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"libretti" Synonyms
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611 Sentences With "libretti"

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

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Mr. Cage "really disconnected costumes from arias, movements from sounds, images from libretti," Mr. Goebbels added.
Where are the novels, the plays, the poems, the songs, the libretti, of this massive contemporary anxiety?
The store has 20 staff members, most of them part time, and stocks more than 20,000 titles, including plays in translation and musical libretti from popular Broadway plays.
Customers can find international plays in translation from Russia to Argentina, musical libretti from current Broadway plays and a collection of works by and about Shakespeare (their largest section).
One of those photographs, from December 1949, shows Mr. Bernstein chatting behind a hazy cloud of cigarette smoke, framed by Betty Comden of the writing team Comden and Green, who created libretti for many hit Broadway shows and musicals.
Archives are treasure troves for historians, but what can a historian of ballet — an art transmitted from dancer to dancer, foot to foot — do with a collection of gas and electricity bills, leave applications, fire damage reports and rejected libretti?
Consisting of three movements scored mainly for solo soprano and strings, and libretti that repurpose folk texts concerning Polish religious culture and historical events, it's a post-modern, minimalist document of heart wrenching expressionism that calls for just under an hour of slow, mournful reflection.
Bracketed by movements with libretti built on texts depicting scenes of mothers who have lost their children in war, the second movement's libretto is a message 18-year-old Helena Wanda Blazusiakówna wrote to her mother while imprisoned in a Gestapo cell during WWII.
Libretti d'opera. Dario De Rossi: Fadette, notes to libretti 5223 and 5224. Università degli Studi di Padova. Retrieved 4 December 2017 .
As a composer, his work consisted primarily of choral works for sacred use, including church operas and musicals. Besides libretti written for himself to set, he also wrote libretti for operas with composers Richard Shephard and Carson Cooman.
Pillet by this time had also written libretti for a series of vaudevilles.
Holden has appeared on Deutsche Welle's Inspired Minds talking about her work on opera libretti.
Bach moved to Leipzig in 1723. There is uncertainty as to who was writing the libretti he set during his first years in the city. The libretti for the Chorale cantata cycle of 1724/25 are anonymous. By 1725, Henrici and Bach were working together.
Libretti d'opera. Notes to libretto 4621: L'avaro . Università degli Studi di Padova. Retrieved 17 December 2014 .
Grazio Braccioli (1682–1752) was an Italian jurist, poet and librettist. Born in Ferrara, he wrote 9 libretti for operas produced at the Teatro Sant'Angelo in Venice between 1711 and 1715. Among them were the libretti for Vivaldi's Orlando furioso and Orlando finto pazzo.Talbot, Michael (2011).
Composer Richard Wagner, who also wrote the libretti for his works Libretti (the plural of libretto) are the texts for musical works such as operas. The Venetian poet and librettist Lorenzo Da Ponte, for example, wrote the libretto for some of Mozart's greatest operas. Luigi Illica and Giuseppe Giacosa were Italian librettists who wrote for Giacomo Puccini. Most opera composers collaborate with a librettist but unusually, Richard Wagner wrote both the music and the libretti for his works himself.
In addition to her books and short stories, Godwin wrote libretti for ten of Starer's musical compositions.
His best-known characters are Belphégor, Judex, Mandrin, and Vidocq. Bernède also collaborated on plays, poems, and opera libretti with Paul de Choudens; including several operas by Félix Fourdrain. Bernède also wrote the libretti for a number of operas, among them Jules Massenet's Sapho and Camille Erlanger's L'Aube rouge.
Sophie also worked in the theatre, she was the writer of several theatrical comedies and libretti for opera.
Libretti d'opera. Notes to libretto 390: Il curioso indiscreto. Università degli Studi di Padova. Retrieved 27 December 2014 .
He also wrote some works for performance in Florence, Bologna and abroad. He died in Naples in 1769; one of the victims of a fever epidemic in the city. Many of his libretti were set more than once to music, and composers continued to use his libretti up into the 1830s.
Lines by Lines, a collection of Lines' lyrics and extracts from her libretti, was published by Matador in 2012.
He has written seven libretti for opera, mostly for Scottish Opera, and frequently in collaboration with composer Lyell Cresswell.
Guillermo Fernández-Shaw Iturralde (26 February 1893 - 17 August 1965) was a Spanish poet and journalist. He is particularly known as a writer of libretti, primarily for zarzuelas. With Federico Romero, he wrote the libretti for two of the best-known zarzuelas of the 20th century, Doña Francisquita by Amadeo Vives and Luisa Fernanda by Federico Moreno Torroba. His father, Carlos Fernández Shaw, was also a playwright, poet and journalist who wrote libretti for several zarzuelas and operas, most famously Margarita la tornera and La vida breve.
Much like "The Copyist", it connects visual art to love. Bulthaupt's interest in musical theater is documented in several libretti.
He later wrote the libretti to the famous series of Savoy operas (composed by Arthur Sullivan) between 1871 and 1896.
Beside his journalistic activity Buchbinder wrote novels, folk plays and especially operetta libretti in Viennese style. Buchbinder died in Vienna.
Some are direct settings of Wilde's words or libretti based on them, and some are wordless settings inspired by his writings.
Arthur Anderson (1873–1942) was an English dramatist and lyricist, who is best known for his libretti for Edwardian musical comedies.
Janice Galloway (born 1955 in Saltcoats, Scotland) is a Scottish writer of novels, short stories, prose-poetry, non-fiction and libretti.
Like the Observer reviewer, he remarks on the elegance of Lecocq's best music. He also criticises Lecocq for abusing his compositional talent, particularly in his early works, by setting libretti of little merit.Letellier, pp. 244 and 249 This, in Letellier's view, led to the oblivion of much excellent music, lost when works with bad libretti failed.
Schneider is an alumnus of the BMI Lehman Engel Musical Theater Workshop. Her libretti have been recorded by the Louisville Symphony and performed by Robert Shaw and the Atlanta Symphony in Boston's Symphony Hall and in Carnegie Hall, New York City. Published and recorded libretti include: The Lament of Michal. Commissioned and recorded by the Louisville Symphony Orchestra.
As of 2015, Godwin's published works have included 14 novels, two collections of short stories, three non- fiction works, and ten libretti.
He wrote a book, West End Girl, (Oberon Books), several successful plays and numerous published poems. He's also written several opera libretti.
Noe CV He is a translator of libretti for the Konzerthaus, Vienna, the Theater an der Wien and for the Salzburg Festival.
In addition to his poetical works and a verse translation of Anacreon, he published numerous historical studies as well as three opera libretti.
He also wrote libretti for two comic operas by M. Ekkel and a dramatic dialogue on the opening of Petrovka Theatre in Moscow.
Before its destruction, the opera also premiered two operas by Antonio Mazzoni with libretti also by Pietro Metastasio, ' (June 6) and ' (October 16).
He wrote the libretti for three of Mozart's greatest operas, and for many other composers as well. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer (with whom he had a lasting collaboration), Auber, Bellini, Donizetti, Rossini and Verdi. The French writers' duo Henri Meilhac and Ludovic Halévy wrote many opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet and Georges Bizet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli, also composed two operas of his own.
According to Reinhard Strohm, at least 22 original or significantly re-worked opera libretti can be attributed to Lalli. Apart from his 1711 comic opera Elisa and four comic intermezzi, the remainder of the opera libretti attributed to him are all in the opera seria and dramma per musica genres. Lalli also wrote texts and libretti for several musical works in other genres: cantatas, serenatas, and azioni sacri (stage works on religious subjects and precursors of the oratorio). Albinoni. The opera is dedicated to Prince Carl Albert of Bavaria who was visiting Italy at the time.
Several of his comic opera libretti were subsequently re-set by other composers. According to Edward Dent, their influence can also be seen in the libretti which Carlo Goldoni later wrote for Baldassare Galuppi. Very little of his music has survived, apart from a book of sonatas for violin and cello and a few individual arias and cantatas.Dent, Edward J. (January–March 1912).
Università degli Studi di Padova. Libretti d'Opera: Record 5080. Retrieved 5 July 2017 .ICCU (Istituto Centrale per il Catalogo Unico delle biblioteche italiane). MUS0288653.
150px Luigi Illica (9 May 1857 – 16 December 1919) was an Italian librettist who wrote for Giacomo Puccini (usually with Giuseppe Giacosa), Pietro Mascagni, Alfredo Catalani, Umberto Giordano, Baron Alberto Franchetti and other important Italian composers. His most famous opera libretti are those for La Bohème, Tosca, Madama Butterfly and Andrea Chénier. Luigi Illica Illica was born at Castell'Arquato. His personal life sometimes imitated his libretti.
Several of Doherty's works are intended to be accompanied by music. She has written the libretti for three children's operas.Using music. Berlie Doherty. Retrieved 2007-09-17.
Italian opera set the Baroque standard. Italian libretti were the norm, even when a German composer like Handel found himself composing the likes of Rinaldo and Giulio Cesare for London audiences. Italian libretti remained dominant in the classical period as well, for example in the operas of Mozart, who wrote in Vienna near the century's close. Leading Italian-born composers of opera seria include Alessandro Scarlatti, Vivaldi and Porpora.
The attribution of some of Lalli's opera libretti is complicated by the fact that from 1728 he often collaborated with Giovanni Boldini. In some cases the libretti are listed as jointly authored. In other cases there is disagreement as to whether Lalli or Boldini was the author, e.g. the libretto for L'Issipile set by Giovanni Porta in 1732 and that for Artaserse set by Adolph Hasse in 1730.
Caldara is best known as a composer of operas, cantatas and oratorios. Several of his works have libretti by Pietro Metastasio, the court poet at Vienna from 1729.
He wrote numerous libretti, including two for Alberto Franchetti (Asrael and Zoroastro) and two for Puccini (Le Villi and Edgar). He also translated several operetta libretti for performance in Italy, including Franz Lehár's Die lustige Witwe (The Merry Widow) and Der Graf von Luxemburg (The Count of Luxembourg), Oskar Nedbal's Polenblut (Polish Blood), and Edmund Eysler's Der Frauenfresser (The Woman-Eater). Early in his career, Fontana's output was prodigious: an 1886 article in La Stampa said that at the time, 13 new libretti by Fontana were being composed by 12 different composers. A committed and passionate socialist, he took part in the Milanese demonstrations in 1898 which led to the Bava-Beccaris massacre.
This is a complete list of the operas of the German composer Siegfried Wagner (1869–1930), the son of Richard Wagner (1813–1883). All the opera libretti were by the composer.
The composer of Cavalleria rusticana, Pietro Mascagni, flanked by his librettists, Giovanni Targioni- Tozzetti and Guido Menasci Libretti for operas, oratorios and cantatas in the 17th and 18th centuries were generally written by someone other than the composer, often a well-known poet. Pietro Trapassi, known as Metastasio (1698–1782) was one of the most highly regarded librettists in Europe. His libretti were set many times by many different composers. Another noted 18th- century librettist was Lorenzo Da Ponte.
Jean Pic,Sometimes spelt "Piques". (17th century – 18th century), was a French playwright and librettist active between 1682 and 1701. Abbot Pic wrote libretti for Lully, Collasse and Lacoste. In addition to his opera libretti and books on ethics, he wrote a Recueil (nouv.) d’ouvrages de M. de Saint- Évremond, qui n’ont point encore été publiés. He also published le Songe d’Alcibiade, traduit du grec under the name of Prince of Grimberghen, his disciple, Paris, Didot, 1735, in-12.
Faustini was born in Venice. Impresario at the Teatro San Cassiano, Teatro San Moisè and Teatro Sant 'Apollinare, his 14 libretti were mostly set by Cavalli, with a few being used by other composers. The libretti Faustini left incomplete at his death were later finished by his brother Marco Faustini, who continued his brother's career as impresario at multiple theatres. Three of his librettos are based on mythological themes, but these are exceptions rather than the rule.
In 1981, Erato released the album as a double LP (catalogue number STU 71916) with a booklet including notes and libretti in English, French and German. The album was not released on cassette. In 1994, Erato issued the album as a double CD (catalogue number 4509-95312-2) with a 96-page booklet providing libretti, synopses, notes about the opera by Philippe Beaussant and notes about Leppard's edition by Leppard himself, all in English, French and German.
Ignazio Fiorillo in 1750 Ignazio Fiorillo (11 May 1715 – June 1787) was an Italian composer. He is known as an author of opera seria, often composed to the libretti of Pietro Metastasio.
Many classic works were translated into ottava rima. It was later used in Italian libretti; perhaps the most famous example ends with the title of the comic opera Così fan tutte (1789).
He was best known for his friendship and collaboration with the composer Pietro Mascagni. Most of his libretti were written in collaboration with Guido Menasci. Targioni-Tozzetti was born and died in Livorno.
Pietro Antonio Domenico Trapassi, better known by his pseudonym of Pietro Metastasio (; 3 January 1698 – 12 April 1782), was an Italian poet and librettist, considered the most important writer of opera seria libretti.
Hippolyte Lucas Hippolyte-Julien-Joseph Lucas (20 December 1807, Rennes - 16 November 1878, Paris) was a French writer and critic whose literary output was largely centered on theatre and opera. He was the author of several plays and opera libretti. In addition to his original stage works, Lucas also translated plays and libretti by other authors for performances in French. These included plays by Aristophanes, Euripides, Lope de Vega, and Calderón as well as Donizetti's operas Belisario, Maria Padilla, and Linda di Chamounix.
Rather than engaging a librettist to adapt the original play for him (as was customary), Debussy chose to set the text directly, making only a number of cuts. Maeterlinck's play was in prose rather than verse. Russian composers, notably Mussorgsky (whom Debussy admired), had experimented with setting prose opera libretti in the 1860s, but this was highly unusual in France (or Italy or Germany). Debussy's example influenced many later composers who edited their own libretti from existing prose plays, e.g.
Gilbert imbued his libretti with "topsy-turvy" situations in which the social order was turned upside down. After a time, these subjects were often at odds with Sullivan's desire for realism and emotional content.
Marian Alice Lines (née Berry-Hart; 27 November 1933 - 10 November 2012) was a British writer and actress. The majority of Lines' works are libretti for musical productions, and many are for performance by children.
Semel published sixteen books, plays, opera libretti, poetry and screenplays. She also wrote plays and translated for the Hebrew stage. Her acclaimed novel "And the Rat Laughed" was adapted into an opera libretto in 2005.
Sometime around 1943, she wed German film composer Norbert Arnold Wilhelm Richard Shultze. They had two sons together. During their marriage, she penned the libretti for several of his compositions for the stage.Letellier, Robert Ignatius.
Ching is best known for his operas. He provided his own libretti for his first two operas: Levees (1980), a New Orleans vampire story performed at Duke University;"Tilly In Opera". The Dispatch. July 9, 1980.
Gillaspie was not the only competitor to go home during that challenge; previously eliminated contestants Angela Keslar and Vincent Libretti were brought back for the challenge as a reward for previous wins, yet were sent home again.
In 1829 he became manager of the Opéra-Comique at Paris. Among Saint-Georges' more famous libretti are: the ballet Giselle (with Théophile Gautier) (1841), the opera L'éclair (1835) for Halévy, the opera La fille du régiment (with Jean- François Bayard) (1840) for Donizetti, and the opera La jolie fille de Perth for Georges Bizet. Virtually all his opera libretti are for opéras comiques, although La reine de Chypre (1841), for Halévy, was a grand opera. In all Saint-Georges wrote over seventy stage pieces in collaboration with Eugène Scribe and other authors.
Giordano's Andrea Chénier A libretto (Italian for "booklet") is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also sometimes used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata, or the story line of a ballet. Libretto (; plural libretti ), from Italian, is the diminutive of the word libro ("book"). Sometimes other- language equivalents are used for libretti in that language, livret for French works and Textbuch for German.
Busenello's verse output was prolific, and included several poems addressed to singers. He died at Legnaro, near Padua. In musical history, he is best remembered for his five libretti, each written for the Venetian opera, and set by Claudio Monteverdi and Francesco Cavalli. His libretto for Gli amori d'Apollo e di Dafne (Francesco Cavalli, 1640) is heavily based on Giovanni Battista Guarini's Il pastor fido, while L'incoronazione di Poppea (1642), set by Monteverdi, is noted among early libretti for the strength and vividness with which the individual characters are sketched.
Simeone 2000, p. 238. Today, the Library conserves around 600,000 documents related to the history of the Opéra and the Opéra-Comique, including about 100,000 books, 250,000 autograph letters, 16,000 scores, 30,000 libretti, 100,000 photographs, and 30,000 prints.
"Gaetano Martinelli". Almanacco Amadeus. Retrieved 10 December 2016 . Martinelli was described on his early libretti as "Romano" (Roman) but nothing is known of the exact date and place of his birth or of his parentage and early life.
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.
This is a bibliography of books, plays, films, and libretti written, edited, or translated by the Anglo-American poet W. H. Auden (1907-1973). See the main entry for a list of biographical and critical studies and external links.
Georg Christian Lehms, copper engraving c. 1713 Georg Christian Lehms (; 1684 – 15 May 1717) was a German poet and novelist who sometimes used the pen-name Pallidor. He published poetry, novels, libretti for operas, and the texts of cantatas.
XIV Leoncavallo was the librettist for most of his own operas. Many considered him the greatest Italian librettist of his time after Boito. Among Leoncavallo's libretti for other composers is his contribution to the libretto for Puccini's Manon Lescaut.
In 1695, he composed his first libretto, Gli inganni felici, which obtained great success, making him a fashionable librettist. From 1705, he worked with Pietro Pariati, keeping the theatrical scenes for himself and leaving to Pariati the composition of the libretti.
