And like all good impresarios, he knows how to surround himself.
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Mahan then sent her budding business kid to a workshop for mini-impresarios.
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And impresarios who commission new operas often ask for works in the two-hour range.
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Novelty Song is a fast, high-flying, well-illustrated indie that will appeal to garageband impresarios and plagiarists.
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Her mother, Dorothy Dudley, and three sisters were involved in the arts, as biographers, poets, and theatrical impresarios.
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Mr. Sullivan and Ms. Robinson are expected to attend to the students as counselors, cheerleaders, impresarios and guardians.
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So why has this generation of stage, television and cinematic impresarios found new resonance in this old form of communalism?
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THE OPERA IS DEDICATED TO Gerard Mortier, one of the great impresarios of modern operatic history, who died in 2014.
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So is the career of Frederick Thomas, the American son of slaves who becomes one of Russia's most successful entertainment impresarios.
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Nevertheless, Bannon remains among the most outspoken impresarios of nationalist, illiberal politics in an age when such politics are sweeping the globe.
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Other impresarios—most notably L. Ron Hubbard, the founder of the Church of Scientology—had ransacked the genre for mythologies of personal growth.
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In attendance were a crowd of private equity impresarios: Michael Milken, Apollo's Leon Black, Howard Lorber, Rich Handler, Andrew Whittaker and Bennett LeBow.
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Critic's Notebook In the 1970s, when she was in her 19903s, Maxine Gordon had a revealing conversation with one of jazz's most powerful impresarios.
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In their heyday, just over a century ago, chains of vaudeville theatres spanned the continent, with big impresarios claiming to entertain 5m patrons a year.
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Impresarios still throng the festival, but these days they are checking out stars and also stagings — which are increasingly co-productions, shared among several opera companies.
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"Night life is the soul of any city," Carol Lim and Humberto Leon, the impresarios behind Opening Ceremony and the Kenzo designers, said in their press notes.
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By 1983 it had become a sprawling collective that attracted an international coterie of artists and impresarios (and, inevitably, the police, who shut it down later that year).
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From the 1910s to the 1930s, the Viennese-born architect Joseph Urban created sumptuous theater sets for Manhattan impresarios, filling backdrops with jeweled gardens and the occasional zeppelin aloft.
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But it was his uncanny knack for transforming candidates into zinger-spouting killers in debate prep that sealed his reputation as one of the best political impresarios in the business.
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The popular image of what happens backstage involves a flurry of activity involving directors and dramaturgs, producers and impresarios scrambling to boost morale, prevent disaster and keep the bills paid.
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Conte's college roommate, Sam Yam, tells me that amid a sea of fellow students intent on becoming tech impresarios and investment bankers, Conte stood out for his devotion to oddball creativity.
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For one, two real estate impresarios — Alex Sapir and Rotem Rosen, who both have connections to Putin's cohorts — joined Trump in Russia and worked to make a real estate deal happen.
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Trump is the latest in a long line of carnival barkers, sports impresarios, and insult comics who have exploited America's racial anxieties to build large audiences in the service of a quick buck.
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Worse, they allow themselves to be played by violence impresarios, namely terrorists and rampage killers, who correctly anticipate that they can attract the world's attention by killing a number of innocent people at once.
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In 1981, the young impresarios Ruza Blue and Michael Holman brought Afrika Bambaataa and breakers like the Rock Steady Crew down to Negril, a downstairs reggae club at 181 Second Avenue, for Thursday night parties.
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Historically industrial, all kinds of people—gold rush prospectors, immigrant farmhands and merchant mariners, leather daddies, nightclub impresarios, collective-living Burners, artists, hackers, and the homeless—have, at one time or another, called the district home.
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His broad appeal and his unusual magnetism transformed the normally brief and unadorned ritual into something much larger on Thursday, with various dignitaries, boxing impresarios, retired fighters and former neighbors and friends of Ali's in attendance.
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Nightclub impresarios and museum directors alike wondered when the crowds would return, a concern made even more pressing by memories of the attacks a year ago Thursday at the satirical newspaper Charlie Hebdo and a kosher grocery.
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The grand 19th-century Palais Garnier in Paris boasted an elegant, enormous bronze and crystal chandelier, which taught future impresarios the importance of good maintenance in 1896, when a falling counterweight killed a member of the audience.
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Aided by the bevy of cable TV hosts, talk radio impresarios, and bloggers who thrive on chaos — they will spread the belief that Americans have been betrayed both by Democrats and by weak-kneed and corrupt Republican establishment leaders.
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In the 21s, Jimmy Nederlander Sr. and Jr., the theater impresarios, took him to the Polo Lounge in Beverly Hills to tempt him with a one-man show a little like the one Bruce Springsteen is currently starring in.
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With their new 10,000-square-foot Flash Factory in Chelsea, which opens Saturday, the night-life impresarios Michael Satsky and Brian Gefter hope to lure the techno underground back to Manhattan using a new tool in their hospitality arsenal: populism.
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Robert Stigwood, the Australian-born producer, personal manager and music executive whose blockbuster hits with the Bee Gees and work on the films "Saturday Night Fever" and "Grease" made him one of the most successful impresarios of the 26s, died on Monday.
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Taxi and bus drivers have always seen themselves as impresarios in Damascus: playing Arabic classics and Western pop music, making coffee in little electric pots while weaving through traffic, setting up romantic lights they flick on at night for an instant party atmosphere.
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The event, predictably, drew a who's who of New York night life: the club impresarios Paul Sevigny and Richie Akiva, the high-wattage D.J.s Jus-Ske, DJ Vice and Rony Seikaly (yes, that Rony Seikaly, the former N.B.A. center), along with many others.
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Channeling their inner impresarios, critics and reporters for The New York Times engaged in a little operatic spitballing, throwing out ideas — including some that the Met is experimenting with and others it might find off the wall — that could help fill the house again.
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When I heard about Franco's acting stunt, I was skeptical: The duplication trick could easily have become the focus of the show, as the brothers attempt to become smut impresarios with the help of a rotund, industrious mob boss named Rudy Pipilo (Michael Rispoli).
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Beyond dating a biracial woman, he made outsize efforts to hang out publicly with African-American celebrities: the boxing promoter Don King, the hip-hop impresarios Kanye West, Russell Simmons and Sean Combs, and celebrities as big as Muhammad Ali, James Brown and Michael Jackson.
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The aria has a familiar ring to it: One of the world's leading opera houses reaches outside the tight-knit world of opera impresarios for new leadership, choosing a Sony record executive with no experience running a theater to guide it through uncertain times.
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That's when they gave Alain Levy the thumbs-up to go and start buying all of these impresarios and giving them a huge multiple — Jerry Moss and Herb Alpert, A&M, Chris Blackwell and Island, Motown — because they saw that the CD was gonna be a very big boom.
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But professional wrestling is an even purer example of strife sold as entertainment—and it became the perfect place for Trump to hone his act as a bigger-than-life, self-inflating, insult-flinging antihero, while taking notes from impresarios like Vince McMahon, the CEO of Worldwide Wrestling Entertainment.
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Even as printers filled the world with books, governments invested in vast new paper-management systems, impresarios produced handwritten newsletters for select clients, and scholars devoted their lives to filling notebooks with excerpts taken from the vast production of the presses and systematically classified under hundreds of topical headings.
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The nightlife impresarios Charlie Gilkes and Duncan Stirling have made a name for themselves with wackily themed bars such as Maggie's, a Margaret Thatcher-inspired disco, and Mr. Fogg's, their imagining of the house that the Jules Verne adventurer Phileas Fogg would have settled in after his travels.
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I don't know if you have these music-obsessed friends, too, but there are a couple of people I'm connected to on Facebook, Twitter and Instagram who unfailingly observe birthdays — of performers, composers, impresarios, great and minor — and the dates on which all manner of things (deaths, premieres, scandals, album releases) happened.
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Fast-forward to today, and other kids aren't Juicy J, multi-hyphenate music mogul who, amongst being the de facto elder statesman of Southern hip-hop, a founding member of Three 6 Mafia, and an Academy Award-winner, is without a doubt one of the most innovative artists and impresarios of the past 25 years.
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"The Circus" also spends a good deal of time chronicling the impact of technology, from a practical perspective -- as the railroad allowed the traveling show to bypass small towns and head to big cities -- and in terms of innovation, with electric lighting and moving pictures among the draws the impresarios used to attract crowds.
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"Hip hop was also rebellion against several norms of the time, including the overwhelming popularity of disco, which many in the community felt had unjustly overshadowed the recent groundbreaking works of James Brown and other soul impresarios from the 60's," writes Lyor Cohen, YouTube's Global Head of Music and former head of Def Jam Records, on the blog.
