni, Anfossi, Sacchini, Paisiello, Guglielmi, and Cimarosa. It was the only theatre in Rome in 1782 and after 1786 which offered both spring and autumn seasons of opera as well as a season during Carnival. Throughout the early 19th century, the Valle was regularly staging opera buffa and opera semiseria as well as prose comedies and, increasingly after 1830, serious melodramas. A number of operas during this time premiered at the Valle, including Rossini’s Demetrio e Polibio (1812), Torvaldo e Dorliska (1815), and La Cenerentola (1817); Mercadante’s Il geloso ravveduto (1820); Donizetti’s L'ajo nell'imbarazzo (1824), Olivo e Pasquale (1827), Il furioso all’isola di San Domingo (1833), and Torquato Tasso (1833); Pacini’s La gioventù di Enrico V (1820); and Luigi Ricci’s L’orfana di Ginevra (1829), Il sonnambulo (1829), and Chi dura vince (1834), as well as many lesser-known works from local composers.
Bond, Jessie. > Introduction to Jessie Bond's Reminiscences reprinted at The Gilbert and > Sullivan Archive, accessed 7 November 2009 Scene from H.M.S. Pinafore, 1886 Savoy Theatre souvenir programme Nevertheless, an 1867 production of Offenbach's The Grand Duchess of Gerolstein (seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in the 1860s and 1870s, including Les Cloches de Corneville, Madame Favart and others into the 1880s, often adapted by H. B. Farnie and Robert Reece. F. C. Burnand collaborated with several composers, including Arthur Sullivan in Cox and Box, to write several comic operas on English themes in the 1860s and 1870s. In 1875, Richard D'Oyly Carte, one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as a countermeasure to the continental operettas, commissioned Clay's collaborator, W. S. Gilbert, and the promising young composer, Arthur Sullivan, to write a short one-act opera that would serve as an afterpiece to Offenbach's La Périchole.

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