Fritz Arlberg c1896 Fritz Georg Efraim Arlberg (21 March 1830 in Leksand, Sweden - 21 February 1896 in Christiania, Sweden) was a Swedish baritone, teacher, composer, opera singer, translator of opera libretti and member of the Royal Swedish Academy of Music.
Several of Maxwell's plays and opera libretti are published by Oberon Books. Maxwell will direct his own play The City of Tomorrow at the Barn Theatre, Welwyn Garden City, in 2020, as part of the centenary celebrations of his home town.
He then worked as a dramaturge and stage director in Brunswick. One of his closest friends was the actor Josef Kainz. He wrote opera libretti for composers Eugen d'Albert, Erich Wolfgang Korngold, and Alexander von Zemlinsky. He died in Florence.
Although most of their libretti were original stories, several of them were based on works by Spanish playwrights such as Lope de Vega, Manuel Machado, and Jacinto Benavente. They also produced Spanish versions of stage plays by Goethe, Schiller, and Rostand. Romero's partnership with Fernández-Shaw ended in the late 1940s following a personal feud, after which Romero wrote libretti on his own, while Fernández-Shaw began a new partnership with his brother Rafael. Romero was one of the founders of the Sociedad General de Autores y Editores (SGAE) and served as a counselor to the organization.
MacLaverty wrote a screenplay for Cal in 1984; Helen Mirren and John Lynch starred and Mark Knopfler composed the film soundtrack. He also adapted Lamb for the screen; Liam Neeson and Hugh O'Conor starred and Van Morrison composed the soundtrack. MacLaverty has written versions of his fiction for other media – radio plays, television plays, screenplays and libretti. In 2003 he wrote and directed a short film Bye-Child (BAFTA-nominated for "Best Short Film") and more recently wrote libretti for Scottish Opera's Five:15 series The King’s Conjecture, with music by Gareth Williams, and The Letter with music by Vitaly Khodosh.
The opera was performed again in Venice the following year, in a slightly revised version. He also worked with Antonio Caldara, who was the maestro di cappella of the Prince-Archbishop of Salzburg, writing the libretti for two of Caldara's operas presented at the court theatre there. Apart from his libretti, Lalli also published poetry and prose works in Venice under his real name. He brought out a collection of twenty sonnets in praise of Francesco del Giudice in 1715 and two volumes of his collected poetry, Rime di Bastian Biancardi and Rime berniesche di Bastian Biancardi in 1732.
Thomas Hudson. Charles Jennens; painting by Mason Chamberlin the elder. Charles Jennens (1700 – 20 November 1773) was an English landowner and patron of the arts. As a friend of Handel, he helped author the libretti of several of his oratorios, most notably Messiah.
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.
Ferdinando Fontana (left) with Giacomo Puccini. Ferdinando Fontana (30 January 1850 – 10 May 1919) was an Italian journalist, dramatist, and poet. He is best known today for having written the libretti of the first two operas by Giacomo Puccini – Le Villi and Edgar.
Franc-Nohain Maurice Étienne Legrand, who published under the pseudonym Franc- Nohain (; 25 October 187218 October 1934), was a French librettist and poet. He is best known for his libretti for Maurice Ravel's opera L'heure espagnole and for numerous operettas by Claude Terrasse.
Paul Anthony Griffiths (born 1947) is a British music critic, novelist and librettist. He is particularly noted for his writings on modern classical music and for having written the libretti for two 20th century operas, Tan Dun's Marco Polo and Elliott Carter's What Next?.
Together with the collaborations highlighted above, Marcellus Schiffer also wrote libretti for Friedrich Hollaender, Rudolf Nelson, Werner Richard Heymann and Allan Gray. On 24 August 1932 Marcellus Schiffer, who seems to have suffered from depression, ended his life by taking an overdose of sleeping tablets.
Janet McNeill (14 September 1907 – October 1994) was a prolific Irish novelist and playwright. Author of more than 20 children's books, as well as adult novels, plays, and two opera libretti, she was best known for her children's comic fantasy series My Friend Specs McCann.
Joachim Albertini or Gioacchino Albertini (30 November 1748, Pesaro27 March 1812, Warsaw) was an Italian-born composer, who spent most of his life in Poland. His opera ' (Don Giovanni or The Libertine Penalized) was performed in the 1780s with both Italian and Polish libretti.
Mattia Verazi (1730 – 20 November 1794) was an Italian librettist primarily active at the court of Charles Theodore in Mannheim. He became known as the leader of a group of librettists who challenged the conventions of opera seria in the mid-18th century and was a long-time collaborator of composer Niccolò Jommelli. He also produced the libretti for Salieri's Europa riconosciuta, Sacchini's Calliroe, and J.C. Bach's Temistocle The exact date and place of Verazi's birth are unknown, but he was described in contemporary libretti as "Romano" (Roman). His first known opera libretto was for Niccolò Jommelli's Ifigenia in Aulide which premiered in Rome in 1751.
They took over the management of Schott together when their father died in 1943. Under the pseudonym Ludwig Andersen, he also worked as a librettist and translator of libretti. Among the libretti he wrote for notable composers of the period, and then published, were Werner Egk's Die Zaubergeige, premiered in 1935 by the Oper Frankfurt, and Hermann Reutter's Doktor Johannes Faust, premiered also in Frankfurt in 1936; the two works were among the most successful German contemporary operas during the Nazi regime, Die Zaubergeige being performed 198 times and Doktor Johannes Faust 116 times in Germany until 1945. This success established Schott as a leading publisher of stage works.
Appreciated by Rossinian scholarsE.g. Philip Gossett, who explored the Michotte collection in Brussels in 2014 (cf. bibliography). for the rarity of certain documents, the Michotte collection essentially contains pieces from Rossini's library: handwritten and printed scores, books, libretti and various publications, correspondence, iconographic material and various objects.
Nico Helminger (born 1953) is a Luxembourg author who has written poetry, novels, plays and libretti for operas. In 2008, he was awarded the Batty Weber Prize for his literary work."Helminger, Guy", Luxemburger Lexikon, Editions Guy Binsfeld, Luxembourg, 2006. "Nico Helminger" , Centre national de littérature.
His jazz collaborators include Dave Brubeck, Paquito D'Rivera, and Helen Sung. Gioia's most significant musical collaborations have been in opera. Gioia has written three opera libretti. His first opera, Nosferatu, with music by Alva Henderson, was jointly premiered by Rimrock Opera and Opera Idaho in 2004.
In 1825 he created the role of Conte di Libenskof in Rossini's Il viaggio a Reims.Marco Beghelli e Nicola Gallino (a cura di), Tutti i libretti di Rossini, Milan, Garzanti, 1991, pp. 741-742, . He sang for many years at the Théâtre des Italiens in Paris.
Leterrier by Nadar Eugène Leterrier (1843 – 22 December 1884 in Paris) was a French librettist. Leterrier worked at the Hôtel de Ville in Paris but then turned to the theatre. He mainly collaborated in writing libretti with Albert Vanloo. Their working relationship was productive and stress-free.
Pierre-Étienne Piestre, known as Eugène Cormon (5 May 1810 - March 1903), was a French dramatist and librettist. He used his mother's name, Cormon, during his career.Wright (1998), p. 15–16. Cormon wrote dramas, comedies and, from the 1840s, libretti; around 150 of his works were published.
His Œuvres Complètes were published in six volumes (1872–74). He wrote the text for the choral symphony Roméo et Juliette composed by Hector Berlioz in 1839. He also collaborated with Giacomo Meyerbeer and Eugene Scribe on the libretti of Les Huguenots (1836) and Le prophète (1849).
There were also radio plays, libretti, and screen plays. Her published translations took in works previously accessible in French, Russian or Italian. Waldtraut Lewin died in May 2017 in Berlin. She had celebrated her 80th birthday "still in good health, in Israel" a few months earlier.
Large, pp. 42–43 The nascent uprising was quickly crushed, but Smetana avoided the imprisonment or exile received by leaders such as Havlíček. During his brief spell with Svornost, he met the writer and leading radical, Karel Sabina, who would later provide libretti for Smetana's first two operas.
Wagner scholars have argued that Schopenhauer's influence caused Wagner to assign a more commanding role to music in his later operas, including the latter half of the Ring cycle, which he had yet to compose.See e.g. Dahlhaus (1979). Aspects of Schopenhauerian doctrine found their way into Wagner's subsequent libretti.
Warren, F.M. (May 1888). "Italian Literature in Bavaria". Modern Language Notes, pp. 282–284. He wrote numerous poems and several libretti for royal celebrations in Bavaria, including I veri amici with music by Albinoni for the wedding celebrations of Carl Albert to Maria Amalia of Austria in 1722.
Opera reached Russia in 1731, when Empress Anna invited the Italian opera troupe to show Calandro by Giovanni Alberto Ristori during the celebration of her coronation in Moscow. In 1735 another Italian opera troupe led by composer Francesco Araja was invited to work in St. Petersburg. Araja spent 25 years in Russia and wrote 14 operas for the Russian Court including Tsefal i Prokris (1755), the first opera written in Russian to the libretto by Alexander Sumarokov. Foreign composers like Johann Adolf Hasse, Hermann Raupach, Galuppi, Manfredini, Traetta, Paisiello, Sarti, Cimarosa and Martin y Soler, Ivan Kerzelli, Antoine Bullant, brought important contribution to the Russian opera, to the Italian libretti as well as Russian libretti.
After arriving in Zürich, he expanded the story with the opera Der junge Siegfried (Young Siegfried), which explored the hero's background. He completed the text of the cycle by writing the libretti for Die Walküre (The Valkyrie) and Das Rheingold (The Rhine Gold) and revising the other libretti to agree with his new concept, completing them in 1852.Millington (2001) 297 The concept of opera expressed in "Opera and Drama" and in other essays effectively renounced the operas he had previously written, up to and including Lohengrin. Partly in an attempt to explain his change of views, Wagner published in 1851 the autobiographical "A Communication to My Friends".See Treadwell (2008) 182–90.
Siroe, or Siroe re di Persia (Siroes, King of Persia), is an opera seria in three acts by Johann Adolph Hasse. The libretto was by Metastasio. As with many of the latter's libretti, Siroe was also set by Hasse's contemporaries, for example Vinci, Vivaldi and Handel (see his Siroe of 1728).
Stamatis has also published six books of poetry. His second book, The Architecture of Interior Spaces, was awarded the Nikiforos Vrettakos Prize in 1994. Τwo collections of his poems have been translated in Great Britain. He wrote the libretti for two musical pieces performed in Megaron Mousikis and the Chora theatre.
In: The New Grove Dictionary of Opera. Macmillan, London & New York, 1997. Going to Paris at the age of 20 he worked at the Assistance Publique but from 1870 concentrated on theatrical writing. For his libretti he collaborated with Louis Gallet, Alfred Blau, Camille du Locle and Louis de Gramont.
Giuseppe Maria Buini (ca. 1690 – 13 May 1739) was an Italian composer, organist, librettist and poet. He was a prolific composer of operas, primarily in the opera buffa genre, which were performed in Venice and his native Bologna. Unusually for the period, he also wrote many of the libretti himself.
Comtesse Anaïs Perrière-Pilte (Anais Marcelli; born Anne Laure Joséphine Hure; 1809 - December 1878) was a French composer noted for theatrical works who often used the pseudonym "Anais Marcelli." She usually wrote her own libretti, and had a theatre built in her home to produce opera. She died in Paris.
Thereafter he appears to have shared his time among three countries: Italy, France and England. His later operas were Le baruffe chiozzotte, to a libretto based on a play by Carlo Goldoni (1920), La terra del sogno and Falene, to libretti by C. Linati (1920).Kuhn, Laura (ed). "Leoni, Franco".
Berlie Doherty (born in Liverpool; 6 November 1943) is an English novelist, poet, playwright and screenwriter. She is best known for children's books, for which she has twice won the Carnegie Medal. She has also written novels for adults, plays for theatre and radio, television series and libretti for children's opera.
Some of Bach's most important works used Henrici's libretti. Most notably their collaboration was on religious works in a Lutheran tradition such as the St Matthew Passion (BWV 244). However, they also produced secular works such as the Shepherds' Cantata of 1725 and the later Coffee Cantata and Peasant Cantata.
A prequel to Fifth of July called Talley's Folly (opened 1979 at Circle Repertory) opened on Broadway before Fifth of July and won Wilson the 1980 Pulitzer Prize for Drama and his first Tony nomination. Burn This (1987) was another Broadway success. Wilson also wrote the libretti for several operas.
Another story, "Un Corpo" (also dealing with themes of sexual decadence and necrophilia), has recently been adapted into an opera by the Greek composer Kharálampos Goyós. Arrigo Boito, Camillo's younger brother, was a noted poet, composer and the author of the libretti for Giuseppe Verdi's last two great operas, Otello and Falstaff.
Camillo Horn and beginning to compose classical pieces. Between commissioned pieces, such as dance and film music, he discovered Viennese songs. He became famous for this type of popular music, as well as for his Singspiel. He often collaborated with F. Gerold, Joe Grebitz and , who wrote the song texts and libretti.
Edoardo Mascheroni, 1895 Edoardo Mascheroni (born Milan, 4 September 1852 – died Valganna, 4 March 1941) was an Italian composer and conductor. He is remembered for conducting the world premiere of Giuseppe Verdi's Falstaff; he also composed two operas of his own, to libretti by Luigi Illica. His brother Angelo was also a composer.
Original libretti include Varjak Paw (composer Julian Phillips). He adapted and produced 'The Caribbean Tempest', starring Kylie Minogue, in Barbados and Sydney 2000. He co-produced Shadwell Opera's Magic Flute at the Rosslyn Chapel, Edinburgh, (Herald Angel Award 2009). He collaborated in 2011 with Gifford's Circus, writing the lyrics to War And Peace.
The Music Library is situated in Talbot College, its primary users are associated with the Don Wright Faculty of Music. As of 2008, the library possessed 67,471 scores, 25,600 LPs, 26,000 CDs, 31,460 books, 11,610 microforms (fiche, film and microcards), 2,600 rare books, scores, and libretti, 600 current periodicals and 402 videos.
In 2006, he was disinvited from a talk at the Comédie-Française for his ties to Handke, who had attended Serbian dictator Slobodan Milosevic's funeral. Bayen was also the author of two libretti: Schliemann, composed by Betsy Jolas, in 1995; and Jusqu’à l’extinction des consignes lumineuses, composed by Arrigo Barnabé, in 2005.
Smith C. Eugène Leterrier. In: The New Grove Dictionary of Opera, ed Sadie S. Macmillan, London & New York, 1997. In collaboration with Vanloo success first came with Giroflé-Girofla and La petite mariée for Lecocq. The pair went on to provide libretti for Potier, Jacob, de Villebichet, Offenbach, Chabrier, Lacome and Messager.
9 Sept. 2014 He was also made vicar of Santa Maria Maggiore in Rome. Rospigliosi was an accomplished man of letters who wrote poetry, dramas and libretti, as well as what may be the first comic opera, namely his 1637 libretto Chi soffre, speri.Roger Parker (ed.): The Oxford illustrated history of opera.
In addition, Julius Bittner became one of the best known and most performed Austrian opera composers in the first half of the 20th Century.Werner Bollert, "Bittner, Julius" in Neue Deutsche Biographie volume 2 (1955), pp. 280–281 Many of his operas deal with Austrian-Alpine themes. He usually wrote his own libretti.
He died of AIDS in New York. His large oeuvre, almost all published by C. F. Peters, includes two operas with libretti by Joseph Pazillo: Rappaccini’s Daughter (1981–84), after the Hawthorn's story and Cats’ Concert (1983), a children's opera. He was notable as a very early adopter of score writing software.
Firth has created libretti for collaborations with award-winning Sydney composer Andrew Schultz, and Melbourne composers Michael Leighton Jones, and Peter Campbell. Her collaboration with Andrew Schultz, 'Southern Cantata', op. 102, was first performed on Advent Sunday 2017 at St John's Church Southbank, Victoria. The work was first broadcast on 3MBS Radio in February 2018.
Since opera libretti have relied on subject matter from the history of literature since the very origin of the genre of opera, a broader usage of the term would cover the entire history of opera, regardless of the underlying libretto structure.Albert Gier: Das Libretto. Theorie und Geschichte einer musikoliterarischen Gattung. Wissenschaftliche Buchgesellschaft, Darmstadt 1998, .
Korngold approached his scoring theatrically, and could only write by regarding film scenarios as opera libretti. This made him prefer to write leitmotifs for each of the main characters in a film, and vary them based on the emotional level of a scene.Kalinak, Kathryn. Settling the Score: Music and the Classical Hollywood Film, Univ.
Fedra is an opera (melodramma serio) in two acts composed by Simon Mayr to an Italian-language libretto by Luigi Romanelli based on Racine's play Phèdre. It premiered on 26 December 1820 at La Scala in Milan with Teresa Belloc-Giorgi in the title role.Fedra (Giovanni Simone Mayr), Libretti d'Opera. Retrieved 12 August 2020 .
He went on to write libretti for operettas and lyrics for musicals, including such works as Fantana (1905), The Spring Maid (1910), Sweethearts (1913), and Angel Face (1919). His last work was The Girl in the Spotlight (credited as Richard Bruce) in 1920. He died in New York City at the age of 76.
In total he was to write libretti for more than fifteen operas by various composers between 1789 and 1800; see listing below. As an actor, Giesecke is remembered for having been in the cast for the premiere (30 September 1791) of The Magic Flute. He played the mostly speaking role of the First Slave.
Pierre Larousse. Grand Dictionnaire universel du XIXe siècle, 1er supplément, 1878. He produced almost a hundred comédie en vaudevilles, comedies and operetta libretti, which played successfully on the stages of Paris. Chivot and Duru were known for the ingenuity of their subjects, fantasy of the episodes, pure comic situations and gaiety of the dialogues.