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After several decades in which the trend has been toward longer, uncut operas — drawing on the work of scholars to restore rarely performed passages, and putting a renewed emphasis on completeness that would be alien in, say, Shakespearean performance, where cuts are routine — some impresarios and directors think it is time for the pendulum to swing back a bit.
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It was perhaps the grandest night of the summer at the grand Salzburg Festival, the Davos of classical music, which is known for attracting not just leading artists but also impresarios, managers, agents, recording-industry honchos, television and streaming executives, and journalists (more than 600 this year) to this small, picturesque city on the edge of the Alps.
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A good book could be written about the bastardization of great novels, and Victor Hugo's "Les Misérables" would make a fine Exhibit A. Rarely has any work of literature received such a pummeling at the hands of a succession of publishers, translators, filmmakers and musical impresarios, as David Bellos demonstrates in "The Novel of the Century," his intriguing new history of Hugo's 1,500-page masterpiece.
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" Shiny high rises now cast their shadows over Kakaako's warehouses, and real estate investment is flooding in from China, Canada, Japan, and the continental US. Art impresarios also have their eyes on the islands, including the inaugural Art Hawaii International art fair opening in November with the stated goal of "cater[ing] to a global audience with an innovative cross-cultural contemporary art event in one of the most extraordinary destinations in the world.
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Dene Denny and Hazel Watrous[Carmel Impresarios; pub 2014. ] founded the Carmel Bach Festival in Carmel-by-the-Sea, California. The Festival began as a four-day festival of open rehearsals, events, and concerts conducted by Ernst Bacon and Gastone Usigli.Carmel Music Society Website[Carmel Impresarios; pub 2014.
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Ptooff! is the debut studio album by English psychedelic rock band The Deviants. It was released in 1967 by record label Underground Impresarios.
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Maestro Weil concluded his tenure with the 2010 Festival.[Carmel Impresarios; pub 2014. ] 2020 saw its season voided caused by the COVID-19 pandemic.
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One of the most famous impresarios of the day was Marco Faustini who managed several Venetian opera houses in the course of his career.
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His theatrical family entertainment history reaches back over 100 years to Europe, including stage actors, dancers, musicians, and theatre impresarios. He died on July 4, 1923.
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In their place, recording companies, impresarios and clubs became increasingly important in finding new talent and advancing careers, in a manner more typical of European and American industries.
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THE IMPRESARIOS: WYLIE - TATE at its-behind-you.com, accessed 15 January 2012 He appeared with Elsie Janis in Hello, America and wrote the words for Hold My Hand.
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Peled graduated from the Herzliya Hebrew Gymnasium and served in the Israeli air force. He is the son of Miki Peled, one of Israel's most notable Impresarios. He is married with two kids and lives in Hofit.
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The team impresarios dream now of creating the "Arab Structuralism" where all men resemble Michel Foucault and all women wear men's trousers with boyish haircuts! We look for-ward to the sequel on madness as social construct.
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Eck p.61 In the print, the production of popularist plays are taken to an extreme by suggesting that the three impresarios are planning a spectacle which combines Dr Faustus with Harlequin Sheppard.Paulson Hogarth (Vol. 1) p.
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The Cake was a 1960s girl group consisting of Jeanette Jacobs, Barbara Morillo and Eleanor Barooshian. They were managed and produced by Charles Greene and Brian Stone, two Sunset Strip impresarios who also managed Sonny & Cher, Buffalo Springfield and Iron Butterfly.
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Strange Duets: Impresarios and Actresses in the American Theatre, 1865–1914. Iowa City: University of Iowa Press, 2006: 195. The Best Plays of 1894-1899 featured The Heart of Maryland as the most notable play of the 1895-1896 season.
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Jacques-Yves Cousteau said of himself that he was an impresario of scientists as an explorer and filmmaker who worked with scientists in underwater exploration. Nicholas Wade described James D. Watson and E. O. Wilson in The New York Times as impresarios of Charles Darwin's works.
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Kinky Gerlinky was an influential British clubnight that began in 1989 in London, England. It was hosted by fashion impresarios Michael and Gerlinde Kostiff and co-hosted by Winn Austin. The club night ended in 1994 following the sudden death of one of the organisers Gerlinde Kostiff.
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Cf. especially p. 62 on the film and Sarah Bernhardt. Sections of the book are on the film industry's early days and the then independent film studios such as Paramount. The following year he obtained the financial backing of the Frohman brothers, the powerful New York City theatre impresarios.
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After the war, he moved with the company to Madrid, where he appeared with great success in Pablo Luna's Molinos de viento. He also began to frequent the Café Castilla on Infantas Street in Madrid. There he had the opportunity to meet great artists, librettists, impresarios, and musicians. At one of these gatherings, he met the singer Pepita Embil.
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Allen, pp.99–100 The new Wigwam was completed in 1868. It was not just a political clubhouse: > Tammany Hall merged politics and entertainment, already stylistically > similar, in its new headquarters. ... The Tammany Society kept only one room > for itself, renting the rest to entertainment impresarios: Don Bryant's > Minstrels, a German theater company, classical concerts and opera.
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On vacation in New York she needed an appendix operation; after recovering she performed at a benefit concert for the blind. Then she auditioned for the Schubert brothers, impresarios, who offered her a contract. Significantly, perhaps, her husband returned to Cuba. She made her debut in the Schubert Follies together with Xavier Cugat at the Apollo Theater.
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After lengthy negotiations, the BBC took over from Chappells in 1927 as sponsor.Orga, pp. 93–94 The Proms were saved, and the hall continued to play host to celebrity concerts throughout the rest of the 1920s and the '30s, some promoted by the BBC, and others as hitherto by a range of choral societies, impresarios and orchestras.Elkin (1944), p.
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During the Vasa rule, several notable ceremonies took place, including the wedding of Duke John, who later became King John III of Sweden, and Sigismund Augustus' sister Catherine. The first opera in Lithuania was staged in the palace in 1634. Marco Scacchi and Virgilio Puccitelli were the opera's impresarios. The ruins of the palace, drawn between 1785 and 1786.
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"Opera and Ballet", p. 313 in Ruth Towse (ed.) A Handbook of Cultural Economics. Edward Elgar Publishing. However, even in the 19th century when opera was largely run by individual impresarios rather than large organisations, opera management as a profession was characterised as "a devouror of the fortunes of the victims it has tempted by its seductions".
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Commercial Art and Industry, September 1924, 109. In the earlier half of his post-war career, Hammond worked on many productions with the playwright Ashley Dukes and the theatre impresarios Jose Levy and C.B. Cochran. Hammond was listed in The Oxford Companion to the Theatre where he was described as ‘among the most successful scenic designers of the nineteen- twenties.’Phyliss Hartnoll, ed.
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Stark with Mireille Mathieu, 1971 Johnny Stark, born Roger Oscar Emile Stark (August 29, 1922 - April 24, 1989), was one of the most dynamic impresarios (A&R; executive) and producers in French show business. He is perhaps best known for working with Édith Piaf and representing Mireille Mathieu from the 1960s until his death, thus assisting her rise to international stardom.
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Sakall began a Hollywood career that included "an endless succession of excitable theatrical impresarios, lovable European uncles and befuddled shopkeepers". His first American film role was in the comedy It's a Date (1940) with Deanna Durbin. The first big hit of his American career was Ball of Fire (1941) with Gary Cooper and Barbara Stanwyck. Later, he signed a contract with Warner Bros.
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Agents and impresarios besieged her with offers of parts. In the course of three months she performed 16 concerts, singing with the eight leading orchestras of France. One of those whose attention was attracted by her voice, was Jacques Rouché, the director of the Grand Opera House of Paris. Although Rouché complimented her on her voice, he offered her no engagements.
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Sullivan in Gastown, who was of West Indian origin. Her son Arthur became popular with Vancouver impresarios as a Master of Ceremonies and his career as a singer, actor and host bridged the pre-railway Gastown era with the glitter of Vancouver's nightlife in the '20s and '30s. The second iteration of Hotel Vancouver, c. 1923. The hotel featured an Egyptian Art Deco-styled opera house.
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After writing most of the libretto, Maschwitz discovered that the theatrical impresario Emile Littler"The Impresarios: The Littlers". It's Behind You website, accessed June 17, 2011 had the same idea. Instead of duelling over the work, however, they joined forces, with Littler as producer and Maschwitz writing book and lyrics. Maschwitz had already worked with composer Posford on Balalaika, Goodnight Vienna and Magyar Melody.
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Abbott and Costello in Hollywood. New York: Perigee Books. After the Mutual Wheel collapsed during the Great Depression, Costello went to work for stock burlesque impresarios, including the Minskys, where he crossed paths with a talented producer and straight man named Bud Abbott. They first worked together in 1935 at the Eltinge Theatre on 42nd Street in New York City after Costello's straight man fell ill.
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Mutual collapsed in 1931 during the Great Depression. As legitimate Broadway shows closed, stock burlesque impresarios like the Minskys expanded from working class neighborhoods and leased theaters in and around Times Square. Stock burlesque companies multiplied in other cities and snatched up former Mutual talent. By the late 1930s, a crackdown on burlesque by clergy, anti-vice factions and local businesses began its gradual downfall.
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Built in 1914 for impresarios Marion Scott Pearce and Scheck, the 2300-seat theater was the foremost vaudeville house in Baltimore, as well as a movie theater. When the movie palace opened, it was the largest theatre in the United States south of Philadelphia.Theresa Donnelly, “Hippodrome Theatre,” Explore Baltimore Heritage. Retrieved December 26, 2015 The Hippodrome was designed by Thomas W. Lamb, one of the foremost theater architects of his time.
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Built by the San Bernaba branch of the Giustiniani family c.1620, it was originally a prose theatre. Its first opera production was Claudio Monteverdi's (now lost) opera L'Arianna in 1640 by which time the ownership had passed to the Zane family who had long intermarried with the Giustiniani. It was used by the Ferrari company, and the librettist Giovanni Faustini was one of the theatre's first impresarios.
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Working in Moscow's cabarets and with impresarios such as Vsevolod Meyerhold, he created dark and sultry scenarios highly sexual in character. In 1916, he founded his own studio called The Quest and soon found a devoted audience entranced by his provocative ideas. His experiments inspired George Balanchine to establish his own troupe in 1922, the Young Ballet.Jennifer Homans, Apollo's Angels: A History of Ballet (New York: Random House, 2010), 325-6.
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Lambert had the acumen to refuse the management offers of various impresarios and agents, and by , he had returned to Leicester as a wealthy man. He returned to his favourite pastimes, breeding sporting dogs and fighting cocks. A terrier bitch, for which he was offered 100 guineas (about £ as of ), was said to be the finest in England. He refused to sell the dog, which became his lifetime companion.
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He discovered the schoolteacher Tom O'Connor, who became one of Britain's top comedians, and helped the early careers of Jimmy Tarbuck and Mike Yarwood. Scott was also one of the subjects of a TV programme, The Impresarios, presented by Melvyn Bragg. But the lure of performing proved too much, and in the early 1980s he discreetly put the word about that he wanted to work on stage again. To his surprise he was not forgotten.
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Among the American investors and interested parties were: F. J. "Joe" Goldsoll; his younger brother L. H. Goldsoll, and Edward B. Kinsila; Albert H. Woods (who invested $160,000); Klaw and Erlanger and Charles Frohman, theatrical impresarios; and Pat Casey, an experienced vaudeville agent. Goldsoll was the general manager of his Cines-Theater AG company, which held the Cines rights for Germany. This was a separate entity from the parent Cines company in Rome.
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He also wrote for the precursor to the Jüdische Allgemeine weekly news magazine. As a commentator and theatre critic he used his influence to encourage young director-impresarios such as his friends Peter Zadek and Jürgen Flimm. Unger was a co-founder of the Cologne Association for Christian-Jewish Collaboration (1958) and of the Germania Judaica library (1959), together with Heinrich Böll and Paul Schallück. He died in Cologne on 20 December 1985.
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The ever-increasing popularity of the opera buffa genre led to local impresarios opening new theatres to accommodate the new audiences. The Teatro della Pace which opened the same year as the Teatro Nuovo was as small as the Fiorentini and had been converted from a private prose theatre in the home of Prince Tiberio Carafa.DelDonna, Anthony R. (2016). Opera, Theatrical Culture and Society in Late Eighteenth-Century Naples, pp. 7–9. Routledge.
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Considine was born in 1935 in Los Angeles to producer John Considine Jr. His grandfathers were two pioneering vaudeville impresarios, Alexander Pantages and namesake John Considine Sr.Actor John Considine to speak at Port Townsend Film Festival, Seattle Post-Intelligencer, May 21, 2004. Accessed online December 21, 2007. He's the older brother of actor, writer and photographer Tim Considine and the paternal nephew of the late political reporter and newspaper columnist Bob Considine.
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Antonio Botta was born in the Brazilian city of São Paulo. His first important premier came in 1926 with "Falucho", a one-act musical drama vignette, performed at the Porteño Theatre ("Teatro Porteño") in Buenos Aires by the Luis Arata company. Further scripts quickly followed. Stage directors and theatre impresarios with whom he worked included his brother, Américo Botta, Luis César Amadori, Ivo Pelay, José González Castillo, Elías Alippi, Carlos Osorio and Antonio De Bassi.
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However, political upheaval following the French coup of 1851, led to half-empty theatres, making life difficult for the impresarios and singers alike. In the spring of 1853, he was offered a contract for a few performances in Vienna, after which he retired from the stage.This account of the final years of Guasco's career is based on Regli (1860) pp. 255-256 He returned again to Solero, where he became active in the town's administration.
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The key figure in the actual production of the operas was the impresario, who assembled the singers, musicians and creative team and made the business and artistic decisions. Sometimes the impresarios were hired by the theatre renters and their backers. On other occasions the impresario was also one of the investors and the renter of the theatre. The cassier (cashier) was in charge the financial side of the production, including handling the payments and receipts.
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In the summer of 1923, Büttner returned to the US at the behest of American impresarios, 'Johnson & Lowenstein, Inc'. with The Six Rockets and a new set of personnel.Das Programm: Nr. 1315. 19 June 1927. The troupe, whose members included Nannÿ Tÿralla, Annedore Frenkel, and Melanie Elisabeth Geidel (all previously living in Leipzig), Erna Prokop of Breslau (today Wroclaw) and Elisabeth Huebner and Gertrud Tafel (both from Dresden), arrived in New York on August 8, 1923.
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Theatre directors often doubled as theatre managers, as impresarios were rare and impresario organisations even rarer, and then it was director's name that attracted the audience. As payments to cast and crew remained arbitrary and severely dependent on the success of the show, many picked up work in other mediums. As state funding was never available for theatre directly, practitioners tried to gain corporate sponsorship, or did "call shows" in other cities to raise money.Chambers, p.
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Tamasha is the soundtrack album, composed by A. R. Rahman with song lyrics by Irshad Kamil, to the 2015 Hindi film of the same name, directed by Imtiaz Ali and produced by Sajid Nadiadwala. The film stars Ranbir Kapoor and Deepika Padukone in lead roles. The album features nine tracks, and was released on 16 October 2015 by T-Series. The music in the film is narrative, in the form of impresarios, depicting emotions of the characters.
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Prior to his 2014 release Highway, A. R. Rahman agreed to work with Imtiaz Ali to compose for Tamasha. In an interview with Business Standard, Imtiaz Ali said that the music in the film has been used as a narrative to enhance the inherent drama of the situation without dialogue. Songs in the film were almost in the form of impresarios. According to the lyricist Irshad Kamil, the lyrical work present human emotions in such different flavours.
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The Bayanihan Dance Company was then featured as one of the "Highlights of the Brussels Fair" on The Ed Sullivan Show that beamed to about 40 million television viewers in the United States. The following year, the dance company also appeared on the Dinah Shore Show and reached an audience of 38 million. They were invited by Sol Hurok, the "king of impresarios," for the Sol Hurok International Festival at New York's Winter Garden Theatre.Grossman, Andrew.
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Manahan was born in County Waterford in what was then the Irish Free State (now the Republic of Ireland). Her career began when, as a young woman, she was recruited by the legendary Irish impresarios and theatrical directors Micheál MacLiammóir and Hilton Edwards. She later married stage director Colm O'Kelly, who died not long afterwards of polio, which he contracted after swimming in the Nile during a theatre tour of Egypt. They had no children and she never remarried.
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Masques were multimedia, for they almost always involved costuming and music as a method of conveying the story or narrative. Ben Jonson, for example, wrote masques with the architect Inigo Jones. William Davenant, who would become one of the major impresarios of the English Restoration, also wrote pre-Revolutionary masques with Inigo Jones. The role of the architect was that of designer of the staging, which would be elaborate and often culminate in a fireworks show.
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With her support, the young man from the Hague found himself within a few years working with the top artists and theater impresarios. Bandy was known by the public as a singer of happy lyrics, but to those who knew him better, he had a less upbeat image. He also married the much younger Sinia Franke in 1948, and in 1952 married 19-year-old girl Carla van den Hurk. He divorced Carla in 1958 and was getting lonely.