200px Benedetto Ferrari (ca. 1603 – 1681) was an Italian composer, particularly of opera, librettist, and theorbo player. Ferrari was born in Reggio nell'Emilia. He worked in Rome (1617–1618), Parma (1619–1623), and possibly in Modena at some time between 1623 and 1637. He created music and libretti in Venice and Bologna, 1637-1644.
Letter to Somma, 7 February 1828 in Werfel and Stefan, p.207 Finally, for its Rome premiere, the opera became Un ballo in maschera, but with another location change (this time to Boston in colonial times) and further title and name changes. Overall, Somma then specialized in stage plays and wrote no further libretti.
Sturgis qualified as a barrister, but he embarked on a writing career in 1874, producing novels, poetry, plays and libretti. He wrote the words for four operas, with music by Arthur Goring Thomas, Arthur Sullivan, Alexander Mackenzie and Charles Villiers Stanford, respectively. He is, perhaps, best remembered as the librettist for Sullivan's 1891 opera Ivanhoe.
Frankel has also written libretti for two oratorios composed by Andrea Clearfield, Women of Valor and The Golem Psalms. The first was premiered in Los Angeles in 2002; the second in Philadelphia in 2006. Her most recent opera, with composer Leonard Lehrman, is "The Triangle Fire," based on the 1911 Triangle Shirtwaist Factory Fire in New York.
In 1871 and 1872, he was at the Ladugårdslandsteatern at Östermalmstorg in Stockhol. During this time, he also firmly established himself as playwright, producing several comedies and libretti. He left Stockholm from 1873 to 1877 to lead the Christiania Theatre in Norway, where he introduced operatic productions. In 1879, he moved to the Swedish Theatre in Stockholm.
Nevertheless, the years after the war were very productive ones for Hofmannsthal; he continued with his earlier literary projects, almost without a break. He wrote several new libretti for Richard Strauss operas. In 1920, Hofmannsthal, along with Max Reinhardt, founded the Salzburg Festival. His later plays revealed a growing interest in religious, particularly Roman Catholic, themes.
Danchet was born in Riom, in the Auvergne, France. Having been a professor of rhetoric at Chartres and then a tutor at Paris, Danchet gave up teaching to write for the theatre. He wrote some opera libretti which, set to music by André Campra, met with success. By contrast, his tragedies, mediocre imitations of Racine, almost all failed.
Antonio Palomba (20 December 1705 - 1769) was an Italian opera librettist, poet, harpsichordist, and music educator. He also worked as a notary. Born in Naples, he became a teacher of the harpsichord at the Teatro della Pace in 1749. Most of his more than 50 opera libretti were comedic works written for composers of the Neapolitan school.
They often included Leslie's libretti, written under his pseudonym, "A. C. Torr",Stewart, Maurice. 'The spark that lit the bonfire', in Gilbert and Sullivan News (London) Spring 2003. and were usually given an original score by Lutz: Little Jack Sheppard (1885), Monte Cristo Jr. (1886), Pretty Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887),Hollingshead, pp.
In 2007, Mitchell was listed among Time magazine's 100 Most Influential People in The World. In 2012 his novel Cloud Atlas was made into a film. One segment of number9dream was made into a BAFTA-nominated short film in 2013 starring Martin Freeman, titled The Voorman Problem. In recent years he has also written opera libretti.
In the late 1880s Money-Coutts became involved with the finances of the Lyric and Prince of Wales Theatres. Through this connection he became an admirer of the music of Albéniz. Soon he became acquainted with the composer, eventually becoming an intimate friend and benefactor. They collaborated on a series of operas, for which Coutts wrote the libretti.
733 By 1759 he was performing in London; a reviewer called him "the first performer of his time on the double-bass". Storace also translated opera libretti from Italian into English, and arranged music for performance. Their older child Stephen Storace, who also achieved fame as a musician, was born in 1762. Nancy Storace was born 1765 in London.
Franchi, Drammaturgia romana. Repertorio bibliografico cronologico dei testi drammatici pubblicati a Roma e nel Lazio, Ed. di storia e letteratura, Roma 1988, pp. 588–589; Idem, Le impressioni sceniche. Dizionario bio-bigliografico degli editori e stampatori romani e laziali di testi drammatici e libretti per musica dal 1579 al 1800, Ed. di storia e letteratura, Roma 1994, p.
A rehearsal at the Opéra-Comique in 1880; In the back: Paul Ferrier. In the foreground from left to right: Giacomo Puccini, Victorien Sardou, Albert Carré, Tito Ricordi, André Messager. Paul Ferrier (29 March 1843 - September 1920) was a French dramatist, who also provided libretti for several composers, especially Varney and Serpette. Ferrier was born in Montpellier.
The collective catalogue includes documents of different types: ancient material (printed monographies from the 15th century to 1830), modern material (monographies, audio and video recordings, electronic databases, periodicals and other materials since 1831), handwritten music, printed music and libretti, graphic and cartographic material. Accesses to the catalogue pages range between 2.8 millions and 4.6 millions per month.
This position gave Cherubini the opportunity to read countless libretti and choose one that best suited his temperament. Cherubini's music began to show more originality and daring. His first major success was Lodoïska (1791), which was admired for its realistic heroism. This was followed by Elisa (1794), set in the Swiss Alps, and Médée (1797), Cherubini's best-known work.
One of his best-known works was the libretto for Karl Millöcker's operetta Der Bettelstudent, which he co-wrote with his long-term collaborator Richard Genée). His other libretti with Genée included Cagliostro in Wien (1875), Der lustige Krieg (1881) and Eine Nacht in Venedig (1883), all with music by Johann Strauss II. He died in Vienna.
The surviving libretti, however, did not correspond to the score. While allowing for the constant changes during the rehearsal period, orchestral and repetiteur materials were probably destroyed in the fire at the Opéra-Comique in 1887.Entretien: Jean-Christophe Keck, musicologue. ONR #6 Le Mag - Opéra national du rhin, December 2018 – Fevrier 2019, pp. 12–13.
Ziegler published the text in a collection of her work, along with the other ones set by Bach.Christiane Mariane von Ziegler (1728). in gebundener Schreib- Art. Leipzig These printed versions are slightly different from the texts used in the cantatas, and this is believed to be the result of the composer modifying the libretti with which he was presented.
Erkel was born in Gyula to a Danube Swabian family, a son of Joseph Erkel who was a musician. His mother was the Hungarian Klára Ruttkay. The libretti of his first three operas were written by Béni Egressy. Beside his operas, for which he is best known, he wrote pieces for piano and chorus, and a majestic Festival Overture.
From 1997, he has written libretti for small-scale works in collaboration with several New Zealand composers. With Dorothy Quita Buchanan he wrote The Mansfield Stories (The Woman at the Store, Miss Brill and The Daughters of the Late Colonel). He mounted the first of these in 1998. Orchestrated versions of all three were presented in 1999.
Luciano Chailly (January 19, 1920 in Ferrara – December 24, 2002 in Milan) was an Italian composer and arts administrator of French descent. He was the father of harpist Cecilia Chailly, conductor Riccardo Chailly and journalist Floriana Chailly. As a composer, Chailly was best known for his operas, many of which were composed to libretti by Dino Buzzati.
Tim Libretti, "Beyond False Promises: K.B. Gilden's Between the Hills and the Sea and the Rethinking of Working Class Culture, Consciousness, and Activism" in Woman's Studies Quarterly: Working Class Lives and Cultures, v. 26, nos. 1 & 2 (Summer/Spring 1998), pp. 159-179 The Gildens spent fourteen years writing Hurry Sundown, which was published in 1964.
Retrieved 14 March 2015 (subscription required for full text). Lalli's own libretti were often reworked to a greater or lesser extent by other librettists, including his Amor tirranico originally set by Francesco Gasparini in 1710 and reworked with minor changes by Nicola Haym for Handel's Radamisto.Parker, Mary Ann (2005). G. F. Handel: A Guide to Research. p. 159.
Louis Gallet in 1892 Louis Gallet (14 February 1835 in Valence, Drôme – 16 October 1898) was a French writer of operatic libretti, plays, romances, memoirs, pamphlets, and innumerable articles, who is remembered above all for his adaptations of fiction --and Scripture-- to provide librettos of cantatas and opera, notably by composers Georges Bizet, Camille Saint-Saëns and Jules Massenet.
Here he showed a remarkable faculty for lyrical drama, and from this time till just before his death he confined himself to composing libretti for Lully's work. This was not only very profitable (for he is said to have received four thousand livres for each, which was much more than was usually paid even for tragedy), but it established Quinault's reputation as the master of a new style—so that even Boileau, who had previously satirized his dramatic work, was converted, less to the opera, which he did not like, than to Quinault's remarkably ingenious and artist-like work in it. His libretti are among the very few which are readable without the music, and which are yet carefully adapted to it. They certainly do not contain very exalted poetry or very perfect drama.
The text of this aria is of unknown origin. It has been speculated that the libretto was from the comic opera ' (1784), written by Giambattista Neri; however, the two libretti are completely unrelated. The only similarities that they share are the opening four words "per questa bella mano", in Neri's libretto "per questa mano bella".Guglielmi, Pietro Alessandro and Giovanni Battista Neri.
The French preferred short arias, accompanied recitative and plenty of dance movements. In spite of these obstacles, Roland was a great success at its premiere. Roland forms part of a late 18th-century vogue for resetting libretti Quinault had written for Lully, the first major French opera composer, almost one hundred years before. Another famous example is Gluck's Armide (1776).
In 1906 he lived for two months on Tahiti. On his return, he regularly reviewed for the Times Literary Supplement. Calderon was the first person to translate into English and successfully direct a full- length play by Anton Chekhov (The Seagull, at Glasgow in 1909). He also published notable translations of Chekhov and Ilya Tolstoy, and wrote several ballet libretti for Michel Fokine.
He later transferred to Vienna, where he became involved in operetta productions at the Theater an der Wien. From 1908 he concentrated on writing libretti, often with Alfred Grünwald, and became one of the leading creative artists of the Vienna "Silver Operetta Period" (about 1900 to 1920).Felix Czeike: Historisches Lexikon Wien, Vol. 1. Kremayr & Scheriau, Vienna 1992, , p. 439.
He wrote two novels, Roccabella (1859) and A Prodigy: a Tale of Music (1866). His libretti included The Amber Witch for composer William Vincent Wallace, The May Queen – A Pastoral (1858) for William Sterndale Bennett, and two for his friend Arthur Sullivan: The Sapphire Necklace and The Masque at Kenilworth."Birmingham Musical Festival", The Times review, 12 September 1864, p. 10, col.
Church Society website. and Paul (A bundle of papyrus), and a treatment of the early history of the Israelites, Inherit the land. Merchant published a number of books of poetry, including Breaking the Code (1975), No Dark Glass (1979) and Confrontation of Angels (1986), and also wrote libretti for Alun Hoddinott. The BBC made a film about him, Vicar of a Country Parish.
Nazimova and Frank Gillmore in the Broadway production of The Marionettes (1911) Pierre Wolff wrote numerous plays, as well as some libretti for operettas. He was the nephew of journalist Albert Wolff. His dramas were characterized by bitingly ironic observation of contemporary life, and by witty dialogue.Frank Moore Colby; Talcott Williams, editors (1918) "Wolff, Pierre", The New International Encyclopædia, Vol.
When interviewed in 1908 Edwards was asked about the proper relationship between a composer and a lyricist. He took the view that there is no single model but stated that "to my mind the ideal collaboration between the musician and the librettist is that of Gilbert & Sullivan. They stand alone." He especially praised Gilbert's libretti, and described Sullivan's music as "clever".
Richard Max Josef Bletschacher (born October 23, 1936 in Füssen, Bavaria) is a German writer, and dramatic advisor. Bletschacher studied law, philosophy, and literature in Munich, Heidelberg, Paris, and Vienna, without acquiring a degree. From 1982 to 1996, he was a chief dramatic advisor at Vienna State Opera. He wrote and translated libretti, spectacles, lyrics, novellas, children's books, and academic texts on music.
Jelinek's output has included radio plays, poetry, theatre texts, polemical essays, anthologies, novels, translations, screenplays, musical compositions, libretti and ballets, film and video art. Jelinek's work is multi-faceted, and highly controversial. It has been praised and condemned by leading literary critics. In the wake of the Fritzl case, for example, she was accused of "executing 'hysterical' portraits of Austrian perversity".
1 c.2 Works from this period include Dixit Dominus and the dramatic cantata Aci, Galatea e Polifemo, written in Naples. While in Rome, probably through Alessandro Scarlatti, Handel had become acquainted with Cardinal Grimani,Lang, p. 91 a distinguished diplomat who wrote libretti in his spare time, and acted as an unofficial theatrical agent for the Italian royal courts.
In 1960, after the relaxation of Soviet authorities, Merilaas was again permitted to write literature for adults. Besides poetry and prose, Merilaas wrote libretti for three operas by Estonian composer Gustav Ernesaks and translated German works of Bertolt Brecht, Georg Christoph Lichtenberg and Johann Wolfgang von Goethe into the Estonian language. Merilaas died in Tallinn, Estonia in 1986 at the age of 72.
The building was damaged in World War II, with the loss of the archives of opera libretti of La Scala, but was restored in 1952 and underwent major restorations in 1990–97. Artwork at the Pinacoteca Ambrosiana includes Leonardo da Vinci's "Portrait of a Musician", Caravaggio's "Basket of Fruit", Bramantino's Adoration of the Christ Child and Raphael's cartoon of "The School of Athens".
One of Moniuszko's followers was Władysław Żeleński. Though he was never actually one of Moniuszko's students, he modeled his works on Moniuszko, thus inheriting his musical style. He was the father of the writer and translator Tadeusz Boy- Żeleński, who would go on to translate many opera libretti. Żeleński's music is firmly rooted in Romanticism and his operas follow the example of Moniuszko.
In a letter to Claude-Nicolas Thieriot on 23 April 1739Bouissou, p. 359 Voltaire claimed he was no longer interested in writing libretti: "As far as opera is concerned, after the still-birth of Samson, there is no indication that I might wish to write another. The labour pains of the first have scarred me too deeply."Quoted by Dubruque, p.
Adriano Morselli was a Venetian librettist active between 1679 and 1691. His libretti have been set to music by composers like Antonio Vivaldi, Alessandro Scarlatti, Giacomo Antonio Perti, Bernardo Sabadini, Carlo Francesco Pollarolo and Domenico Gabrielli. His most popular works were L'incoronazione di Dario from 1684 and Tullo Ostilio from 1685, and the unfinished La pace fra Seleuco e Tolomeo from 1691.
Christoph Wolff (Eds.): Die Welt der Bach-Kantaten, Metzler/Bärenreiter, Stuttgart und Kassel, 3 Bände Sonderausgabe 2006 C. S. Terry and D. Litti, Bach's Cantata Libretti, Journal of the Royal Musical Association 1917 44(1):71–125; Specifically, movements 3 and 4 set verses from Psalm 128 (), whereas the text of the final chorale is drawn from the biblical Book of Numbers ().
Goethe immediately recognised the quality of the piece, declaring "it knocked us all sideways". In the following years commercial theatres sprang up in Vienna offering German-language opera. The impresario Emanuel Schikaneder had particular success with his Theater auf der Wieden on the outskirts of the city. In 1791, he persuaded Mozart to set one of his libretti, The Magic Flute.
Scevola was the author of the tragedies La Morte di Socrate (Death of Socrates) in 1804; Annibale in Bitinia (Hannibal in Bythnia) in 1806; Aristodemo; Erode; and Saffo (Sappho) in 1814. One of his plays was the basis of the libretti for Giulietta e Romeo (Romeo and Juliet) by Nicola Vaccai and I Capuleti e i Montecchi by Vincenzo Bellini.
A student at the Metropolitan Opera School and a frequent opera-goer, Laurine also brought home libretti for Aaron to study. Copland attended Boys High School and in the summer went to various camps. Most of his early exposure to music was at Jewish weddings and ceremonies, and occasional family musicales. Copland began writing songs at the age of eight and a half.
After she inherited the rights to Lady Chatterley's Lover, the pair were able to buy an old farmhouse called Spanda north of Siena. Creagh met the composer John Eaton while teaching at Princeton University, and wrote several libretti for him. In the early 1980s Creagh and Barr separated, and Creagh subsequently lived with his partner Susan Rose, née James, at Panzano in Chianti.
Lorenzo Da Ponte Engraving by Michele Pekenino after Nathaniel Rogers Lorenzo Da Ponte (born Emanuele Conegliano 10 March 174917 August 1838) was an Italian, later American opera librettist, poet and Roman Catholic priest. He wrote the libretti for 28 operas by 11 composers, including three of Mozart's most celebrated operas, The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790).
Gordon's skills, attention to detail and tenacity, together with his experience with the company under Gilbert's direction, were what Carte required. One of Carte's priorities was to arrive at an authorised text. Over the years Gilbert had tweaked his libretti, removing out-of-date references and adding new ones. He had also permitted a few interpolations by senior members of the company.
Later works were produced mainly for the Teatro Obizzi of Padua. He worked in a style of opera seria similar to Apostolo Zeno, Francesco Silvani, and Adriano Morselli. His libretti consisted of five acts and were about historic and mythologic subjects, and were called tragedies or tragic-comedies. he also wrote the text for seven musical oratorios, performed between 1697 and 1702.
In 1992, RCA Victor Red Seal released the album as a double CD (catalogue number 09026 60593 2) in a slipcase with a booklet. The latter provided photographs of Massenet, Anderson, Ramey, von Stade, Upshaw and Steinberg and libretti, synopses, notes by Norbert Christian and biographies of Anderson, Ramey, von Stade, Upshaw and Steinberg in English, French, German and Italian.
Of Love Remembered appeared in 1967, directed by Burgess Meredith and starring Ingrid Thulin. Sundgaard wrote the libretti for close to a dozen operas and musicals by composers such as Alec Wilder, Douglas Moore, and Kurt Weill. With Moore he wrote the opera Giants in the Earth, after the novel by Ole Edvart Rølvaag; it won the Pulitzer Prize for Music in 1951.
Interior surfaces are covered in oak to bring warmth to spaces in contrast to the coolness of the white exterior. The main auditorium is a horseshoe shape and illuminated by an oval chandelier containing 5,800 handmade crystals. Seats include monitors for the electronic libretto system, allowing audiences to follow opera libretti in Norwegian and English in addition to the original language.
His critics have noted that the elegant verse of his later volumes is distinguished rather by dexterous imitation of different writers than by any marked originality. The versatility and fecundity of Mendès' talent is shown in his critical and dramatic writings, including several libretti, and in his novels and short stories. His short stories continue the French tradition of the licentious conte.
He translated Ovid's Ars amatoria (L'Art de l'Amour) but never intended to publish it, or much else of his fugitive verses. The publisher Leroux noted it in the salons where Bernard often declaimed it, and printed it. Bernard was also known for his Epistle to Claudine. For Rameau Bernard also provided libretti for the operas Les surprises de l'Amour (1748) and Anacréon (1757).
Vavrek has suggested that his work is heavily influenced by cinematic auteurs including Neil LaBute, Lars von Trier, Catherine Breillat, Wong Kar-Wai, Mike Leigh, Larry Clark, playwrights Martin McDonagh and Sam Shepard, novelists Richard Ford, Miriam Toews and Larry McMurtry and Canadian singer-songwriter Kathleen Edwards. His libretti have been compared to the work of Alban Berg, Maya Angelou and Edward Albee.
He was responsible for a new production of Le roi malgré lui in 1929 which helped to bring the piece back to the stage. He wrote vaudevilles, comedies, and opéra-comique libretti, sometimes with Alexandre Bisson (1848–1912). He retired in 1936 and wrote his memoirs. Before and during the First World War, Carré also worked for the 'Deuxième Bureau'.
A 20th-century description of Flora mirabilis in Gelli's Dizionario dell'Opera points out that despite having a Greek composer trained in France and a story set in medieval Sweden, the opera adhered quite strictly to the characteristic elements of late 19th-century Italian opera—folkloric dances, large choruses, and lengthy orchestral passages used to set both the geographical and the psychological atmosphere. Flora mirabilis was Samaras's first collaboration with the Italian librettist Ferdinando Fontana who became a lifelong admirer of his music and went on to provide the libretti for Samaras's operas Medgè (1888) and Lionella (1891). George Leotsakos and other authors have compared the musical idiom and proto-verismo displayed in Flora to that of Puccini whose first two operas, Le Villi and Edgar, also had libretti by Fontana.Samson, James (2013). Music in the Balkans, p. 243. Brill.
For this opera, Strauss wanted to move away from post-Wagnerian metaphysics which had been the philosophical framework of Hofmannsthal's libretti, and instead embrace a modern domestic comedy to Hofmannsthal's chagrin. The work proved to be a success. In 1924 Strauss's son Franz married Alice von Grab-Hermannswörth, daughter of a Jewish industrialist, in a Roman Catholic ceremony. Franz and Alice had two sons, Richard and Christian.
Buelow (2004). p. 247 He also created a very large number of sacred songs and dramas. His 1673/74 collection Musicalischer Jahrgang und Vesper- Gesang alone includes 120 sacred concertos, for two voices and continuo. The works Neue geistliche Schauspiele (1670) and Heilige Arbeit über Freud und Leid der alten und neuen Zeit (1676) were sacred collections containing operatic libretti and texts for cantatas.Aiken.
Although neither Tito e Berenice nor Lucio Papirio achieved lasting success,Lucio Papirio received a further performance in Florence in 1716. There is no record of further performances of Tito e Berenice. musicologist and theatre historian Mercedes Vitale Ferrero has noted that they marked three important innovations in the development of opera in Rome. The first of these was the nature of the libretti.
Eyes and No Eyes was originally played in a triple bill with Corney Grain's musical sketch, R.S.V.P., and the play Very Catching by F. C. Burnand. After the first run, Eyes and No Eyes was revived by Reed in October 1875.The Observer, 26 September 1875, p. 3 Eyes and No Eyes is the most tightly written of Gilbert's libretti for the German Reed Entertainments.
This is attributable to their uneven invention and libretti, and perhaps also their staging requirements – The Jacobin, Armida, Vanda and Dimitrij need stages large enough to portray invading armies. There is speculation by Dvořák scholars such as Michael Beckerman that portions of his Symphony No. 9 "From the New World", notably the second movement, were adapted from studies for a never-written opera about Hiawatha.
Served as chair of the Presbyterian Church of Canada's Administrative Council. He was fluent in German and Dutch, could communicate orally in Arabic and French and could understand and write Latin, Greek, Hebrew, and Aramaic. He taught English on CBC TV 'Let's Speak English'. He wrote Libretti for 'Job: a Musical Drama', 'A Psalmic Liturgy' and 16 Anthems for which his son Harold composed the music.
He began to write for the stage very early, and composed many operatic libretti. His first novel, L'Enfant de ma femme (1811), was published at his own expense. In 1820 he began his long and successful series of novels dealing with Parisian life with Georgette, ou la Nièce du tabellion. He was most prolific and successful during the Restoration and the early days of Louis Philippe.
Between 1701 and 1710 seven of his works were performed in the Villa di Pratolino. After the death of Ferdinando (III) de' Medici in 1713 he decided to work outside the Grand Duchy of Tuscany: in Rome, Reggio Emilia, Turin, Venice and Munich. His libretti were set to music by several famous composers including Scarlatti, Vivaldi and Handel. He died in Florence, aged 60.
Louise Otto-Peters Louise Otto-Peters (26 March 1819, Meissen – 13 March 1895, Leipzig) was a German suffragist and women's rights movement activist who wrote novels, poetry, essays, and libretti. She wrote for Der Wandelstern [The Wandering Star] and Sächsische Vaterlandsblätter [Saxon Fatherland Pages], and founded Frauen-Zeitung and Neue Bahnen specifically for women. She is widely acknowledged as the founder of the Allgemeiner Deutscher Frauenverein .
Libretti have been made available in several formats, some more nearly complete than others. The text – i.e., the spoken dialogue, song lyrics and stage directions, as applicable – is commonly published separately from the music (such a booklet is usually included with sound recordings of most operas). Sometimes (particularly for operas in the public domain) this format is supplemented with melodic excerpts of musical notation for important numbers.
Online version retrieved 29 March 2013 . The score is held in the Austrian National Library. Princess Henriette Adelaide herself portrayed the role of Feminine Beauty in the prologue of L'arpa festante and is said to have collaborated with Maccioni on several of his other libretti. His libretto for the opera L'Ardelia, performed in 1660 (probably to music by Francesco Cavalli) is dedicated to her.
Maccioni remained in Munich until 1662, writing libretti for various court celebrations and ballets by other composers. He then left for Rome, where for the next 12 years he continued to serve Ferdinand Maria and Henriette Adelaide as their agent, engaging Italian musicians for the court theatre in Munich. There are no further records of him after 1674. The date and place of his death are unknown.
Guido Menasci (right) with Giovanni Targioni-Tozzetti and Pietro Mascagni Guido Menasci (24 March 1867 – 27 December 1925) was an Italian opera librettist. His best-known work is Cavalleria rusticana written with Giovanni Targioni-Tozzetti. He also provided the libretti for Mascagni's I Rantzau, Zanetto, for Umberto Giordano's Regina Diaz and Viktor Parma's Stara pesem (Old Song). Menasci was born and died in Livorno.
The poet and librettist Metastasio applied the term to 9 of his libretti. All but one of these were first performed for the court at Vienna. The last of these was Johann Adolph Hasse's Partenope, performed during 1767. Christoph Willibald Gluck's Orfeo ed Euridice, the first of his "reform operas" (also first seen at Vienna), is also often considered part of the genre of festa teatrale.
Dramatic poetry is any poetry that uses the discourse of the characters involved to tell a story or portray a situation. The major types of dramatic poetry are those already discussed, to be found in plays written for the theatre, and libretti. There are further dramatic verse forms: these include dramatic monologues, such as those written by Robert Browning and Alfred Tennyson and Shakespeare.
98 Robert Schumann published a detailed rebuttal of one of Fétis' attacks on Berlioz's Symphonie fantastique in his own Neue Zeitschrift für Musik journal. In writing reviews, Berlioz was able to indulge himself in attacking his bêtes noires and extolling his enthusiasms. The former included musical pedants, coloratura writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque counterpoint.Wright Roberts (I), pp.
Although an established and eminent playwright by the time he worked with Galuppi, Goldoni was happy for his libretti to be subservient to the music.Luisi, Francesco (2001). "Galuppi: Il mondo alla roversa", Notes to Chandos CD CHAN 0676 He was as warm in his regard for Galuppi as Metastasio was cold. Their first collaboration was Arcadia in Brenta followed by four more joint works within a year.
A dramaturge or dramaturg is a literary adviser or editor in a theatre, opera, or film company who researches, selects, adapts, edits, and interprets scripts, libretti, texts, and printed programmes (or helps others with these tasks), consults authors, and does public relations work. Its modern-day function was originated by the innovations of Gotthold Ephraim Lessing, an 18th-century German playwright, philosopher, and theatre theorist.
It is not uncommon for critics to describe the libretto of The Magic Flute as being of dreadful quality. Thus Bauman writes, "The libretto has been generally regarded, in Dent's words, as "one of the most absurd specimens of that form of literature [i.e. libretti] in which absurdity is regarded as matter of course."Bauman, Thomas (1990) "At the north gate: instrumental music in Die Zauberflöte.
It was the beginning of a 20-year friendship and collaboration, with Verazi producing the libretti for seven of Jomelli's operas, including Ifigenia in Tauride and the innovative Fetonte. Verazi served as the official court poet and personal secretary to Charles Theodore in Mannheim from 1756 to 1778 and later worked in Milan and Munich where he died in 1794.McClymonds, Marita P. (2001). "Verazi, Mattia".
Retrieved 19 October 2018. Although he complained – both privately and sometimes in his articles – that his time would be better spent writing music than in writing music criticism, he was able to indulge himself in attacking his bêtes noires and extolling his enthusiasms. The former included musical pedants, coloratura writing and singing, viola players who were merely incompetent violinists, inane libretti, and baroque counterpoint.
Their collaboration resulted in the musical piece Syringa, set to Ashbery's poem of the same name and several texts in Greek. Although Ashbery wrote several original libretti for Carter, the composer was inspired by the previously published "Syringa" and chose to use it instead. As such, Ashbery did not ultimately contribute new writing to the composition. Nevertheless, his grant—in the amount of $4,350—was not revoked.
There were a number of difficulties facing new German-language opera in the 1830s. First there was deemed to be a lack of good quality libretti to set. This may have influenced Wagner's decision to write the libretto for Die Feen himself. Second, there was a fear among the authorities in Germany and Austria that the performance of operas in German would attract nationalist and revolutionary followers.
These presentations included most notably Hans Werner Henze, Wolfgang Fortner, Bernd Alois Zimmermann, Luigi Nono, Werner Egk and many other exponents of New Music. He wrote the libretti for three operas of Rolf Liebermann, namely, Leonore 40/45 (1952), Penelope (1954) and Die Schule der Frauen (1955). The Heinrich Strobel Foundation and the Experimental Studio of the Heinrich Strobel Foundation of the Südwestrundfunk are named after him.
Poul Knudsen (9 November 1889 – 30 April 1974) was a Danish writer. Knudsen worked on symbolistic and exotic themes. He collaborated with Finnish composers Jean Sibelius in 1911 on the tragic ballet-pantomime, Scaramouche, and with Leevi Madetoja in 1927 on a second ballet-pantomime, Okon Fuoko. The premieres of each production, however, were delayed and, upon being premiered, Knudsen was faulted for weak libretti.
Jacobi, Martin J. "'The Monster Within' in Lanford Wilson's Burn This" in Bryer, 131–49. In addition to writing plays, Wilson wrote the libretti for several operas. He collaborated with composer Lee Hoiby for Summer and Smoke (1971) and adapted his own play, This is the Rill Speaking, in 1992. Summer and Smoke is an adaptation of Tennessee Williams' play of the same name.
In these early Baroque operas, broad comedy was blended with tragic elements in a mix that jarred some educated sensibilities, sparking the first of opera's many reform movements, sponsored by the Arcadian Academy, which came to be associated with the poet Metastasio, whose libretti helped crystallize the genre of opera seria, which became the leading form of Italian opera until the end of the 18th century. Once the Metastasian ideal had been firmly established, comedy in Baroque-era opera was reserved for what came to be called opera buffa. Before such elements were forced out of opera seria, many libretti had featured a separately unfolding comic plot as sort of an "opera-within-an-opera". One reason for this was an attempt to attract members of the growing merchant class, newly wealthy, but still not as cultured as the nobility, to the public opera houses.
She wrote the libretti for his operas Médée, Bolivar, and La mère coupable. The family fled France when the Germans were within range of Paris in May 1940. They reached Lisbon and from there sailed to America, where they and their 10-year-old son stayed for the remainder of the war. Darius taught at Mills College (in California) and Madeleine taught American students about French and French theatre.
Lloyd's works include 12 symphonies and four piano concertos, two violin concertos and a cello concerto. For his three operas, Lloyd's father wrote the libretti. Lloyd also wrote five works for brass band: Royal Parks, Diversions on a Bass Theme, English Heritage, Evening Song and Kings Messenger. He wrote the official ship's march for the Royal Marine Band on , and later arranged the work for orchestra and for brass band.
He was awarded the Patrick White Award in 1979. As well as producing fiction, poetry, and numerous book reviews for The Times Literary Supplement, he also wrote libretti for musical theatre works by Peter Maxwell Davies. A considerable number of Randolph Stow's poems are listed in the State Library of Western Australia online catalogueCatalogue: State Library of WA & WA Health Libraries Network with indications where they have been anthologised.
One amanuensis was composer Oliveria Prescott.Smither (2000), 350. On 27 September 1844, Macfarren married Clarina Thalia Andrae, subsequently known as Natalia Macfarren (1827–1916), an operatic contralto and pianist who was born in Lübeck. Trained at the Royal Academy of Music, she was successively a concert singer and singing teacher, as well as being a writer and a prolific translator of German poetry, songs (lieder) and operatic libretti into English.
Frid was a prolific composer. His most notable works are his two chamber operas, both to his own libretti. The Diary of Anne Frank is a monodrama in 21 scenes for soprano and chamber orchestra, lasting about one hour. It was composed in 1968 and given a first performance with piano accompaniment at the All-Union House of Composers in Moscow on either 17 or 18 May 1972.Sikorski.
Band II: P-Z., Walter De Gruyter Incorporated, 2012, S. 427 Andrea Heuser is herself active in the field of literature, with poetry, prose, libretti and musical theatre.Andrea Heuser in Literaturport She had teaching assignments at the University of Cologne and the University of Television and Film Munich. In the Munich poetic society „Lyrik Kabinett“ she initiated the Autorenwerkstatt (workshop for authors) and the project Lust auf Lyrik Gedichte an Schulen.
Bela Jenbach, real name Béla Jacobowicz (1 April 1871 in Miskolc, Kingdom of Hungary – 21 January 1943 in Vienna) was an Austrian actor and operetta librettist of Hungarian origin. Jenbach was of Jewish origin and the brother of the screenwriter Ida Jenbach. He was co-author of several well-known operetta libretti. Jenbach died in the Auersperg SanatoriumAuersperg Sanatorium in Vienna and was buried in the Matzleinsdorf Protestant Cemetery.
He took this opportunity to change his name from Jacobowicz to Jenbach. He hoped for greater recognition and did not want to be immediately associated with his Jewish roots. Depressed about the low earnings as a Burgtheater actor he came via the "Operettenbörse" in Café Sperl to write libretti. He would rather have become a recognized author of spoken dramas, but the work for operetta composers was simply more lucrative.
Hortschansky retired at the end of the summer semester 2000, but continued to take master's and doctoral examinations until the 2010 summer semester. Since 2001 Hortschansky has been a full member of the North Rhine-Westphalian Academy of Sciences, Humanities and the Arts. In the same year he also became a member of the . In the Frankfurt University Library exists the "Hortschansky Collection", microfilmed copies of about 2000 Italian opera libretti.
She also collaborated with Alva Henderson, a composer for whom she wrote three libretti and several song texts.Yale University Beinecke Rare Book and Manuscript Library—Kathleen Foster Campbell Papers She married the American poet and critic Yvor Winters in 1926. Together they founded Gyroscope, a literary magazine that lasted from 1929 until 1931. Lewis was elected a Fellow of the American Academy of Arts and Sciences in 1992.
Siroe, re di Persia (Siroes, King of Persia, HWV 24), is an opera seria in three acts by George Frideric Handel. It was his 12th opera for the Royal Academy of Music and was written for the sopranos Francesca Cuzzoni and Faustina Bordoni. The opera uses an Italian-language libretto by Nicola Francesco Haym, after Metastasio's Siroe. Like many of Metastasio's libretti, it was also set by Handel's contemporaries, e.g.
Vanloo by Nadar Albert Vanloo (Brussels, 10 September 1846 – 1920, Paris) was a Belgian librettist and playwright. Vanloom lived in Paris as a child and was attracted to the theatre. As a young student he began writing plays and opéra comique libretti, notably with Eugène Leterrier who remained his main collaborator until the latter's death in 1884. He also worked with the writers William Busnach, Henri Chivot and Georges Duval.