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Cort had the basement level of the Grand built in 1898 and opened it as a variety and beer hall known as the Palm Gardens."Grand Was Oldest of Seattle's Playhouses", The Seattle Daily Times, January 20, 1917, p.2. In the summer of 1900, the rest of the building was built "in record time," with its official opening on October 8, 1900. In the winter of 1901, Cort signed a contract with New York-based impresarios Klaw & Erlanger.
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German music impresarios Horst Lippmann and Fritz Rau organized the first annual American Folk Blues Festival in 1962. They arranged for several well-known American blues artists to perform in concert in several European cities. Sonny Boy Williamson participated during the second festival tour in 1963 and his performances are identified as some of the most memorable of the festival. At the conclusion of the festival, he returned to England for a more extensive club tour.
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Joanna Lumley Lumley spent three years as a photographic model, notably for Brian Duffy, who photographed her with her son, born in 1967. Also that year she appeared on the BBC Two programme The Impresarios: For Appearance's Sake, explaining Duffy's studio process and her joy in working with him. She also worked as a house model for Jean Muir. Over forty years later, she participated in another photoshoot – again with her son – for Duffy as part of a retrospective of the photographer's work.
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The 53rd Competition will be held from 20 – 24 November 2019 at the ‘Theater aan de Parade' venue in ‘s-Hertogenbosch, Netherlands. Soprano Dame Felicity Lott will be Jury President of the 53rd International Vocal Competition ‘s-Hertogenbosch (IVC), category LiedDuo. The IVC offers young and talented singer-pianist duos the chance to perform for an international jury, casting directors, concert managements, impresarios, the media and public. This year’s prize money amounts to more than € 13,000 and various engagement prizes are offered.
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He has been called "a large and enthusiastic north countryman", and his favourite words of approval were "Tremenjus! Tremenjus!" Writing on Wylie, James Harding notes that "He never took to drink – he took to Ice-Cream. Buckets of it..."James Harding, in George Robey & the Music Hall, quoted in "THE IMPRESARIOS WYLIE–TATE" at its- behind-you.com, accessed 7 May 2020 The first Wylie and Tate co-production was a revue called I Should Worry, at the Palace Theatre in August 1913.
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Under the Gaslight is a lostThe Library of Congress/FIAF American Silent Feature Film Survival Catalog:Under the Gaslight 1914 silent film melodrama produced by the Biograph Company, for theatrical impresarios Klaw & Erlanger, and distributed by The General Film Company. It is based on the old Victorian stage melodrama of the same name by Augustin Daly popular in the 1860s and 1870s and revived periodically for years afterwards. This film was directed by Lawrence Marston and stars Lionel Barrymore.Under the Gaslight at silentera.
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Too young to understand much of the play, he described himself as being "enchanted" by the actress who played Viola. During his second year at the Manchester Grammar School he appeared in his first Shakespearean role, as Bassanio in The Merchant of Venice. Soon thereafter, he saw a production of the same play performed in Manchester by the touring company of Henry Irving, one of the great nineteenth-century Shakespearean impresarios. Mr. Irving played Shylock and Ellen Terry performed as Portia.
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Later that year, António and his brother were contracted by the opera house in Aix-les-Bains, with António singing to great success as Manrico in Il trovatore, Gennaro in Lucrezia Borgia, and the title roles in Faust and Marchetti's Ruy Blas. The impresarios of the Teatro Comunale in Trieste and the Teatro Regio in Turin had offered him lucrative contracts for the 1885 season, but a serious outbreak of cholera in Italy led both brothers to return to Lisbon instead.Kutsch, Karl-Josef; Riemens, Leo (2003).
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PLAY: Andy's Dog Day (1921) by Wallace A. Carlson for Celebrated Players Film Corporation. An animated film with balloon texts, this short features the character Andy Gump, who is repeatedly harassed by dogs (duration 05:54). The Famous Players Film Company was a film company founded in 1912 by Adolph Zukor in partnership with the Frohman brothers, powerful New York City theatre impresarios. Discussions to form the company were held at The Lambs, a famous theater club where Charles and Daniel Frohman were members.
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The Royal Opera House, home of The Royal Opera The Royal Opera is an opera company based in central London, resident at the Royal Opera House, Covent Garden. Along with the English National Opera, it is one of the two principal opera companies in London. Founded in 1946 as the Covent Garden Opera Company, it was known by that title until 1968. It brought a long annual season and consistent management to a house that had previously hosted short seasons under a series of impresarios.
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Many productions are regularly presented, both by local talent and international stars, and the theatre has been a source for the cultural appreciation of the arts in Malta. Since 1960, it has had an official Management Committee and is no longer rented out for whole seasons to impresarios as in the past. The theatre's musical programmes retain some variety, but the main emphasis during recent decades has been on instrumental music. The theatre is listed on the National Inventory of the Cultural Property of the Maltese Islands.
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Marco Scacchi and Virgilio Puccitelli were the opera's impresarios. The appearance of the opera in Lithuania is quite early, especially considering the fact that Italian opera phenomena was formed at about 1600 and first opera staged in Paris was just before 1650. In the 17th century in Palace of the Grand Dukes of Lithuania, three Italian operas were staged – all by palace composer Marco Scacchi, to librettos by Virgilio Puccitelli - Il ratto d’Elena (The Elena Kidnapping) (1636), L'Andromeda (Andromeda) (1644), Circe Delusa (Disillusioned Circe) (1648).
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Barrasford was an early adopter of the new moving pictures invention, creating the Barrascope system for cinematograph projection. Holding a patent with Leeds photographer Owen Brooks, with assistance from an engineer named Borland, they first put the machine into the Leeds Tivoli from 1902. He later adapted a number of his theatres to use it, including the Brighton Coliseum in 1909. By now, Barrasford was suffering from persistent ill health from Bright's Disease, and impresarios in USA and Britain expressed interest in taking over his entire tour.
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His unorganized economic life caused him to sell his plays to several impresarios and theater actors for very little, when he needed money. He frequently accepted advances for plays which he had not yet finished or begun writing, and he sometimes wrote plays hurriedly, giving them away without final revisions. In 1906, Sánchez settled in La Plata, where he worked for the Office of Anthropometric Identification, which was funded by Juan Vucetich. He contracted tuberculosis, which was spreading rapidly during the late 1880s and early 1900s.
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In 1764, he went to Vienna to sing there. During the 1760s, Italian impresarios brought troupes of buffi to Vienna, and opera buffa become quite popular there. Carattoli was, along with Domenico Poggi, one of the most celebrated singers despite being in his 60s by that time, and gained praise from Johann Joseph Khevenhüller-Metsch and Joseph von Sonnenfels, among others. He had roles written for him by prominent Viennese composers of opera buffa as well, including Florian Leopold Gassmann and Wolfgang Amadeus Mozart.
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In April 1770, Giovanni Battista Gervasio, an Italian mandolinist who traveled Europe, gave a concert in "the room over the Exeter Exchange." It was the first time it had been used for that purpose. From 1773, the upper rooms were let to a series of impresarios who operated a menagerie in competition with the Royal Menagerie at the Tower of London. The menagerie at the Exeter Exchange at various times included lions, tigers, monkeys, and other exotic species, all confined in iron cages in small rooms.
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This group established systemized booking networks throughout the United States and created a monopoly that controlled every aspect of contracts and bookings until the late 1910s when the Shubert brothers broke their hold on the industry. Hayman concentrated on investments in real estate. As theater impresarios and booking agents he helped develop the theater district in New York City at the turn of the 20th century. Hayman owned and/or operated several theatres in New York, such as the Knickerbocker Theatre"Knickerbocker Theatre history" ibdb.
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Grade was born into a Jewish show business family originally called Winogradsky; his father was the theatrical agent Leslie Grade and his uncles were the impresarios Lew Grade and Bernard Delfont. When he was three years old his mother left the family to conduct a relationship with wrestling commentator Kent Walton. Grade was brought up by his grandmother, and only saw his non-Jewish mother once more as an adult.Michael Freedland "Interview: Michael Grade", The Jewish Chronicle, 10 March 2011 He was educated at Stowe School in Buckinghamshire and St Dunstan's College in London.
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A misconception that the Sporck theatre operated as a private theatre under the auspices of the count is dispelled in Daniel E. Freeman, The Opera Theatre of Count Franz Anton von Sporck in Prague (Stuyvesant, N.Y.: Pendragon Press, 1992). The next commercial theatre, the "Kotzentheater" or Divadlo v Kotcích, operated sporadically from 1739–1783 under a series of Italian impresarios. The final closure of the "Kotzentheater" coincided with the opening of Count Nostitz’s "Nostitzsches Nationaltheater." The theatre opened in 1783 with a performance of the tragedy Emilia Galotti by the German playwright Gotthold Ephraim Lessing.