It is speculated that the collaboration of Bickerstaff and Arne was casual in nature. Simply put, Arne was never well matched with writing libretti, and Bickerstaff was. Bickerstaff approached Arne with a letter of introduction from Leucothoe, a mutual friend in Dublin, and convinced Arne to collaborate. It is also speculated that when writing Thomas and Sally, Bickerstaff submitted the written play to Covent Garden Theatre without consulting Arne.
For Edwardes, he wrote "perhaps the most delightful of all his libretti" and his last big success, The Girl from Kays (1902), and later The Little Cherub (1906). A 1904 piece was Sergeant Brue, written with Liza Lehmann. He died in Harrogate, one day short of his 54th birthday, and was buried in Highgate Cemetery, north London."Funeral of Mr 'Owen Hall'", The Morning Post, 15 April 1907, p.
Berger's operas, Visitations, with libretti by playwright and poet Dan O'Brien, premiered in New York in 2014 and has received subsequent performances in Rome and Boston. His chamber opera, My Lai was performed at the 2017 NextWave Festival in New York, by Rinde Eckert, Van Anh Vo, and the Kronos Quartet. His works can be heard on the Eloquentia. Naxos, Sony Classical, Harmonia Mundi, Centaur, Neuma, CRI, and CCRMA labels.
Christian Heinrich Postel (11 October 1658 – 22 March 1705) was a German jurist, epic poet and opera librettist, who wrote 28 libretti for the Oper am Gänsemarkt in Hamburg: set by composers such as Johann Philipp Förtsch, Reinhard Keiser and Georg Philipp Telemann. His texts for a St John Passion were set by composers Christian Ritter, Johann Mattheson and Johann Sebastian Bach in their respective St John Passion.
He was professor emeritus in 2011. Petzoldt was one of the editors of a magazine for theological literature, the ', until end of 2014. He was also president of the and from 1978 to 2014 on the board of the . For the Carus- Verlag, Petzoldt edited a facsimile edition of the seven volumes of libretti of works by Bach which were published between 1724 and 1749, including the Christmas Oratorio.
Dean, W. (2006) "Handel's Operas, 1726–1741", pp. 125, 274, 399. Handel was appointed as Master of the orchestra responsible not only for engaging soloists but also for adapting operas from abroad and for providing possible libretti for his own use, generally provided from Italy. Initially the librettist Paolo Antonio Rolli was the "Italian secretary of the Academy"; he was replaced by Nicola Francesco Haym within a few years.
Although Cohan mainly is remembered for his songs, he became an early pioneer in the development of the "book musical", using his engaging libretti to bridge the gaps between drama and music. More than three decades before Agnes de Mille choreographed Oklahoma!, Cohan used dance not merely as razzle- dazzle, but to advance the plot. Cohan's main characters were "average Joes and Janes" who appealed to a wide American audience.
Andrew Crowther places Trial by Jury at the centre of Gilbert's development as a librettist. He notes that in some of Gilbert's early libretti, such as Topsyturveydom (1874), the songs simply emphasise the dialogue. In others, such as Thespis (1871), some songs are relatively disconnected from both the story and characterisation, such as "I once knew a chap" or "Little maid of Arcadee", which simply convey a moral lesson.Crowther, pp.
See page 215 for a discussion of Orfeo's lamentations in Monteverdi's opera Orfeo (1607). Giasone's mythological characters and plots are typical of early Venetian opera. Such subject matter could be used for political purpose by the creators of libretti, many of whom were members of Academia degli Incogniti (“Academy of the Unknown”), a group of libertine, skeptical, and often pessimistic thinkers in Venice at the time when Giasone was produced.
Cramer lived in Munich and Berlin from 1910 to 1925, and then moved to Vienna. In Austria she collaborated with poet and composer Walter Simlinger, who wrote the libretti for her two opera, Der letzte Tanz and Dr. Pipalumbo (1926–1927). Cramer suffered from mental health problems and in 1930 was committed to a mental institution. She was released in January 1931 and returned to The Netherlands, but then withdrew from public life.
Jules-Henri Vernoy de Saint-Georges (7 November 1799 – 23 December 1875), French playwright, was born and died in Paris. He was one of the most prolific librettists of the 19th century, often working in collaboration with others.An extensive list of libretti and novels. Saint-Georges' first work, Saint-Louis ou les deux dîners (1823), a comédie en vaudeville written in collaboration with Alexandre Tardif, was followed by a series of operas and ballets.
In 1900 Hofmannsthal met the composer Richard Strauss for the first time. He later wrote libretti for several of his operas, including Elektra (1909), Der Rosenkavalier (1911) with Harry von Kessler, Ariadne auf Naxos (1912, rev. 1916), Die Frau ohne Schatten (1919), Die ägyptische Helena (1928), and Arabella (1933). In 1911 he adapted the 15th century English morality play Everyman as Jedermann, and Jean Sibelius (amongst others) wrote incidental music for it.
He published translations of songs and choruses from German, some of these were for BBC performances, including Schoenberg's Gurrelieder (27 January 1928) and Hauer's Wandlungen (3 December 1928).J. Doctor (2000), as above, p. 404. He also wrote libretti for ballet, as well as biographical sketches of concert celebrities. In 1938, his translation of Das stillvernügte Streichquartett by Bruno Aulich and Ernst Heimeran (Munich, 1936) appeared in New York with H. W. Gray Co., Inc.
Drawing of Chorley, 1841 Henry Fothergill Chorley (15 December 1808 – 16 February 1872) was an English literary, art and music critic, writer and editor. He was also an author of novels, drama, poetry and lyrics. Chorley was a prolific and important music and literary critic and music gossip columnist of the mid-nineteenth century and wrote extensively about music in London and in Europe. His opera libretti and works of fiction were far less successful.
The libretto of Edgar was a significant factor in the failure of that opera. Thereafter, especially throughout his middle and late career, Puccini was extremely selective, and at times indecisive, in his choice of subject matter for new works. Puccini was deeply involved in the process of writing the libretto itself, requiring many iterative revisions of his libretti in terms of both structure and text. Puccini's relationships with his librettists were at times very difficult.
In this adaptation, Beatrice is the multiracial daughter of Francis Chancy, a brutish white slave owner, and Mafa, a Guinean slave woman who was raped by Francis. After Francis forces Beatrice into an incestuous encounter in a monastery, Beatrice and Mafa conspire to murder him.Owen, Percy (2011). "Tri- Freedom: The Libretti of George Elliott Clarke" in Annalisa Oboe and Shaul Bassi (eds.) Experiences of Freedom in Postcolonial Literatures and Cultures, p. 319.
In 1882 he wrote the drama L'As de trèfle (The Ace of Clubs) for Sarah Bernhardt, who performed it at the Théâtre de l'Ambigu. From the 1880s onward he created many comedies, opera libretti and adaptations of novels for the stage. Decourcelle and Léopold Lacour made a play from Paul Bourget's Mensonges, which was first performed on 18 April 1889. Bourget also collaborated with Decourcelle in their adaptation of Idylle tragique for the stage.
He is best remembered as a theatre architect, with two major London theatres of his still surviving, together with the well-known façade of another, but he was also an important figure in railway architecture, with many commissions in the south east of England. Beazley's other activities included translating opera libretti into English, and writing novels and non-fictional works on architecture. He was also a participant in the Berners Street hoax.
In an interview on his website, Kunze said that producers had offered to stage the show in German and English-speaking countries, but he that he wanted to have the Kuriyama production all over the world. His previous musicals were adapted for the country they were played in. Kunze believes that the production MA is the best interpretation of one of his Libretti so far. He praised the director and the cast.
He also wrote a presentation for Disney in Italy, called "Ehi- Ho! Il magico incanto di Walt Disney - Presentazione" (1998). He worked for the University of Milano, and wrote a Presentation of the Ars Canonica of Bach for it.Ottavio de Carli - L'ars canonica di J. S. Bach He wrote the libretti of two Italian operas by composer Domenico Clapasson: Il Giardino del Gigante (2001) and La chiamavan Cappuccetto Rosso (Brescia, La Scuola, 2010).
Following the world premiere in Monaco, the opera was performed the following July at the Arena di Milano conducted by Antonio Guarneri, and received further performances in January 1915 at the Teatro Ponchielli in Cremona. Although warmly received by the audiences in Monaco, Milan and Cremona, I Mori di Valenza has never been revived.Streicher, Johannes; Teramo, Sonia; Morini, Mario; Travaglini, Roberta (2004). Scapigliatura & Fin de siècle: libretti d'opera italiani dall'Unità al primo Novecento, p. 200.
Pavlova at an event hosted by Boston University in 2014. Vera Anatolyevna Pavlova (; born 1963 in Moscow)Biography and Works by Vera Pavlova Novy Mir is a Russian poet whose work has been published in The New Yorker. Vera Pavlova was born in Moscow. She graduated from the Gnessin Academy, specializing in the history of music, and is the author of twenty collections of poetry, four opera libretti, and lyrics to two cantatas.
Grimani's libretto is based on much the same story used as the subject of Monteverdi's 1642 opera L'incoronazione di Poppea. Grimani's libretto centres on Agrippina, a character who does not appear in Monteverdi's darker version. Grimani avoids the "moralizing" tone of the later opera seria libretti written by such acknowledged masters as Metastasio and Zeno. According to the critic Donald Jay Grout, "irony, deception and intrigue pervade the humorous escapades of its well-defined characters".
Salvi was born in Lucignano and became a court physician in Florence for the De' Medici family. From 1694 (?) he wrote libretti for the theatre in Livorno and Florence and adapted works by Jean Racine Essays on Handel and Italian opera By Reinhard Strohm and Molière.;The operas of Leonardo Vinci, Napoletano By Kurt Sven Markstrom Salvi took many of his plots from French tragedy.Dean, W. (1995) Handel's Operas 1704-1726, p. 86.
Title page of first edition. Opera and Drama () is a book-length essay written by Richard Wagner in 1851 setting out his ideas on the ideal characteristics of opera as an art form. It belongs with other essays of the period in which Wagner attempted to explain and reconcile his political and artistic ideas, at a time when he was working on the libretti, and later the music, of his Ring cycle.
Ahlström composed two operas based on libretti by Frans Hedberg, incidental music (for plays such as Agne, Positivhalaren, Ringaren i Notre Dame, and Hinko och Urdur), a vocal symphony, chamber music, and lieder. Together with Per Conrad Boman, he published Svenska folksånger, folkdanser och folklekar, the best-known collection of Swedish folk songs which appeared during the 19th century. In 1852, he also published the Musikalisk fickordbok (Musical Pocket Book), which enjoyed several reissues.
Eliška Krásnohorská (18 November 1847 in Prague – 26 November 1926 in Prague) was a Czech feminist author. She was introduced to literature and feminism by Karolína Světlá. She wrote works of lyric poetry and literary criticism, however, she is usually associated with children's literature and translations, including works by Pushkin, Mickiewicz and Byron. Krásnohorská wrote the libretti for four operas by Bedřich Smetana: The Kiss, The Secret, The Devil's Wall and Viola.
He wrote the libretti for Louis Spohr's opera Faust (1814), and Conradin Kreutzer's opera Libussa (1823). Bernard was a friend of Beethoven for many years, and appears frequently in Beethoven's conversation books (used during the composer's later years of deafness). The composer often asked for his advice in various matters. In 1815 Bernard rewrote the text, originally written by Aloys Weissenbach, of Beethoven's cantata Der glorreiche Augenblick, Op. 136 (first performed in 1814).
Eileen Myles (born December 9, 1949) is an American poet and writer who has produced more than twenty volumes of poetry, fiction, nonfiction, libretti, plays, and performance pieces over the last three decades. Novelist Dennis Cooper has described Myles as "one of the savviest and most restless intellects in contemporary literature." In 2012, Myles received a Guggenheim Fellowship to complete Afterglow (a memoir), which gives both a real and fantastic account of a dog's life.
Lotte Ingrisch Lotte Ingrisch (born Charlotte Gruber; July 20, 1930 in Vienna), daughter of Emma and Karl Gruber, is an Austrian author and playwright. From 1949 to 1965, the author was married to the Austrian philosopher Hugo Ingrisch. In 1966, she married Austrian composer Gottfried von Einem (died 1996), for whom she wrote a number of libretti. During the fifties and sixties, Lotte Ingrisch published some novels under the nom de plume "Tessa Tüvari".
André Barde was the pseudonym of André Bourdonneau (July 1874, Meudon - October 1945, Paris), a French writer best known for his libretti for operettas. He was active from 1899-1936. He frequently collaborated with Charles Cuvillier - Son petit frère (1907), Afgar (1909), La Reine joyeuse (1912), Florabella (1921), and Nonnette (1922) being some examples. His works include Pas sur la bouche (1925; in English: "Not on the Mouth"), which has been filmed twice.
His first play was My Fellow Clerk, produced at the Lyceum Theatre in 1835. This was followed by a long series of pieces, the most famous of which was perhaps the Porter's Knot (1858) and Twice Killed (1835). He also wrote many operatic libretti, including eight for George Alexander Macfarren, including Robin Hood (1860) and Helvellyn (1864). Oxenford was an acquaintance of Charles Dickens, and he adapted Oliver Twist for the stage in 1868.
Scribe frequently borrowed from Balzac's collection of interlinked novels and stories, La Comédie humaine, for his plays and libretti. The basic plot of his libretto for Le shérif was taken from the Comédie humaine novella Maître Cornélius (Master Cornelius). Balzac's Master Cornelius is Louis XI's money-lender who lives in an old mansion where his gold keeps mysteriously disappearing. Scribe transferred the setting to late 18th-century London and provided a happy ending.
The highly chromatic music featured harsh dissonances and unresolved harmonies. This, paired with the gruesome subject matter, looked forward to expressionism. Elektra also marked the beginning of Strauss's working relationship with the leading Austrian poet and playwright Hugo von Hofmannsthal, who would provide another five libretti for the composer. With Der Rosenkavalier of 1911, Strauss changed direction, looking towards Mozart and the world of the Viennese waltz as much as towards Wagner.
He was born at Arezzo, and studied with various local musicians. In 1637 he joined the Order of Friars Minor, or Franciscans, a Roman Catholic religious group founded by Francis of Assisi. While he was in Volterra he turned more toward secular music, perhaps due to the patronage and influence of the powerful Medici family. Here he also came in contact with Salvator Rosa, who wrote libretti for a number of Cesti's cantatas.
Among the authors who assume that Bach modified the libretti himself are Nele Anders in the introduction (1988) to volume 10 of the Teldec complete set, and John Eliot Gardiner in his 2013 book Bach: Music in the Castle of Heaven. Allen Lane. In the case of Sie werden euch in den Bann tun the differences between the printed version and that set by Bach are less than in the preceding cantatas such as .
He was named director-general of the Romanian Theater and Opera of Cluj in 1944. Bretan also worked as a translator of libretti, translating his own Luceafărul into Hungarian and Golem into Romanian and German, as well as translating a few of his lieder from the language of their source material into Romanian, Hungarian, or German. In 1928 he translated Gluck's Orfeo ed Euridice into Romanian. In 1915 Bretan married pianist Nora Osvát.
Friedrich Christian Feustking (1678 – 3 February 1739) was a German theologian, poet and a librettist of operas and Singspiele for the Oper am Gänsemarkt in Hamburg. Feustking studied theology at the University of Wittenberg and then moved to Hamburg in 1702 where he taught privately. He also wrote, and provided three libretti for the Oper am Gänsemarkt in 1704 through early 1705. In 1705 he was appointed minister in Tolk near Schleswig.
La finta giardiniera, set by Pasquale Anfossi in 1774 and Wolfgang Amadeus Mozart in 1775, has been ascribed to him, but it is questionable whether it is in his style.Julian Rushton, "Finta giardiniera, La (ii)", in Grove Music Online , accessed 28 September 2018. He also wrote several libretti for Domenico Cimarosa and Pasquale Anfossi. One of his last works was the libretto for Cimarosa's I nemici generosi which premiered at the Teatro Valle in 1795.
He was President of the I.S.C.M. from its foundation in 1922 until 1938 and was President of the International Music Society between 1931 and 1949. He was a governor of Sadler's Wells Opera, and translated many libretti for it. He wrote influential books on Alessandro Scarlatti, Ferruccio Busoni, Handel, English operas and the operas of Mozart. He was a Fellow of the British Academy and was awarded honorary degrees from Oxford, Cambridge and Harvard Universities.
Nico Castel (August 1, 1931 – May 31, 2015), born Naftali Chaim Castel Kalinhoff, was a comprimario tenor and well-known language and diction coach, as well as a prolific translator of libretti and writer of books on singing diction. Although Castel performed throughout Europe, North America and South America, he was best known for his nearly 800 performances at The Metropolitan Opera, where he also served as staff diction coach for three decades.
The Death of a Composer is a series of ten opera libretti by Peter Greenaway dealing with the deaths of ten 20th-century composers from Anton Webern to John Lennon. All ten composers left behind ten common clues related to their deaths. Greenaway was interested in this commonality and explored this in the operas, each written or to be written by a different composer. Louis Andriessen finished Rosa - A Horse Drama in 1995.
His adaptation of a French operetta by Émile Jonas called The Two Harlequins opened the new Gaiety Theatre, London in 1868, together with his distant cousin, W. S. Gilbert's, Robert the Devil and another piece. Beckett's pieces include numerous burlesques and pantomimes, the libretti of Savonarola (Hamburg, 1884) and The Canterbury Pilgrims (Drury Lane, 1884) for the music of Dr. C. V. Stanford. With the composer Alfred Cellier, Beckett wrote the operetta Two Foster Brothers (St.
Gail Godwin (born June 18, 1937) is an American novelist and short story writer. Godwin has written 14 novels, two short story collections, three non- fiction books, and ten libretti. Her primary literary accomplishments are her novels, which have included five best-sellers and three finalists for the National Book Award. Most of her books are realistic fiction novels that follow a character's psychological and intellectual development, often based on themes taken from Godwin's own life.
Almerindo Spadetta (April 1894) was a prolific opera librettist active in Naples. He worked as a stage manager at the Teatro San Carlo, Teatro Nuovo, and Teatro del Fondo in Naples for over 40 years and wrote numerous libretti (mostly in the opera buffa genre) for composers associated with those theatres. His most enduring work was the libretto for Nicola De Giosa's Don Checco, one of the last great successes in the history of Neapolitan opera buffa.Lanza, Andrea (2001).
Mary Anne à Beckett Mary Anne à Beckett (29 April 1815 – 11 December 1863) was an English composer, primarily known for opera. She was the wife of the writer Gilbert à Beckett, who provided the libretti for two of her operas. Their children included the writers Gilbert Arthur à Beckett and Arthur William à Beckett. Her theatrical connections included her brother, the actor and producer impresario Augustus Glossop Harris, and his eldest son, also an impresario, Sir Augustus Harris.
From 1852 to 1864 he was organist at Lincoln's Inn. In 1865 he became accompanist at Her Majesty's Opera, and from 1868 until his death he filled the same office at Covent Garden. The value of his musical work at the opera was best understood by those behind the scenes, while his literary abilities fitted him to assist in the translation of libretti. For several years he delivered the annual course of lectures on music at the London Institution.
After the war, Novello contributed numbers to several successful musical comedies and was eventually commissioned to write the scores of complete shows. He wrote his musicals in the style of operetta and often composed his music to the libretti of Christopher Hassall. In the 1920s, he turned to acting, first in British films and then on stage, with considerable success in both. He starred in two silent films directed by Alfred Hitchcock, The Lodger and Downhill (both 1927).
A selection of translated sonnets by Giuseppe Gioachino Belli, originally appearing in the novel Abba Abba, also appears, although many of the sonnets are omitted. The reason given for this in the book's introduction is that Abba Abba remained in print at time of publication. For this reason, excerpts from Byrne: A Novel are missing from Revolutionary Sonnets and Other Poems as well. The final section samples Burgess's work in dramatic verse, opera libretti, and musical lyrics.
Henry Chance Newton (13 March 1854 – 2 January 1931) was a British author and theatre critic for The Referee magazine. Newton had written about the stage since 1875 when he joined the staff of Hood's Comic Annual. He wrote using the pseudonym Gawain, the London correspondent, for the New York Dramatic Mirror, and as Carados for The Referee. Newton, in conjunction with Richard Butler, wrote libretti for musical comedy under the joint collaborative name of Richard Henry.
Ed. Alianza Música. Madrid, 1984. A prolific composer, Giménez also collaborated with the leading authors of sainetes (a comic genre found in Spanish theatre), including Ricardo de la Vega, Carlos Arniches, the brothers Serafín and Joaquín Álvarez Quintero, and Javier de Burgos, to obtain the libretti for his zarzuelas. He co-wrote the music of a number of his works with Amadeo Vives, who hailed him the "musician of elegance" because of his sense of rhythm and easy melodies.
McClatchy's poetic work was wide-ranging. He authored six collections of poetry, the fifth of which, Hazmat, was a finalist for the 2003 Pulitzer Prize. He wrote texts for musical settings, including ten opera libretti, for such composers as Michael Dellaira, Elliot Goldenthal, Daron Hagen, Lowell Liebermann, Lorin Maazel, Tobias Picker, Bernard Rands, Ned Rorem, Bruce Saylor, William Schuman and Francis Thorne. His honors include an Award in Literature from the American Academy of Arts and Letters (1991).
Born in Verona, Rossi was writing religious verse by the time that he was 13 years old. He wrote libretti for about 60 years, beginning in 1797 with mostly farsas. Rossi wrote the texts for some significant operas by the well-known composers of the era. These included Tancredi and Semiramide for Rossini and Il crociato in Egitto for Meyerbeer, as well as later operas for Donizetti such as Maria Padilla (as co-author) and Linda di Chamounix.
The guide to United States popular culture, p. 286. Popular Press (2001) , accessed April 27, 2010 The Casino Theatre produced a revue each summer thereafter for several seasons. In 1912, Lee and Jacob J. Shubert began an annual series of twelve elaborate Broadway revues at the Winter Garden Theatre, using the name The Passing Show of 19XX, designed to compete with the popular Ziegfeld Follies. They featured libretti by Atteridge and music usually by Romberg, Gershwin or Herman Finck.
Although Verdi's aim to write the music for an opera based on Shakespeare's King Lear never came to fruition (despite the existence of a libretto), Boito provided subtle and resonant libretti for Verdi's last two masterpieces, Otello (based on Shakespeare's play Othello) and Falstaff based on two other Shakespeare plays, The Merry Wives of Windsor and parts of Henry IV. After those many years of close association, when Verdi died in 1901, Boito was at his bedside.
Gottfried von Einem composed mainly operas based on dramas. He was internationally recognized after the premiere of his opera Dantons Tod at the Salzburg Festival of 1947, conducted by Ferenc Fricsay. His last operas, starting with Jesu Hochzeit, are based on libretti by his wife. In 1973 he wrote as a commission of the UN to commemorate the 30th anniversary of its foundation the cantata An die Nachgeborenen for mezzo-soprano, baritone, chorus and orchestra, based on diverse texts.
She was born in St. Paul, Minnesota, and attended and graduated from Breck School. She was educated at Harvard University and Girton College, Cambridge, where she studied English and American literature. She received her Master of Divinity degree from the Boston University School of Theology. She has written the libretti for two of the operas of John Adams (Nixon in China and The Death of Klinghoffer) and the text of a cantata by Tarik O'Regan (A Letter of Rights).
The first floor of the Palazzo is home to the nine rooms of the exhibition, which illustrates about six centuries of the history of European music. There are over one hundred paintings of famous people from the music world, which are a part of the picture gallery started by Padre Giovanni Battista Martini, more than eighty antique musical instruments, and a large selection of valuable historical documents, such as treatises, volumes, opera libretti, letters, manuscripts, original musical scores, etc.
His novel of theatrical life Gli artisti da teatro, (1865), was republished into the 20th century. He also published musical essays, the most important being Reminiscenze artistiche. Ghislanzoni wrote some eighty-five libretti, including Edmea for Catalani (1866), Aida (1870), Fosca (1873) and Salvator Rosa (1874) for Gomes, I Lituani for Ponchielli (1874) and the second version of La forza del destino (1869). He also contributed a few verses to the revised translation into Italian of Verdi's Don Carlos.
From the very first bars of the overture, it is obvious we are in the primeval forests of Germany. The highlight of the opera is the chilling Wolf's Glen Scene in which the hero Max makes his deal with the Devil. Der Freischütz was immensely popular, not only in Germany, but throughout Europe. Weber never really achieved his full potential as an opera composer due to his early death from tuberculosis and his poor choice of libretti.
In 1784 the Académie Royale de Musique held a competition for new libretti. From the 58 candidates the judges chose three winners: Chabanon's Le toison d'or, Guillard's Œdipe à Colone and Valadier's Alonzo et Cora. Chabanon's libretto was never set;The contemporary opera of the same name by Vogel has a libretto by Philippe Desriaux. Guillard's provided Antonio Sacchini with the text for his most famous opera (premiered in 1786); and Valadier's was handed to Méhul.
Following the modest success of Le donne letterate Salieri received new commissions writing two additional operas in 1770, both with libretti by Giovanni Boccherini. The first, a pastoral opera, L'amore innocente (Innocent Love), was a light- hearted comedy set in the Austrian mountains. The second was based on an episode from Miguel de Cervantes' Don Quixote – Don Chisciotte alle nozze di Gamace (Don Quixote at the marriage of Camacho).See for an extended discussion of this work.
Axur and his other new compositions completed by 1792 marked the height of Salieri's popularity and his influence. Just as his apogee of fame was being reached abroad, his influence in Vienna began to diminish with the death of Joseph II in 1790. Joseph's death deprived Salieri of his greatest patron and protector. During this period of imperial change in Vienna and revolutionary ferment in France, Salieri composed two additional extremely innovative musical dramas to libretti by Giovanni Casti.
Working with Kim Andre Arnesen, Tait wrote the text for the internationally performed "Flight Song", "The Wound in the Water - 2016", and "The Christmas Alleluias - 2015", initially performed by The Valley Chamber Chorale, Stillwater, Minnesota. "The Flight Song" has forty different performances on YouTube and has sold numerous copies. In 2018, Tait released three of his pieces on a major record label, Naxos. His future projects include the libretti for major choral works for the UK and the USA.
Johann Adolph Hasse (baptised 25 March 1699 – 16 December 1783) was an 18th- century German composer, singer and teacher of music. Immensely popular in his time, Hasse was best known for his prolific operatic output, though he also composed a considerable quantity of sacred music. Married to soprano Faustina Bordoni and a great friend of librettist Pietro Metastasio, whose libretti he frequently set, Hasse was a pivotal figure in the development of opera seria and 18th-century music.
Leinert translated Jean Sibelius' Maiden in the tower into the German language as well as Gaetano Donizetti's Il pazzi per progetto and Tom Johnson's The four note opera. He has written and directed many Radio Plays, several opera libretti and three musical plays for children. His biography of the German Romantic Composer Carl Maria von Weber is published in the fifth edition by the well-known Rowohlt Verlag (Serie Monografien) and has been translated into Swedish and Chinese.
Anfossi was a prolific composer. L'avaro was the 25th of his 70 or more operas and one of the three which he had composed for the 1775 season at Venice's Teatro San Moisè. His librettist Giovanni Bertati was equally prolific, having written at least 70 libretti in his lifetime, almost all of them in the dramma giocoso genre. The premiere production of L'avaro had sets designed by Domenico and Gerolamo Mauri and costumes by Giuseppe Tadio.
Tauris Parke Books: London and New York, 2002. The pair painted stage scenery for two Italian operas, Pyrrhus and Demetrius by Alessandro Scarlatti and Nicola Haym, and Camilla by Antonio Maria Bononcini and Silvio Stampiglia, with English libretti by Owen McSwiney. With Pellegrini, he executed six large mythological canvases for Burlington House. Ricci returned to Venice in 1711, but came back to England with his uncle Sebastiano the following year, with whom he collaborated on several commissions.
From 1653 he was at the Holstein-Gottorp court in Schleswig. In a baptismal record of 1660 he is named as "Concertmeister to the prince of Magdeburg", namely Augustus, Duke of Saxe-Weissenfels. Pohle became the Kapellmeister for the Duke's court at Halle that same year, succeeding Philipp Stolle.Baron. The poet and dramatist David Elias Heidenreich worked in the Saxon courts as an official, and provided the libretti for a number of the Singspiel operas that Pohle composed.
He played Süffle in the premiere of Zeller's Der Vogelhändler on 10 January 1891. From 1876, Lindau was also active as a writer for the stage. In total he wrote more than 100 full-length plays, including s, farces and libretti for operettas, some of which became very popular. Together with Leopold Krenn (1850–1930), he wrote farces (') such as Heißes Blut (Hot Blood, 1892), Ein armes Mädel (A Poor Girl, 1893) and Der Nazi (1895).
Goldsworthy also writes opera libretti. He wrote the libretto for the Richard Mills operas, Summer of the Seventeenth Doll and Batavia, the latter winning Mills and Goldsworthy the 2002 Helpmann Award for Best Opera and Best New Australian Work. The premiere at the Sydney Opera House on 19 August 2006 was conducted by the composer and attended by the librettist. He wrote the chamber opera, The ringtone cycle : for soprano, violin, cello, piano, and iPhone with composer Graeme Koehne.
Although he learnt the piano, Hallström was self-taught as a composer. He studied law in Uppsala and in 1853 was appointed librarian to Prince Oscar which assisted him in advancing his career as a composer. His operas in collaboration with the librettist Frans Hedberg launched his operatic career, where he was particularly able to use Swedish folk tunes effectively. Hallström introduced a flavour of Gallic wit into his light operas, many of them based on French libretti.
Louis François, better known as Francis Tourte, (8 June 1816 – 5 October 1891) was a 19th-century French composer, poet, chansonnier and playwright. He was François Tourte's grandson. He wrote lyrics for more than 500 songs and melodies, whose music he sometimes composed, operettas libretti and theatre plays which were presented on the most important Parisian stages of the 19th century including the Théâtre des Délassements-Comiques, the Théâtre des Variétés, and the Théâtre des Bouffes-Parisiens.
18 Lehms made his name with the collection Teutschlands Galante Poetinnen (Germany's Gallant Poetesses). The title page of Teutschlands Galante Poetinnen sums up the work thus: Lehms wrote libretti for operas and cantatas. The cantatas, while being religious works performed as part of the Lutheran services of the Darmstadt court, can be seen as influenced by secular poetry like the cantatas of Neumeister. They were set to music by Christoph Graupner, the Kapellmeister, and his assistant Gottfried Grünewald.
Gilbert felt it was a moral issue and could not look past it. Sullivan felt that Gilbert was questioning his good faith, and in any event Sullivan had other reasons to stay in Carte's good graces: Carte was building a new theatre, the Royal English Opera House, to produce Sullivan's only grand opera, Ivanhoe. Gilbert brought suit, and after The Gondoliers closed in 1891, he withdrew the performance rights to his libretti, vowing to write no more operas for the Savoy.Shepherd, Marc.
Ottoboni assembled a cast of singers who would perform in both operas. Both operas had sets designed by Ottoboni's architect, Filippo Juvarra, and both were to be performed with ballet intermezzi choreographed by Nicolò L'Evêque. The Arcadi chose academy member, Carlo Sigismondo Capece, to write their libretto. He also served as the private secretary and court poet to Maria Casimira of Poland and had previously written libretti for operas performed in her private theatre at the Palazzo Zuccari in Rome (as had Ottoboni).
The style of the poem is marked by the hundreds of allusions and quotations from other texts (classic and obscure; "highbrow" and "lowbrow") that Eliot peppered throughout the poem. In addition to the many "highbrow" references and quotes from poets like Baudelaire, Shakespeare, Ovid, and Homer, as well as Wagner's libretti, Eliot also included several references to "lowbrow" genres. A good example of this is Eliot's quote from the 1912 popular song "The Shakespearian Rag" by lyricists Herman Ruby and Gene Buck.North, Michael.
Nicolas-François Guillard (16 January 1752 – 26 December 1814) was a French librettist. He was born in Chartres and died in Paris, the recipient of a government pension in recognition of his work writing librettos. He was also on Comité de Lecture of the Paris Opéra. One of the foremost of the French librettist of his generation, he wrote libretti for many noted composers of the day, including Salieri (Les Horaces) and in particular Sacchini (Œdipe à Colone, amongst many others).
In 1867, Farnie's two-act drama Reverses was staged at the Strand Theatre. The Observer, in a favourable review, said of Farnie, "if he has not before this tried his hand at dramatic writing, he has at all events now made a very successful essay in the art.""Strand Theatre", The Observer, 14 July 1867, p. 7 His principal work for the stage, however, was as a librettist. He wrote or adapted libretti for dozens of operettas in the 1870s and 1880s.
Peter und Ännchen premiered on 29 September 1809 in the theatre of the Ludwigsburg Palace near Stuttgart. The opera was popular in Germany in its day and a version of the score for voice and piano was published by Breitkopf & Härtel. It was also performed in Paris in 1810 as Pierre et Annette. Franz Carl Hiemer had written the libretto for Abeille's first opera, Amor und Psyche (1800) as well as the libretti for Carl Maria von Weber's operas Silvana and Abu Hassan.
Today composers such as Thomas Adès continue to export English opera abroad. Also in the 20th century, American composers like George Gershwin (Porgy and Bess), Scott Joplin (Treemonisha), Gian Carlo Menotti, Leonard Bernstein (Candide), and Carlisle Floyd began to contribute English- language operas, frequently infused with touches of popular musical styles. They were followed by Philip Glass (Einstein on the Beach), Mark Adamo, John Adams (Nixon in China), and Jake Heggie. Moreover, non-native-English speaking composers have occasionally set English libretti (e.g.
He conducts the Birmingham Bach Choir and the Whitehall Choir in London. His compositions include two oratorios for Easter and for Advent with libretti by the Dr Tom Wright and a choral symphony 'Unfinished Remembering' (2014) to a libretto by Euan Tait commemorating the outbreak of World War 1. He runs a series of choral courses under the banner of The English Choral Experience based mainly at Abbey Dore in Herefordshire. Spicer is a champion of early 20th century British composers.
One day he started attracting attention by wearing a suit and cape made of rough, uncoloured wool, a fabric usually only worn by fishermen. Soon many of the Germans and English on the island adopted attire made of similar material, which stimulated a local industry of hand- woven wool cloth which persisted until machine-made fabrics took over several decades later.Steegmuller 1982, p. 260. His friendship with Ernest Reyer led to him providing libretti for Sigurd (1884) and Salammbô (1890).
The guide to United States popular culture, p. 286. Popular Press (2001) , accessed April 27, 2010 The Casino Theatre produced a revue each summer thereafter for several seasons. In 1912, Lee and Jacob J. Shubert began an annual series of twelve elaborate Broadway revues at the Winter Garden Theatre, using the name The Passing Show of 19XX, designed to compete with the popular Ziegfeld Follies. They featured libretti by Atteridge and music usually by Romberg, George Gershwin or Herman Finck.
Gioia has published five books of poetry and three volumes of literary criticism as well as opera libretti, song cycles, translations, and over two dozen literary anthologies. Gioia is the Judge Widney Professor of Poetry and Public Culture at the University of Southern California, where he now teaches, as well as a Senior Fellow at the Trinity Forum. In December 2015 he became the California State Poet Laureate. He currently divides his time between Los Angeles and Sonoma County, California.