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Rolyat with Florence Smithson in The Arcadians (1909) Dan Rolyat, born Herbert Taylor (11 November 1872 – 10 December 1927), was an English actor and singer. After an apprenticeship with a touring company he was engaged by the impresarios George Edwardes and Robert Courtneidge to play comic roles in musical comedy. He also played in variety shows and, later in his career, in farce. Rolyat's greatest success was probably in the double role of John Smith and Simplicitas in The Arcadians (1909), first in the West End of London and then in the British provinces.
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Writing in 1899, the Brooklyn Daily Eagle wrote that he was a "well known playwright of a generation ago" and had done favors for the Kiralfy family of impresarios."Edward F. De Nyse Dead," Brooklyn Daily Eagle (May 12, 1896), p. 1. De Nyse was the agent of Adelaide Neilson for her American tour beginning in 1872. In 1877, the "Theatrical Notes" column of the National Republican (Washington D.C.) reported on a prospect of a production of Anthony and Cleopatra at Niblo's Garden with Lulu Prior, with De Nyse "in the business department" (i.e. producer).
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Harold C. Schonberg, writing in The New York Times, commented: > It was fun to hear this dated piece, but the chances are that not many > impresarios will be rushing to revive it. "Sapho" is, like so many of > Massenet's operas, superbly professional. He wrote well for the voice, > orchestrated expertly, knew exactly what he was doing. He well knew how to > tickle his audience, and could be outrageously sentimental – as he is in the > last act of "Sapho," with the solo violin weeping away in the famous > Massenet kind of treacle.
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In Boston, the scene at the Rathskeller—affectionately known as the Rat—was also turning toward punk, though the defining sound retained a distinct garage rock orientation. Among the city's first new acts to be identified with punk rock was DMZ. In Bloomington, Indiana, the Gizmos played in a jokey, raunchy, Dictators-inspired style later referred to as "frat punk". Like their garage rock predecessors, these local scenes were facilitated by enthusiastic impresarios who operated nightclubs or organized concerts in venues such as schools, garages, or warehouses, advertised via inexpensively printed flyers and fanzines.
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During World War II he worked with Natalino Otto, a singer also banned by EIAR because of swing. Kramer wrote "Ho un sassolino nella scarpa", one of Otto's greatest hits. In the period he also began a long-lasting cooperation with Quartetto Cetra – for them he wrote memorable songs such as "Nella vecchia fattoria" (the Italian remake of "Old MacDonald Had a Farm"), "In un palco della Scala", "Donna", "Concertino". In 1949 Gorni Kramer started working for Garinei and Giovannini, a very famous duo of impresarios who authored and produced musical comedies.
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The smaller auditorium was renamed Bryant's Minstrel Hall in 1868 when it became the home of Don Bryant's Minstrels. After Bryant's Minstrels left, the theatre was leased to a German company: > Tammany Hall merged politics and entertainment, already stylistically > similar, in its new headquarters. ... The Tammany Society kept only one room > for itself, renting the rest to entertainment impresarios: Don Bryant's > Minstrels, a German theater company, classical concerts and opera. The > basement – in the French mode – offered the Café Ausant, where one could see > tableaux vivant, gymnastic exhibitions, pantomimes, and Punch and Judy > shows.
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In the years following the premiere, Puccini made modifications to the three operas, but Gianni Schicchi required few. The principal change was to Rinuccio's arioso, "Avete torto", which was set in a higher pitch to take better advantage of the tenor voice. By 1920 Puccini was facing increasing pressure, not only from impresarios but also from his publishing firm, Casa Ricordi, to allow Il trittico to be broken up and presented separately. Opera houses first wanted to omit Suor Angelica, which had proven the least popular of the three, but some wished to omit Il tabarro as well.
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Although Germany in the interwar years boasted many excellent quartets - including the Klingler, Wendling, Dresden, Gewandhaus, Gürzenich, Havemann, Deman, Amar and Guarneri Quartets - Busch and his colleagues quickly established themselves as the best. All four members of Busch's ensemble were soloists in their own right, with a large repertoire of concertos and sonatas, and their fees reflected this status. However, impresarios all over Europe found that an entire subscription series could be sold through the inclusion of the Busch Quartet. Engagements followed one another with dizzying rapidity, especially for the leader, who had the busiest solo career.
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The Seattle Symphony was founded in 1903, and while few, if any, other comparably important arts institutions were established, the story was different in more popular entertainments. Vaudeville impresarios Alexander Pantages, John Considine, and John Cort (the last also involved in legitimate theater) were all based in Seattle in this era. The progressive school board hired a new superintendent in 1901, Frank B. Cooper, who oversaw a program of building many new schools in Seattle's neighborhoods. The schools expanded their curriculum from the basic core to include music and art, physical education, vocational training, and programs for immigrants and special needs students.
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In addition, in 1996, The Bridge re- introduced the beautiful 19th century reddish circular stone structure in Historic Battery Park, Castle Clinton, as a remarkable performance space, with the production, Hart and Hammerstein Centennial Plus One. An evening of song, it was hosted by CBS' Charles Osgood, and featured leading singers and Rob Fisher, then musical director of the Encores! series at the New York City Center. It was the first performance at Castle Clinton since the mid-1800s when, as an opera house, it was the Lincoln Center of its day, attracting impresarios like P.T. Barnum and performers like Jenny Lind.
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Montague used his money to invest in other business, including the fledgling Planet Hollywood and Ramada Jarvis Hotels. Montague also expanded his public duties, and was Governor and Chairman of the Audit Commission at Oxford Brookes University. As chair of the English Tourist Board he made attacks on: second- rate hoteliers; greedy seaside impresarios; grubby motorway caterers; miserable museum attendants; surly waiters; and taxi drivers – whom he accused of cadging large tips out of unsuspecting tourists. When latterly as chair of the National Consumer Council, he told the public to boycott places offering poor value for money.
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He is most well known for his popularization of the music of Richard Wagner. In 1882, he arranged the first British staging of the epic Ring Cycle, conducted by Anton Seidl and directed by Angelo Neumann. He became a British citizen in 1896. During his four or more decades of professional activity, Schulz-Curtius organized dozens of concerts at concert and recital venues such as St. James's Hall, Queen's Hall, the Royal Opera House in Covent Garden, Wigmore Hall, which was then known as Bechstein Hall, and collaborated with other impresarios as well such as Robert Newman, founder of The Proms.
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From the audience's point of view, local communities would become fans, and champion their favourites who would be treated as celebrities. Sometimes entire families would make a visit to their local rep part of the weekly routine, like going to church, and for the young people it could became part of their future appreciation for live "legitimate" theatre. During the forties, fifties and sixties, two impresarios dominated the field of British rep, mostly in the North. They were Harry Hanson and his Court players, and Frank H. Fortescue's Famous Players, with Arthur Brough in Folkestone for the South.
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Although she was highly talented, she never sang outside Italy after 1835. Strepponi became a celebrity among opera singers during the late 1830s, arousing fanatical enthusiasm in performances throughout Italy. In 1836 she sang the roles of Ninetta in Rossini's La gazza ladra, Elvira in Bellini's I puritani, and the title role in Rossini's La Cenerentola at the Teatro La Fenice in Venice. Impresario Alessandro Lanari In Spring 1837, she went under contract with Alessandro Lanari of Florence, then known as "the king of impresarios", who was able to secure important engagements for her in the years following.
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In an effort to raise money for Storey County to pay for railroad bonds, Piper managed to get the state senate to unanimously pass a bill that became law, removing the taxation limits on bullion in the county. As a pioneer of western combination companies, touring actors who brought plays and variety shows from an originating theater to other regional venues, Piper became one the foremost theatrical impresarios of the region. Piper utilized a chain of venues to accommodate touring companies. Among these were McKissick's Opera House in Reno and the Carson Opera House in Carson City.
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When Bleu Ocean was assembling a team of fellow drummers to perform on the song "Bring the Boys Back Home", featured on Pink Floyd's The Wall, he invited Rudess for the sessions, since Rudess had played drums as a child. However, Rudess's performance was rejected by producer Bob Ezrin. At that time, Rudess had already chosen the keyboards as his main instrument. Rudess was part of a studio project assembled by bubblegum pop impresarios Jerry Kasenetz and Jeffry Katz, the folks behind The Ohio Express and The 1910 Fruitgum Company. In 1980, they tried their hand at album-oriented rock with Speedway Boulevard, which also featured touring members of Ram Jam.