In 1840, Bunn was declared a bankrupt, but he continued to manage Drury Lane and the Surrey Theatre until 1848 at the age of fifty-two. Artistically, his control of his English theatres was highly successful. Nearly every leading English actor of the time played under his management, and he made an attempt to establish English opera, producing the principal works of Michael William Balfe. He had some gift for writing, and most of the libretti of these operas were translated by him.
Henry Hamilton (from The Sketch, 1909) Henry Hamilton (c. 1854 – 4 September 1918) was an English playwright, lyricist and actor. He is best remembered for his musical theatre libretti, including The Duchess of Dantzic (1903), The School Girl (1903), Véronique (1905) and The Little Michus (1907), often adapting foreign works for the British stage. He began as an actor in 1873 but turned to writing plays in 1881 and was especially successful in the first decade of the 20th century.
Federico Romero c. 1917 Federico Romero Saráchaga (11 November 1886 – 30 June 1976)El País (1 July 1976) was a Spanish poet and essayist. He is particularly known as a writer of libretti, primarily for zarzuelas. Although he was born in Oviedo and lived at times in both Zaragoza and Madrid, he considered himself a son of Spain's La Mancha region, where his family had lived from the early 20th century in the small town of La Solana (Ciudad Real).
The cast of characters is nearly the same, as is the plot. In his lyrics, too, Gilbert paid great attention to the speech- patterns of his originals. Although, as contemporary critics repeatedly remarked, the libretti of Gilbert's burlesques were more literate and intelligent than those of most of the genre, he nonetheless followed the conventional formula of rhyming couplets and tortuous puns, together with plenty of young actresses in tights or short dresses, which were the mainstays of Victorian burlesque.
Wagner's original title for the work was Siegfried und Sieglind: der Walküre Bestrafung ("Siegfried and Sieglinde: The Valkyrie Punished"), but he quickly simplified this to Die Walküre. Prose sketches for the first two acts were prepared in November 1851, and for the third act early in the following year. These sketches were expanded to a more detailed prose plan in May 1852, and the full libretto was written in June 1852. It was privately printed, with the other Ring libretti, in February 1853.
Aged 18, he became a member of the Great Council in the Republic of Ragusa. He began to write while still young, writing in continuation of the tradition of Ivan Gundulić inspired by Ovid, Virgil, Tasso and Ariosto. Although influenced by the Latin literary tradition, Palmotić wrote in his native Croatian language, as well as translating libretti from Italian.Buelow, George J.; A History of Baroque Music: Music in the Seventeenth and First Half of the Eighteenth Centuries Indiana University Press, 2004 p.
Angela Keslar and Vincent Libretti were originally eliminated in Episodes 8 and 9, respectively, of Season 3, but were brought back due to that season's twist. Justin LeBlanc would have originally been eliminated in Episode 6 of Season 12, but was given a second chance due to the newly instituted "Tim Gunn Save". During Season 13, the "Tim Gunn Save" was used to retroactively bring Charketa Glover back into the competition for Episode 7 after she was eliminated in Episode 6.
Lully and Quinault were considered the founders of the tragédie lyrique, the genre which was the heart of serious French opera, but by the Classical period Lully's music seemed dated. Reusing Quinault's libretti was a way of asserting the continuity of the national musical tradition and ensuring foreign composers, such as Gluck and Paisiello, were tied into it.Pierre Serié, pp. 74-76 Guillard, following the fashionable model of Metastasian drama, reduced Quinault's libretto from five to three acts,Serié, p.
Although some older sources have stated that Da Ponte adapted the libretto from Shakespeare's The Taming of the Shrew, this is not the case.Fenner, Theodore (1994). Opera in London: Views of the Press, 1785-1830, p. 114. Southern Illinois University Press According to Christophe Rousset, while some aspects of the opera's plot bear a superficial similarity to the play, it owes more to Goldoni's classic comedies of manners and to Da Ponte's libretti for Mozart's Così fan tutte and The Marriage of Figaro.
From 2001 to 2009 Scruton wrote a wine column for the New Statesman, and contributed to The World of Fine Wine and Questions of Taste: The Philosophy of Wine (2007), with his essay "The Philosophy of Wine". His book I Drink Therefore I am: A Philosopher's Guide to Wine (2009) in part comprises material from his New Statesman column. Scruton also wrote three libretti, two set to music. The first is a one-act chamber piece, The Minister (1994),Scruton, Roger.
Hamburg, Johann Adolf Hasse-Museum The presentation continues with his career as a prominent composer. He and his wife, the opera singer Faustina Bordoni, gained international prestige and played respected roles at the European courts and theaters.Lange Nacht der Museen Hamburg, Johann Adolf Hasse Museum The collection consists of text books of his operas (libretti), historical prints of musical compositions, scenic designs and costumes. One piece from the collection is a replica of an opera stage from the baroque era.
Apart from his plays and opera libretti, he wrote poems (in both Italian and Milanese dialect), travel books, and articles in various Italian newspapers, including Corriere della Sera. From 1878 to 1879 he was the Berlin correspondent for the Gazzetta Piemontese (today La Stampa). During his time in Milan, Fontana wrote two plays in Milanese dialect, La Pina Madamin and La Statôa del sciôr Incioda. Both had considerable success and starred Edoardo Ferravilla, considered one of the greatest comic actors in Milanese theatre.
Bach wrote several works for celebrations of the Leipzig University, Festmusiken zu Leipziger Universitätsfeiern. He composed this congratulatory cantata to celebrate the appointment of Gottlieb Kortte as professor of Roman Law. The librettist of the work is unknown: it may have been Picander, who had been providing libretti for Bach from at least the previous year when they collaborated on another academic cantata, . Bach incorporated music from his first Brandenburg Concerto, which was composed years earlier, for the opening chorus.
Libretti d'opera. Notes to libretto 382: L'avaro . Università degli Studi di Padova. Retrieved 17 December 2014 . The alternative title, La fedeltà nell'angustie ("Fidelity Amidst Distress"), is sometimes listed for a performance in Florence in 1777 at the Teatro della Pergola, but later research indicates that it was more likely to have been a revival of Anfossi's La finta giardiniera.Rice, John (September 1995). "Book Review: Melodramma, spettacolo e musica nella Firenze dei Lorena and A Chronology of Music in the Florentine Theater, 1751-1800".
Théophile Gautier questioned how it could be that, "an author without poetry, lyricism, style, philosophy, truth or naturalism could be the most successful writer of his epoch, despite the opposition of literature and the critics?"Gautier , Histoire de l'art dramatique en France (1859), cited in Cardwell (1983), p. 876 Scribe was prolific; he wrote various dramas — vaudevilles, comedies, tragedies and opera libretti. To the Théâtre du Gymnase alone he is said to have furnished a hundred and fifty pieces before 1830.
His works are a multiplicity of his talents and styles. He was a master of the older Renaissance style and of the newer Baroque style. In 1711, the new Viceroy of New Spain, Don Fernando de Alencastre Noroña y Silva, Duke of Linares, a devotee of Italian opera, commissioned Zumaya to translate Italian libretti and write new music for them. The libretto of the first, La Parténope survives in the Biblioteca Nacional de Mexico in Mexico City, though the music has been lost.
W.S. Gilbert in about 1878 By 1877, Gilbert, now forty years old, was established as a dramatist. After his early burlesques of the 1860s he had turned to writing comic opera libretti and non-musical plays, both comic and serious. His musical successes included Ages Ago (music by Frederic Clay, 1869) and Trial by Jury (music by Arthur Sullivan (1875). His serious and comic non-musical plays included Pygmalion and Galatea (1871),"The London Theatres", The Era, 5 May 1872, p.
He collaborated on plays with Christopher Isherwood and on opera libretti with Chester Kallman, and worked with a group of artists and filmmakers on documentary films in the 1930s and with the New York Pro Musica early music group in the 1950s and 1960s. About collaboration he wrote in 1964: "collaboration has brought me greater erotic joy . . . than any sexual relations I have had." Auden controversially rewrote or discarded some of his most famous poems when he prepared his later collected editions.
Stanford University Press In the ensuing years he went on to produce the libretti for numerous opere serie, including at least five for Vivaldi, three for Albinoni and two for Alessandro Scarlatti. Writing in 1811, Pietro Napoli- Signorelli described Tigrane, the first libretto Lalli wrote for Scarlatti, as "full of oddities and fantasy" and displaying "great inventiveness in its design". Lalli became very well connected to figures in the intellectual and theatrical life of Venice and to the aristocrats who patronized its theatres.
He has edited and translated the riddles included in the Anglo-Saxon Exeter Book. Crossley- Holland has also written the libretti for two operas by Nicola LeFanu, The Green Children (1966) and The Wildman (1976), and for a chamber opera about Nelson, Haydn, and Emma Hamilton. He has collaborated several times with the composers Arthur Bliss and William Mathias and has written a stage play, The Wuffings (1999). Crossley-Holland lives on the North Norfolk coast, where he spent some of his childhood.
Metastasio's libretto did not prove a success. The subject of knightly combat was not in keeping with the taste of the time and the plot seemed somewhat old-fashioned with its similarities to his earlier libretti L'Olimpiade and Nitteti. Hasse's setting relied on extensive recitatives, which may not have helped, and his use of an expanded wind section and timpani to create a festive quality in the music was to no avail. Both for Metastasio and for Hasse Ruggiero was a disappointing end to their life's work.
Opera librettist Luigi Illica, known for his long collaboration with composer Giacomo Puccini, but also with Alfredo Catalani and Umberto Giordano and author of the libretti of such operas as Tosca, La bohème, Madama Butterfly, La Wally and Andrea Chénier, was born in the borough in 1857 and is here buried. Castell'Arquato is also in the area of the Colli Piacentini (Piacenza Hills), an important area for wine production. The most important wines produced in the Colli Piacentini are Gutturnio, Bonarda, Ortrugo, Malvasia, and Monterosso Val d'Arda.
Marie Battu was the daughter of Pantaléon Battu (1799–1870), violinist, composer and assistant conductor at the Paris Opera,Art-Lyrique page on Pantaléon Battu accessed 8 September 2017. and sister of Léon Battu, author of many operatic libretti and theatrical entertainments. She studied singing with Gilbert Duprez and made her debut at the Théâtre des Italiens in Paris in 1860, as Amina in Vincenzo Bellini's La sonnambula. She appeared in operas in London, Paris and Baden-Baden, in works by Verdi, Donizetti, Rossini and Meyerbeer.
Born in Berlin, Neef worked from 1960-1973 at the VEB Deutsche Schallplatten in Berlin. Since 1973 he was at the Komische Oper Berlin, and since 1981 Neef has also been a lecturer at the . Neef wrote - often together with his wife, Sigrid Neef - scientific treatises on opera research as well as record reviews, specialist articles and several ballet libretti (for example to music by Richard Wagner, Jean Sibelius, Franz Schreker, Igor Strawinsky and Werner Egk). Neef died in Beverungen in 2017 at the age of 80.
Portrait of Italian poet Pietro Metastasio (1698-1782), attributed to Pompeo Batoni (1708–1787) Pietro Metastasio was an Italian poet and librettist, considered the most important writer of opera seria libretti. At the age of thirty-two, he was appointed court composer to Emperor Charles VI of Vienna. There he met his lifelong friend and companion Nicolo Martines. Metastasio resided with the Martines family for the entire rest of his life (from about 1734 to 1782). His presence would prove crucial to Nicolo’s daughter, Marianne's career.
Around the same time, at the Gallery of Illustration, he presented works with libretti by, among others, W. S. Gilbert, William Brough, Gilbert à Beckett, Robert Reece and Arthur Law. His composers included Frederic Clay, George Macfarren, Alfred Cellier and Hamilton Clarke as well as Sullivan and Reed himself. He wrote the scores for more than a dozen of the entertainments, and is described by the museum curator Fredric Woodbridge Wilson as "an imaginative and effective writer of music for the stage". Little of Reed's music survives.
Sheet music from The Boy After Edwardes' death in 1915, Greenbank continued for a further decade to supply lyrics and occasionally libretti to the musical stage, including such shows as Houp La! (1916) and the hit musical The Boy (1917), only rarely venturing into the world of revue (Half Past Eight and Vanity Fair). His last major work for the West End was the adaptation from the German of what was to become the book to the Jean Gilbert and Vernon Duke musical Yvonne.Gänzl, p.
Poster for La figlia di Iorio where the librettist, Gabriele D'Annunzio, is given top billing Librettists have historically received less prominent credit than the composer. In some 17th-century operas still being performed, the name of the librettist was not even recorded. As the printing of libretti for sale at performances became more common, these records often survive better than music left in manuscript. But even in late 18th century London, reviews rarely mentioned the name of the librettist, as Lorenzo Da Ponte lamented in his memoirs.
''''' (Hymn of nations), a cantata in a single movement, is one of only two secular choral works composed by Giuseppe Verdi. This Hymn incorporates "God Save the King", "La Marseillaise", and "Il Canto degli Italiani". It was the first collaboration between the composer and Arrigo Boito, who, much later, would revise the libretto of Simon Boccanegra and write the original libretti of Otello and Falstaff. Although written for the 1862 International Exhibition in London, it premiered at Her Majesty's Theatre on 24 May 1862.
52; C. Sartori, I libretti italiani a stampa dalle origini al 1800, vol. IV, Bertola & Locatelli, Cuneo 1991, n. 6580. for operas with music by (among others) Alessandro Scarlatti, but also gave hospitality and opportunity to several composers (such as Arcangelo Corelli, Giovanni Lorenzo Lulier, Alessandro Melani, Antonio Maria Bononcini and Carlo Francesco Cesarini, who all began their musical careers under his protection), funding publication and performances of their works.L. Montalto, Un mecenate in Roma barocca: il cardinale Benedetto Pamphili (1653–1730), Sansoni, Firenze 1955.
The libretti also, at times, show signs of the satire that would later be a defining part of his work.See The Cambridge History of English and American Literature, Volume XIII, Chapter VIII, Section 15 (1907–21) and Crowther, Andrew, The Life of W. S. Gilbert . They led to Gilbert's more mature "fairy comedies", such as The Palace of Truth (1870) and Pygmalion and Galatea (1871),Article by Andrew Crowther . and Gilbert's six German Reed Entertainments which, in turn, led to the famous Gilbert and Sullivan operas.
Bettina von Arnim was born at Frankfurt am Main, into the large family of an Italian merchant. Her grandmother, Sophie von La Roche, was a novelist, and her brother was Clemens Brentano, the great poet known for his lyric poems, libretti, and Singspiele. He was a mentor and protector to her and inspired her to read the poetry of the time, especially Goethe. From an early age Bettina was called 'the kobold' by her brothers and sisters, a nickname that she maintained later on in Berlin society.
19th century Roberto Devereux was first performed on 28 October 1837 at the Teatro di San Carlo, Naples. Within a few years, the opera's successOsborne 1994, p. 260 had caused it to be performed in most European cities including Paris on 27 December 1838, for which he wrote an overture which quoted, anachronistically, "God Save the Queen"; London on 24 June 1841; Rome in 1849; Palermo in 1857; in Pavia in 1859 and 1860; and in Naples on 18 December 1865.Libretti and associated performances on librettodopera.
Psyché is an opera (tragédie lyrique) in a prologue and five acts composed by Jean-Baptiste Lully to a libretto by Thomas CorneilleBuford Norman Touched by the Graces: The Libretti of Philippe Quinault in the Context of French Classicism (Summa, 2001), p. 213 (adapted from Molière's original play for which Lully had composed the intermèdes). Based on the love story of Cupid and Psyche, Psyché was premiered on April 19, 1678 by the Académie Royale de Musique at the Théâtre du Palais-Royal in Paris.
In 1780, he was awarded a scholarship by the Grand Duke of Tuscany to study music in Bologna and Milan. Cherubini's early opere serie used libretti by Apostolo Zeno, Metastasio (Pietro Trapassi), and others that adhered closely to standard dramatic conventions. His music was strongly influenced by Niccolò Jommelli, Tommaso Traetta, and Antonio Sacchini, who were the leading Italian composers of the day. The first of his two comic works, Lo sposo di tre e marito di nessuna, premiered at a Venetian theater in November 1783.
Choudens was born in Paris. In 1888, with his brother Antony, he took over the publishing house established by his father Antoine de Choudens in 1845 and made a fortune in publishing in particular, the music scores of Faust by Gounod and Carmen by Bizet. He was a staunch supporter of Alfred Bruneau, Paul Vidal and André Messager. As a librettist, he translated and adapted Der Schauspieldirektor by Mozart in collaboration with Arthur Bernède with whom he would write five libretti for the composer Félix Fourdrain.
Hoare, Alexandra (2010). "Freedom in Friendship: Salvator Rosa and the Accademia dei Percossi" in S. Ebert-Schifferer, H. Langdon, and C. Volpi (eds.) Salvator Rosa e il suo tempo 1615-1673, pp. 3342. Campisano Editore. In 1653, on the recommendation of Rosa's patron Cardinal Giancarlo de' Medici, Apolloni was appointed court poet to Ferdinand Charles, Archduke of Austria at Innsbruck. There he produced the libretti for three works by Antonio Cesti: the operas L'Argia (1655) and La Dori (1657) and the courtly entertainment Mars und Adonis (1655).
Alexandre Beaume, called Alexandre Beaumont (1 August 1827 – 11 March 1909), was a French librettist, playwright and novelist. After he finished his studies in law he set up a law practice. He is mostly known for his literary production (novels, theatre plays and opera libretti) under the pseudonym "Alexandre Beaumont". With the help of Charles Nuitter, he translated into French the libretto by Francesco Maria Piave and Andrea Maffei for the presentation of Macbeth by Giuseppe Verdi at the Théâtre-Lyrique in Paris in 1865.