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Three-sheet theatrical poster Frank S. Nugent of The New York Times called it, "a grand adventure film, magnificently staged, beautifully photographed, and capitally played." He continued, > [T]here is no denying the opulence of the production, the impressiveness of > the sets, the richness of the costuming, the satisfying attention to large > and small detail which makes Hollywood at its best such a generous > entertainer. We can deride the screen in its lesser moods, but when the West > Coast impresarios decide to shoot the works the resulting pyrotechnics bathe > us in a warm and cheerful glow. ... The penultimate scenes are as vivid, > swift, and brilliantly achieved as the first.
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From the mid-19th century, opera had been presented on the site of Covent Garden's Royal Opera House, at first by Michael Costa's Royal Italian Opera company."History" , Royal Opera House. Retrieved 17 December 2012 After a fire, the new building opened in 1858 with The Royal English Opera company, which moved there from the Theatre Royal, Drury Lane."Drury-Lane Theatre", The Times, 13 December 1858, p. 10 From the 1860s until the Second World War, various syndicates or individual impresarios presented short seasons of opera at the Royal Opera House (so named in 1892), sung in the original language, with star singers and conductors.
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Kinky Gerlinky was an influential British clubnight that began in 1989 in London, hosted by fashion impresarios Michael and Gerlinde Kostiff and hosted by Winn Austin. Following in the footsteps of 80s clubs such as the Blitz and Taboo, Kinky Gerlinky was where clubbing culture met outrageous fashion and 'out there' drag. Whilst primarily regarded as a gay club, it was actually one that attracted revellers of all sexualities as well as genders and races. Kinky Gerlinky took place monthly in the West End, starting life at Legends, then the Café de Paris, before moving onto Shaftesbury's, and finally the Empire Ballroom in Leicester Square.
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In 1909, he found an opportunity to go and boarded the Italian ship Principe di Udine on September 25, arriving in Genova on October 13. In Italy, he dedicated himself finding a way to connect with the theater companies, for an opportunity to see his plays produced in Spain and France. Upon receiving 3000 francs in 1910 for his play Los muertos ("The Dead"), he spent all of his money in just a few days in Niza on women and gambling in casinos. After traveling through much of Italy and southern France, he went to Milan, an important center for theater, to contact with some theater impresarios.
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In 1954, Grade was contacted by the manager of singer Jo Stafford, Mike Nidorf,Carl Ellis: Lew Grade, Part 3: the War and After , TV Heroes, Transdiffusion. who notified him of an advertisement in The Times inviting franchise bids for the new, commercial ITV network. Assembling a consortium that included impresarios Val Parnell and Prince Littler, the Incorporated Television Programme Company (ITP), which soon changed its name to Incorporated Television Company (ITC; also known as ITC Entertainment), was formed. ITC's bid to the Independent Television Authority (ITA) was rejected on the grounds of its conflict of interest from its prominence and involvement in artist management.
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Gardoni as a young man In 1847 he went to London, where he performed regularly until 1874. Sought by rival impresarios in France and Italy, he was purchased from the Paris Opéra for Her Majesty's Theatre by Benjamin Lumley for 60,000 Francs, to compensate his public for the departure from their stage of Mario. Having been introduced through the Puzzi salon in Jermyn Street,Mrs Pitt Byrne, Gossip of the Century (Downey, London 1899), II, 185-191. his first London stage appearance was in February 1847 in La favorita with Mme Sanchioli: both his principal arias were encored with much enthusiasm for his vocal purity of taste and feeling.
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Rather he fears to "fazer má figura", to perform in such a way that he feels ashamed of himself. He then goes on to criticise Portuguese boxing for being infested with leeches and hangers-on, impresarios who creamed money off the sport without constructing or contributing. From the tenor of the conversation it would seem that, for some years, there has not been professional boxing in Portugal. When asked whether he would still be able to fight at a competitive level, Belarmino demurs and discusses the conditions a boxer needs to perform to the best of his ability: good sustenance and the freedom to train and concentrate on the match.
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Stanford was a fluent and prolific composer, and work on the score proceeded quickly, although interrupted by his marriage and honeymoon in April 1878. There being little appetite among British impresarios for staging British operas, Stanford attempted to interest several German opera houses in the work, and after initial refusals it was accepted by the Hoftheater in Hanover. It was given as Der verschleierte Prophet in a German translation made by the conductor Ernst Frank, Kapellmeister of the Hanover opera. The local press, engaged in a feud with the management of the opera house, gave the piece poor reviews, but the wider German press was more favourable.
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Skolsky was born to a Jewish family, the son of dry goods store proprietor Louis Skolsky and his wife Mildred in New York City. He studied journalism at New York University before becoming a Broadway press agent for the theatrical impresarios Earl Carroll, Sam Harris, and George White. When he became the New York Daily News gossip columnist in 1928, the 23-year-old Skolsky was the youngest Broadway gossip columnist plying his trade on the Great White Way. He also had a Sunday column, "Tintypes", profiles of actors, directors and other production personnel and Hollywood creative types, that continued in print for 52 years, until a couple years before his death.
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Brynner on the 1977 program cover In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977.
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Mabel Normand During the 1920s, the St. Francis became the fashionable place to stay for celebrities and film actors coming from Hollywood. St. Francis guests included silent film stars Charlie Chaplin, Douglas Fairbanks, Mary Pickford, cowboy star Tom Mix, Mabel Normand, Fatty Arbuckle, and directors D.W. Griffith and Cecil B. DeMille.Other guests included novelist Sinclair Lewis, the first American to win the Nobel Prize for Literature, circus impresarios the Ringling Brothers, dancer Isadora Duncan, songwriter George M. Cohan, and Duke Kahanamoku, the champion swimmer of the world, who popularized the sport of surfing. One of the appeals of the St. Francis was its jazz orchestra, led by a young musician named Art Hickman.
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The traditional term is still used in the entertainment industry to refer to a producer of concerts, tours and other events in music, opera, theatre and even rodeo. Important modern impresarios in the traditional sense include Thomas Beecham, Rudolf Bing, Sergei Diaghilev, Richard D'Oyly Carte, Fortune Gallo, Sol Hurok, Andrew Lloyd Webber, Aaron Richmond, and jazz festival producer George Wein. Bill Graham, who produced music shows at The Fillmore Auditorium in San Francisco, was known as a rock music impresario. While the term is not often used for women, a modern example of a female impresario would be Vivianne Westwood, who was largely responsible for bringing modern punk and new wave fashions into the mainstream.
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Esteban squandered away his fame and fortune by reckless behavior – the same reckless behavior Juan now exhibits – which he is trying to steer Juan away from. If his old contacts will listen, Esteban plans to take Juan to Madrid so that he can truly become a great serious singer under the management of one of the great impresarios. After a day outing at the market where he steals some oranges and some cloth and thus is trying to escape from the police, Juan runs into Maria in a private courtyard, she who he has never met. She has escaped from the convent and is stealing a dress from a clothes line to replace her convent garb.
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Ferretti worked through the night and had the first parts of the work ready as promised in the morning. He finished the libretto in twenty-two days of breakneck work, and Rossini completed the score in an equally hectic twenty-four days. The poet had serious doubts about the success of this opera; Rossini, on the other hand, predicted that it would conquer Italy in a year and spread to France and England in another: "the impresarios will fight for staging it, as well as the primadonnas for being able to sing it". La Cenerentola premiered on 25 January 1817, and quickly gained popularity both in Italy and internationally, despite a cold initial reception by the critics.
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It was at these shows, often done for high-stakes gambling purposes, that the nature of the sport changed through the competing interests of three groups of people: the impresarios, the carnies, and the barnstormers. During the late 19th century-early 20th century, wrestling was dominated by Martin "Farmer" Burns and his pupil, Frank Gotch. Burns was renowned as a competitive wrestler, who, despite never weighing more than 160 pounds during his wrestling career, fought over 6,000 wrestlers (at a time when most were competitive contests) and lost fewer than 10 of them. He also gained a reputation for training some of the best wrestlers of the era, including Gotch, known as one of America's first sports superstars.
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The staging of Harlequin Sheppard — a play by John Thurmond based around the exploits of the famed criminal and escape-artist Jack Sheppard — by the three impresarios of the Theatre Royal, Drury Lane: Colley Cibber, the actor Barton Booth, and Robert Wilks, in November 1724, spurred Hogarth into immediate action. The play was so poor that it closed after only seven performances, but for Hogarth it was evidence that while they claimed to be for high art, the Drury Lane producers were actually trying to out-compete John Rich at Lincoln's Inn Fields. Rich was at the forefront of the resurgence of the pantomime in England and his productions aimed at spectacle rather than art.
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The fine quality of Malipiero's lyric voice soon attracted the attention of impresarios, and he was invited to sing at principal venues throughout Italy, including the Teatro Costanzi in Rome, La Fenice in Venice and the Verona Arena. Other major Italian cities that heard him sing were Naples, Parma, Turin and Genoa, and he travelled also to Monaco. In 1937, he made the first of what would prove to be many appearances at Italy's foremost opera house, the Teatro alla Scala in Milan, as Ramiro in Rossini's La cenerentola. Nine years later, following World War II, he took part in an historic concert held to mark the re-opening of La Scala, performing under the baton of Arturo Toscanini.
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In its early decades the Met did not produce the opera performances itself but hired prominent manager/impresarios to stage a season of opera at the new Metropolitan Opera House. Henry Abbey served as manager for the inaugural season, 1883–84, which opened with a performance of Charles Gounod's Faust starring the brilliant Swedish soprano Christina Nilsson. Abbey's company that first season featured an ensemble of artists led by sopranos Nilsson and Marcella Sembrich; mezzo-soprano Sofia Scalchi; tenors Italo Campanini and Roberto Stagno; baritone Giuseppe Del Puente; and bass Franco Novara. They gave 150 performances of 20 different operas by Gounod, Meyerbeer, Bellini, Donizetti, Verdi, Wagner, Mozart, Thomas, Bizet, Flotow, and Ponchielli.
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In 1973, two young impresarios - Jon Ogden and Rebecca Gould discovered that Manchester lawyer John McLane had prevailed upon the Norwin S. and Elizabeth N. Bean Foundation to take an option on the Palace in hopes of finding a way to keep it from being sold and torn down. The Bean Foundation funded a feasibility study headed by Ogden and Gould and then agreed to provide $500,000 for the renovation of the theatre. McLane and Gould spearheaded a campaign to provide operating funds for the Palace while Ogden served as the general contractor for the renovation process. On November 2, 1974, the Palace Theatre reopened with its new facade, lighting system, backstage furnishings and new orchestra seating.
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Gloria Davy as Aida in 1958 Davy made her professional stage debut on Broadway as one of the Female Saints in the April 1952 revival of Virgil Thomson's Four Saints in Three Acts at the Broadway Theatre. She returned to Broadway the following October to portray Susie in My Darlin' Aida at the Winter Garden Theatre with Elaine Malbin in the title role. In May 1954 she replaced Leontyne Price as Bess in a North American tour of George Gershwin's Porgy and Bess which was organized by impresarios Robert Breen and his wife Wilva Davis. After completing its North American tour in Montreal, Davy went with the production to Europe for performances in Venice, Paris, London, and other cities in Belgium, Germany, Greece, Italy, Switzerland, and Yugoslavia.
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His family served as impresarios for F.W. Waugh, A.A. Goldenweiser, and Sir Frances H.S. Knowles. The Victoria Museum grew their collections by enlisting Indians to collect ethnographic objects. In the summer of 1907, Simeon traveled with M.R. Harrington to different parts of the Six Nation Reserve when he collected items for museums in New York City. Harrington obtained ceremonial materials, weapons, games, costumes, and domestic utensils along with burl wood bowls, wooden or stone masks, for the collection of Erastus T. Tefft of New York and the New York State Museum. Linguist Edward Sapir came from Ottawa and employed members of the Gibson family, including Chief John Gibson and his sons Hardy and Simeon Gibson as “roustabouts, pickers, packers, and advance agents” for the Victoria Memorial Museum.
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During this same period, bands that would later be recognized as "punk" were formed independently in other locations, such as The Saints in Brisbane, Australia, The Modern Lovers in Boston, and The Stranglers and the Sex Pistols in London. These early bands also operated within small "scenes", often facilitated by enthusiastic impresarios who either operated venues, such as clubs, or organized temporary venues. In other cases, the bands or their managers improvised their own venues, such as a house inhabited by The Saints in an inner suburb of Brisbane. The venues provided a showcase and meeting place for the emerging musicians (the 100 Club in London, CBGB in New York, and The Masque in Hollywood are among the best known early punk clubs).
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His fiftieth year there was marked with a two-day celebration, including a service of thanksgiving presided over by the Bishop of Lichfield, Keele alumnus Jonathan Gledhill, and a further testimonial match. He was also awarded the honorary graduate status. In 2013 Baldwin received the honorary degree of Master of the University from Keele University, which said that he In 2016, Stoke City FC and Keele University combined to celebrate Neil Baldwin's 70th birthday at Keele Hall. Guests included friends and family, professional footballers and football administrators, members of the clergy, professional actors and screenwriters, impresarios of the circus, Keele University professors, students and graduates, local dignitaries, singers from the Neil Baldwin Choir, three Cambridge University Boat Club rowers, and members of the Neil Baldwin Football Club.
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The home of the Circus Hall of Fame had previously been in Florida. The Ringling Brothers Circus had established their winter quarters in Sarasota, Florida in 1927, with a large amount of help by Victor Sabattini (1916–2010), an insurance executive, who later became the president and chairman of the board. In the mid-1950s the idea to create a hall of fame to honor outstanding circus artists was conceived of by circus fans in the Sarasota community and in 1956 the Circus Hall of Fame opened. Located near the Sarasota airport, the Hall of Fame included exhibition space in several buildings filled with circus memorabilia, including personal effects from famous circus artists and impresarios – costumes, props, posters and circus wagons.
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Camillo Cirelli (whom Verdi had met while a student of Lavigna's some years before) was one of a group of three theatrical agents under Lanari who took responsibility for Strepponi from Milan after the early months of 1837. He also engaged her for the Teatro San Benedetto in Venice, but it was not uncommon for her to work under other impresarios. However, she became pregnant around March/April 1837 and she stopped singing only about a month before her first child, Camillo Luifi Antonio was born in Turin in January 1838 and baptised as "Sterponi" (sic). From her performance records of these two years, Frank Walker corroborates the fact that she was absent from the stage for about three months,Walker 1962, p.
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The theatre in 1905 The Beaux-Arts facade of the New Amsterdam is a narrow slice which leads to the theatre's interior, the first concrete example of architectural Art Nouveau in New York.Waters, Theodore "The New Amsterdam Theatre: A triumph of the new art", Everybody's Magazine (July–December 1903) pp 488 The building was constructed in 1902–03 by the partnership of impresarios A.L. Erlanger and Marcus Klaw, was designed by architects Herts & Tallant. Decoration was carried out by an extensive team of painters and sculptors that included George Gray Barnard, Robert Blum, the brothers Neumark, George Daniel M. Peixotto,The Jewish Encyclopedia: "Peixotto" Roland Hinton Perry and Albert Beck Wenzell. At the time of construction, it was the largest theatre in New York, with a seating capacity of 1,702.
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Indian culture enjoys a wide and discerning audience among the French population, as is evident in the numerous and frequent cultural events organised all over France, spanning the entire gamut of Indian art, music, dance, cinema and literature. While the Indian Council for Cultural Relations (ICCR) sponsors visits of Indian artists to France as also exchange of students in the field of culture and art, there is a growing number of private impresarios who organise cultural events throughout France. A significant number of Indian artists are therefore giving performances in France regularly on a commercial basis or at the initiative of the various local cultural associations outside the purview of the official exchanges. The Indo-French Cultural Exchange Programme (CEP) provides the overall umbrella for the organisation of a variety of cultural programmes.
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With a facade featuring heavy rustication decorated with ornamental statuary of lyrical muses by Leonard Marconi, the building became known as Lviv's Stonehouse of Music (), a haven for intellectuals, visiting artists and impresarios engaged at the nearby opera house. In the latter years of his life, it would also serve as the home of writer and family friend, Ivan Franko. In August 1939, after the death of her husband, Krushelnytska left Italy and returned to her home in Lviv, which during the interbellum period had become an important stronghold of the Second Polish Republic. Tragically, she would remain trapped in this city for the rest of her life, when only a few weeks following her arrival, Nazi Germany and the Soviet Union colluded to invade Poland and divide its territory between them in September 1939.
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Born in South Shields, County Durham, he attended the Royal Scotch Arms pub, and noticed its transformation under his later competitors Moss and Thornton into the Empire Music Hall in 1890. In 1895, in partnership with a man named Varah, Barrasford took over the wooden circus on the Ormond Street, Jarrow, turning it into a music hall, known as the Jarrow Palace of Varieties. Expanding his empire quickly from 189o, he acquired the Leeds Tivoli theatre, renaming it the Leeds Hippodrome on 20 March 1899. This was his first encounter with fellow impresarios Edward Moss and Sir Oswald Stoll, whose chain had just opened the Leed Empire theatre, whose features and scale had, less than two months later, brought about the failure of the lessor and resultant sale of the Tivoli to Barrasford.
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Poriss argues that this indecision shows a conscious effort to select an aria that would produce the best initial vocal impression. Yet it also shows the singer wanting to select an aria which best fit the composer's style and stayed close to the dramatic and musical shape of the opera. Impresarios also took an active interest in insertion arias, working closely with singers to ensure good quality performances (Poriss raises the question of what was the artwork nineteenth century audiences wanted to see: a performance, or a musical composition.) One of the means by which Saverio Mercadante developed the ability to write for the stage was by composing ballets and insertion arias for operas. By 1830, a singer's contract could have stipulated the number of insertions (Poriss cites a contract of Giulia Grisi).
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No help was offered to those displaced to find new accommodation, and this added to the suffering and misery of many of the former residents of the slum. The new blocks had policies to enforce sobriety and the new tenants were clerks, policemen, cigarmakers and nurses. Such was the success of the campaign, that the Prince of Wales officially opened the estate in early March 1900, saying Few indeed will forget this site who had read Mr Morrison's A Child of the Jago, and all of us are familiar with the labours of that most excellent philanthropist, Mr. Jay, in this neighbourhood.Quoted in The Times on the following day The impresarios and brothers Lew Grade and Bernard Delfont (born Winogradsky) moved to the Boundary Estate in 1914, from nearby Brick Lane and attended Rochelle Street School.
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81 After Bhartendu whose productions were largely funded by himself or at times by Maharaja of Kashi, Hindi theatre went through a phase of struggle, due to lack of sponsors, impresarios or efficient theatre managers, thus there was hardly any professional theatre for many decades, discouraging writers to take to playwrighting, even works of important playwrights of this period, Jaishankar Prasad and Upendranath Ashk were mostly read, yet hardly staged. Prevalent conservatism didn't allow the female actors to take to stage and unlike Marathi theatre of Mumbai or Bengali theatre of Calcutta, Hindi theatre remained a struggling force, despite the presence of a large audience, which went to the extent of the entertainment- driven Parsi theatre companies. Only a handful of amateur theatre groups presented their works at improvised or makeshift stages, in a period when like many popular writers, intellectuals too had turned away from theatre.Das, p.
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Pancake Mountain volume 4 DVD cover Pancake Mountain is a children's television show created by filmmaker Scott Stuckey (of the famous Stuckey's family). Described as an “alt-rock guerrilla kids' dance party, forged in the crucible of Washington, D.C. cable-access television”, it is notable for featuring many punk rock/indie rock musicians like The White Stripes, Eddie Vedder, Fat Mike, The Melvins, Kings of Leon, Henry Rollins, Shirley Manson, Gerard Way, Daniel Johnston, Tegan and Sara, Katy Perry, Bright Eyes, Deerhoof, Ted Leo and the Pharmacists, The Fiery Furnaces, Thievery Corporation, Arcade Fire, Built to Spill, Jenny Lewis, Metric, Starcrawler and many others. The show is hosted by a goat puppet named Rufus Leaking, superhero Captain Perfect and his slightly more sensible foil Garnett who serve as interviewers and dance-party impresarios. Interviews have included George Clinton, Juliette Lewis, and Chuck Leavell among others.
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David Forrest is a pen-name used by English novelists Robert Forrest-Webb and David Eliades to write four books, And to My Nephew Albert I Leave the Island What I Won off Fatty Hagan in a Poker Game (1969), The Great Dinosaur Robbery (1970), After Me, the Deluge (1972), and The Undertaker's Dozen (1974). These books featured tight plotlines and riotous humor, touching at the same time some serious topics: The Great Dinosaur Robbery and Nephew deal with the Cold War, After Me, the Deluge with religion. After Me, the Deluge was interpreted into the lavish stage musical Aggiungi un Posto a Tavola by the Italian impresarios Pietro Garinei, Sandro Giovannini and Iaia Fiastri in 1974 and has been running in Italy for over 44 years. It is firmly entrenched as a family favourite and is reported to have been seen by more than 15-million people.
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The form of entertainment contract at the time was called a "tour," whereby an impresario would book an act to tour all of his venues. Barrasford had noticed that Stoll would try to run his theatres cheaply, by booking foreign acts on a one-week trial contract to fill-in for his headline British acts: if they were a success then they got a tour, if not their contract would terminate at the end of the week. Barrasford hence started to attend Stoll's theatres in competition to his on a Monday, and if the act proved a success would then find them and sign them to a tour of his theatres. This skull dugery as far as Stoll was concerned was immoral, and after he banned Barrasford and his employees from the entire Stoll empire, so began a long term battle between the two impresarios.
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The three principals endure the brunt of Hogarth's satire. Wilks (to the left of the picture) declares "Poor R—ch, Faith I pitty him" as he sits dangling a puppet of Mr. Punch, a none-too subtle suggestion that he exceeds Rich in his desire to pander to the lowest denominator. Cibber looks heavenward to the painted Muses and entreats "Assist, ye Sacred Nine", while Booth dangles the puppet of Jack Hall and says "Ha, This will do G—d D—me". The ropes above the impresarios mirror the puppets they dangle below, and suggest that the managers will go to any lengths to entertain, even stringing themselves up in a fashion similar to the unhappy fiddler who dangles in the wings (The Music for ye What Entertainment which hangs close by, probably refers to John Gay's The What D'Ye Call It, another satire on the theatrical fashions).
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After being sold by Booth, the theatre was owned by several different managers, including the theatrical impresarios Augustin Daly and Dion Boucicault. Despite the appearances by important talent of the times, such as Dion Boucicault Jr., who made his stage début in his father's play, Louis XI, Joseph Jefferson as Rip Van Winkle, Polish born actress Helena Modjeska as Juliet, and the French-born "devine Sarah" – Sarah Bernhardt – who appeared in her acclaimed production of Adrienne Lecouveur in 1881, and despite successful runs of comedies, such as Bronson Howard's smash hit Love in the Green Room, and spectacular productions featuring lavish historical recreations such as Shakespeare's Henry V (see photo, left), the theatre could not sustain itself.Ruggles, p. 301. In 1882 Oedipus Rex was performed there to a sold-out audience which included Oscar Wilde, Robert Barnwell Roosevelt, his mistress Marion O'Shea Fortescue, the mother of Granville Roland Fortescue, and composer Joaquin Miller, but even such well regarded operas and elegant audiences couldn't revive the theater.
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The Festival Rock y Ruedas de Avándaro (also known as the Festival de Avándaro or simply Avándaro) was a historic Mexican rock festival held on September 11–12, 1971, on the shores of Lake Avándaro near the Avándaro Golf Club, in a hamlet called Tenantongo, near the town of Valle de Bravo in the central State of Mexico. The festival, organized by brothers Eduardo and Alfonso Lopez Negrete's company Promotora Go, McCann Erickson executive and sports promoter Justino Compean and Telesistema Mexicano producer Luis de Llano Macedo, took place at the height of La Onda and celebrated life, youth, ecology, music, peace and free love, has been compared to the American Woodstock festival for its psychedelic music, counterculture imagery and artwork, and open drug use. A milestone in the history of Mexican rock music, the festival has drawn anywhere from an estimated 100,000 to 500,000 concertgoers. The festival originally scheduled 12 bands booked by music impresarios Waldo Tena and Armando Molina Solis' agency, but a total of 18 acts performed outdoors during the first, sometimes rainy weekend, before a massive crowd.
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In an era when most entertainment was performed live on stage, the opening of a new theatre was considered so newsworthy that major newspapers reported on it. The proposed opening of the Blackstone was even noted by The New York Times, which wrote in mid-July 1909 that "...The new Blackstone Theatre, soon to be erected on Hubbard Place in Chicago... [will] have a large seating capacity, and is to be equipped with every modern theatrical device. The stage is to be patterned on that of the New Amsterdam Theatre in this city [New York]..." The Chicago Tribune also announced the up-coming event, and in a front-page story, the newspaper elaborated on what the Times had reported. The new theatre would feature the productions of Charles Frohman, who would operate the theatre jointly with impresarios Klaw & Erlanger; the three had incorporated under the name "Blackstone Theatre Company" (which was part of their larger Theatrical Syndicate, formed in 1896). The July 1909 Tribune article also pointed out that this new theatre would be an ornate "movie palace", able to seat about 1,200 people and costing in excess of half a million dollars to build.
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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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