16 Mackenzie's operas began in 1883 with Colomba, first produced by the Carl Rosa Company. It was a success, but his second opera The Troubadour (1886) was not.The Times, 9 June 1886, p. 9 Francis Hueffer's libretti for both operas were written in an antiquated style that attracted much criticism. Mackenzie's other operas were a one-act opera, The Cricket on the Hearth, first performed in 1914, The Eve of St John (1924), and two almost-complete operas, The Cornish Opera and Le luthier.
She sang in 1706 and 8 in 'Camilla,' in the libretti of which she is called Joanna Maria. In the former year she also performed the principal rôle in the 'Temple of Love' by Saggione, to whom she was then married. Documents signed by this composer, and by his wife as Maria Gallia Saggione, show that they received respectively £150 and £700 for a season of nine months,—large sums at that early date. Gallia appeared in Clayton's Rosamond at its production in 1707.
Gordon, whose close contacts with Gilbert had included work on the prompt books for the Savoy operas, was entrusted with preparing an authoritative set of libretti. In general, he retained the few "gags" that Gilbert had approved, and otherwise returned to the original 1870s and '80s texts. Gordon stage managed and then directed D'Oyly Carte productions for the next twenty-eight years. He coached new artists on the blocking, dances, and line readings for each part, and maintained strict quality control over the productions.
Michael Symmons Roberts FRSL (born 1963 in Preston, Lancashire) is a British poet. He has published seven collections of poetry, all with Cape (Random House), and has won the Forward Prize, the Costa Book Award and the Whitbread Prize for Poetry, as well as major prizes from the Arts Council and Society of Authors. He has been shortlisted for the T. S. Eliot Prize, the Griffin Poetry Prize and the Ondaatje Prize. He has also written novels, libretti and texts for oratorios and song cycles.
The Arcadians, with lyrics by Wimperis Arthur Harold Wimperis (3 December 1874 – 14 October 1953) was an English playwright, lyricist and screenwriter, who contributed lyrics and libretti to popular Edwardian musical comedies written for the stage. But, with the advent of talking films, he switched to screenwriting, finding even greater success in this medium. Early in his career, Wimperis was an illustrator. For 25 years beginning in 1906, he became a lyricist and librettist for musical comedies, including the hit The Arcadians in 1909 and many others.
Wagner's essay "Zukunftsmusik" is dated September 1860 and is in the form of a letter to a French admirer, Frédéric Villot. It was intended as a preface to a book of French translations of some of Wagner's libretti, including Tannhäuser and Tristan und Isolde. Wagner's intention was doubtless to familiarise the Parisian public with his ideas on music and opera in advance of performances there which he hoped would secure his fame and fortune; 'a lucid exposition of my thoughts would dispel such prejudice and error'.
In 1981 Brumby was awarded an Advance Australia Award for services to music. He has also won the Don Banks Fellowship (1990) and the APRA award for most performed Australasian serious work. Brumby's music includes operas; concerti for flute, oboe, clarinet, bassoon, horn, trumpet, piano, violin, viola, and guitar; two symphonies; orchestral suites and overtures; chamber works; sonatas for flute, clarinet and bassoon; incidental music for dramatic presentations; film and ballet scores; and songs. His wife Jenny Dawson has contributed libretti for some of his operettas.
It was followed by Falstaff in 1893, both set to libretti by Boito. But Giulio also had the good sense to promote younger composers of merit, most especially the operatic career of Giacomo Puccini. This relationship began in 1884 with the company's support for the printing of the libretto of the young Puccini's first opera Le villi without charge, when it premiered on 31 May 1884 at the Teatro Dal Verme. Other composers Giulio published included Amilcare Ponchielli, Alfredo Catalani, Carlos Gomes, Umberto Giordano, and Therese Wittman.
In order to improve his orchestration and composition skills the young Lysenko traveled to St. Petersburg where he took orchestration lessons from Nikolay Rimsky-Korsakov in the mid-1870s, but his fervent Ukrainian national position and disdain for Great Russian autocracy impeded his career. He supported the 1905 revolution and was in jail briefly in 1907. In 1908, he was the head of the Ukrainian Club, an association of Ukrainian national public figures in Kyiv. For his opera libretti Lysenko insisted on using only the Ukrainian language.
Sebastiano Biancardi (27 March 1679 – 9 October 1741), known by the pseudonym Domenico Lalli, was an Italian poet and librettist. Amongst the many libretti he produced, largely for the opera houses of Venice, were those for Vivaldi's Ottone in villa and Alessandro Scarlatti's Tigrane. A member of the Accademia degli Arcadi, he also wrote under his arcadian name "Ortanio". Lalli was born and raised in Naples as the adopted son of Fulvio Caracciolo but fled the city after being implicated in a bank fraud.
Pierre-Joseph Bernard (26 August 1708 – 1 November 1775), called Gentil- Bernard by Voltaire for the measured grace of his discreetly erotic verses, was a French military man and salon poet with the reputation of a rake, the author of several libretti for Rameau. Mme de Pompadour arranged to have him appointed a royal librarian, at the château de Choisy,Evelyne Lever, Catherine Temerson, (Catherine Temerson, tr.) Madame de Pompadour (Macmillan) 2003, ch. 3, note 22. where she had a little pavilion built for him.Houssaye.
Since Elektra and Der Rosenkavalier, with only the exception of Intermezzo, all previous operas by Strauss were based on libretti by Hugo von Hofmannsthal, who died in 1929. Stefan Zweig, who was then a celebrated author, had never met Strauss, who was his senior by 17 years. In his autobiography The World of Yesterday, Zweig describes how Strauss got in touch with him after Hofmannsthal's death to ask him to write a libretto for a new opera. Zweig chose a theme from Ben Jonson.
431–454; Jürg Stenzl: Heinrich von Kleists Penthesilea in der Vertonung von Ottmar Schoeck. In Günter Schnitzler: Dichtung und Musik – Kaleidoskop ihrer Beziehungen. Klett-Cotta, 1979, p. 224 ff. In French and Italian opera, which had possessed an established libretto tradition for centuries, the introduction of the literaturoper took place parallel to the discussions about the possibility of writing opera libretti in prose..Hugh Macdonald: The Prose Libretto, In: Cambridge Opera Journal 1, 1989, pp. 155–166. Since the Italian tradition of operatic verse proved to be particularly resistant to the introduction of prose libretti, the first Italian literaturopern were crerated on the basis of Gabriele d'Annunzio’s verse dramas (Alberto Franchetti, La figlia di Iorio (1906), Pietro Mascagni, Parisina (1913), Riccardo Zandonai, Francesca da Rimini (1914), Ildebrando Pizzetti, Fedra (1915).Jürgen Maehder: The Origins of Italian »Literaturoper« ─ »Guglielmo Ratcliff«, »La figlia di Iorio«, »Parisina« and »Francesca da Rimini«, in: Arthur Groos/Roger Parker (edd.), Reading Opera, Princeton University Press, Princeton 1988, pp. 92–128 The first composers to directly set plays include Charles Gounod,Hugh Macdonald: The Prose Libretto, In: Cambridge Opera Journal 1, 1989, pp. 155–166.
He served as conductor for the Adelaide Orpheus Society and president of the Adelaide Society of Organists. He was the composer for a stage musical The Mandarin with libretti by Harry Congreve Evans, performed at the Theatre Royal, Adelaide in 1896. Dunn was a successful teacher of the organ: two students of whom he was particularly proud were Arthur H. Otto, who on occasion filled in as assistant; and Horace Weber, Cathedral organist at Napier, New Zealand. He taught music theory at Tormore House, a school for girls at North Adelaide.
Jackson, pg 126 Raschenau wrote an oratorio on a libretto by MA Signorini, Le sacre visioni di Santa Teresa, which was first performed on 20 March 1703. The score was once in the Österreichische Nationalbibliothek, but was not in the catalogue by 1991, and is assumed to be lost. Her two oratorios and two secular works written for the state are now only known from libretti given out at performances. Raschenau was a contemporary of fellow female oratorio-writers Caterina Benedicta Grazianini, Maria Grimani, and Camilla de Rossi, who were also canonesses.
In 1655 he registered as a student at the faculty of law in Wittenberg, where he earned a living through translation work and occasional poetry. After completing his studies he went to work at the court in Weißenfels, where he made a career in the court and consistory administrations, and where his numerous theatrical works were premiered. The composer David Pohle, a pupil of Heinrich Schütz, was Kapellmeister at the Saxon courts of Halle and Weißenfels. Heidenreich provided him with the libretti for a number of the Singspiel operas that he composed.Snyder.
Advertisement for libretto, 1917 The libretto is in Italian, and was cobbled together by five librettists whom Puccini employed: Ruggero Leoncavallo, Marco Praga, Giuseppe Giacosa, Domenico Oliva and Luigi Illica. The publisher, Giulio Ricordi, and the composer himself also contributed to the libretto. So confused was the authorship of the libretto that no one was credited on the title page of the original score. However, it was Illica and Giacosa who completed the libretto and went on to contribute the libretti to Puccini's next three – and most successful – works, La Bohème, Tosca and Madama Butterfly.
Gian Carlo Menotti, photographed by Carl Van Vechten in 1944 It was at Curtis that Menotti wrote his first mature opera, Amelia Goes to the Ball (Amelia al Ballo), to his own Italian text. The Island God (which he suppressed, though its libretto was printed by the Metropolitan Opera and can be found in many libraries) and The Last Savage were the only other operas he wrote in Italian, the rest being in English. Like Wagner, he wrote the libretti of all his operas. His most successful works were composed in the 1940s and 1950s.
She helped him to deal with the concern that he would not be able to compose original works again. It has also been said that she advised him to be more commercial. As a result, he wrote The Protecting Veil (1987), which was extremely popular. She also provided libretti for a series of important works including "Song for Athene" (1993) which was part of the funeral of Diana, Princess of Wales, The Apocalypse (1993), Fall And Resurrection (1999), We Shall See Him As He Is (1993), and Let Us Begin Again (1995), inter alia.
Adams, William Davenport. A Dictionary of the Drama (1904), Chatto & Windus, London At least one of Farnie's libretti was set by two different composers. His Nell Gwynne, a three-act opera, was first set by Alfred Cellier and was staged at the Prince's Theatre in Manchester, where it opened on 17 October 1876 for a run of 24 performances. Later, Robert Planquette set Farnie's libretto, and that version was staged at the Avenue Theatre in London on 7 February 1884 before transferring to the Comedy Theatre for a total of 86 performances.
In 1708, he further received the honour of viceroyalty at Naples, where he died. His libretti are markedly different from the later moralizing tone of Metastasio and Apostolo Zeno, whose ideas came to dictate opera seria. His libretto for Agrippina is marked out by its amorality and the domination of aria over recitative. His portrayal of the Emperor Claudius has been perceived as an oblique attack on the character of Pope Clement XI. Grimani frequently clashed with Clement in the course of protecting the interests of the Habsburgs at the Vatican.
Horace is a play by the French dramatist Pierre Corneille, drawing on Livy's account of the battle between the Horatii and the Curiatii. Written in reply to critics of his Le Cid, it was dedicated to cardinal Richelieu and proved the author's second major success on its premiere in March 1640. Its protagonist Horatius is more daring than Rodrigue in Le Cid, in that he sacrifices his best friend and kills his sister Camilla. It was the basis for the libretti for the operas Les Horaces and Gli Orazi e i Curiazi.
Birtwhistle won an Eric Gregory Award from the Society of Authors in 1975. His poetry has been recognized by an Arts Council bursary, an Arts Council creative writing fellowship (1976–78), a writing fellowship at the University of Southampton (1978–80) and a Poetry Book Society recommendation for Our Worst Suspicions (1985). Birtwhistle has had three concert libretti set and performed.University of York Music Press profile of composer David Blake Some of his early poems were translated by Ștefan Augustin Doinaș and published in Romanian.Introductory note in Haysaving (1975).
He initiated the Genesis Directors' Project, the Jerwood Directors Award and the Young Vic Award. In addition to his many plays, libretti, and films, he published an anthropological study after two years of field research in the Zambezi Valley in the extreme north of Zimbabwe. Guns and Rain: Guerrillas & Spirit Mediums in Zimbabwe (1985) External link describes the influence of religious practice on Zimbabwe's struggle for independence from colonial rule. It has been described as 'an undisputed modern classic' and is taught in universities all over the world.
Revue des deux Mondes, Vol. 3, p. 672 (Scribe had written the libretti for several of Halévy's earlier works in the genre, including Le shérif and Le nabab.) The assessments from other critics excerpted in the 8 May 1856 edition of Le Guide Musicale were much in the same vein. The critic from La Presse théâtrale described the libretto as a "monster" which defied all logic, but concluded: > Thank God, M. Halévy's music has enough power and charm to almost make us > forget the nonsense of the piece.
The Music Archive contains more than 5,000 printed editions and manuscripts of 17th-, 18th- and 19th-century scores, also performing parts, libretti, sheet music, and baroque tablatures for plucked instruments. The Library grew over many centuries, incorporating the libraries of both close and distant relations; the acquisition of the libraries of other aristocrats who fell from favor in the various wars in Central Europe in the 17th century; the purchase of the working libraries of important political, scientific or cultural figures; as well as through regular purchases and commissions.
The original literary source for ' was ' (The Prison), a farce by German playwright Julius Roderich Benedix that premiered in Berlin in 1851. On 10 September 1872, a three-act French vaudeville play by Henri Meilhac and Ludovic Halévy, ', loosely based on the Benedix farce, opened at the Théâtre du Palais-Royal.Play text for Le Réveillon, viewable at the Gallica website, accessed 1 September 2016. Meilhac and Halévy had provided several successful libretti for Offenbach and Le Réveillon later formed the basis for the 1926 silent film So This Is Paris, directed by Ernst Lubitsch.
Following demobilisation, he travelled in Europe for a time, then settled in Naples for reasons of health. There he continued to publish his works, having already offered Rita (1859), La Campana Della Gancia (1861) and La Santola (1861), copies of which he sent to Peter Lalor and Sir Redmond Barry. These and other works were separate items of his two Magna Opera, Lo Scotta-o-Tinge, a collection of libretti and plays, and La Ceciliana, their musical counterpart. None was represented on the stage, nor has his music been publicly performed.
Today, these are known as opera seria, a term that was little-used when they were created. The terms continued to be used in the early 19th century after Gluck's reforms had effectively ended the dominance of opera seria: for example, some of Rossini's later serious operas were designated "dramma in musica". Examples of drammi per musica are Cavalli's Xerse (1654), Erismena (1656), Vivaldi's Tito Manlio (1719), Mysliveček's Il Bellerofonte (1767), Gluck's Paride ed Elena (1770), Salieri's Armida (1779), Mozart's Idomeneo (1781) and Rossini's Otello (1816), as well as numerous libretti written by Pietro Metastasio.
The following year, Bruneau met Émile Zola, launching a collaboration between the two men that would last for two decades. Bruneau's 1891 opera Le Rêve was based on the Zola story of the same name, and in the coming years Zola would provide the subject matter for many of Bruneau's works, including L'attaque du moulin (1893). Zola himself wrote the libretti for the operas Messidor (1897) and L'Ouragan (1901). Other works influenced by Zola include L'Enfant roi (1905), Naïs Micoulin (1907), Les Quatres journées (1916), and Lazare (produced posthumously in 1954).
Barry Oakley, "Pugnacious poet", review of Selected Letters of Gwen Harwood, Weekend Australian, Books, 29–30 December 2001, p. R11 She also wrote libretti for composers such as Larry Sitsky, James Penberthy, Don Kay and Ian Cugley. She corresponded over the years with several poet friends, including Vincent Buckley, A. D. Hope, Vivian Smith, and Norman Talbot, as well as family and other friends such as Tony Riddell, and two volumes of her letters have been published. She served as President of the Tasmanian Branch of the Fellowship of Australian Writers.
He was in the first rank of Rome's cultural and artistic life in the 17th and 18th centuries, as demonstrated by his belonging to the prestigious accademia dell'Arcadia, under the pseudonym Fenicio Larisseo.E. Weller, Index pseudonymorum : Worterbuch der Pseudonymen oder Verzeichniss aller Autoren, die sich falscher Namen bedienten, Falcke & Rossler, Leipzig 1856, p. 54 He formed the major collection of Flemish paintings in the Galleria Doria Pamphilj, whose interior (by Carlo Fontana) and chapel he had built. He was particularly interested and skilled in music, not only writing several libretti himselfS.
Stedman, pp. 129 and 155 When preparing the sets for H.M.S. Pinafore, Gilbert and Sullivan visited Portsmouth in April 1878 to inspect ships. Gilbert made sketches of H.M.S. Victory and H.M.S. St Vincent and created a model set for the carpenters to work from.Stedman, pp. 157–58; Crowther, p. 90; Ainger, p. 154 This was far from standard procedure in Victorian drama, in which naturalism was still a relatively new concept, and in which most authors had very little influence on how their plays and libretti were staged.
Nicolini, by Marco Ricci Nicolò Francesco Leonardo Grimaldi (5 April 1673 (bap) - 1 January 1732) was an Italian mezzo-soprano castrato who is best remembered today for his association with the composer George Frideric Handel, in two of whose early operas he sang. Grimaldi was usually known by his stage name of Nicolini. Nicolini was born in Naples, where he made his operatic début in 1685. He also sang sacred music as a soprano in the Cathedral and Royal Chapel (to which extant libretti from the 1690s identify him as virtuoso).
The 18th century are first in Room 6, dedicated to the famous singer Carlo Broschi, known as Farinelli. His beautiful portrait, painted by Corrado Giaquinto, dominates the room, together with the portraits of the castrati from various periods and of composers from the time, such as Antonio Vivaldi and Domenico Cimarosa. Room 7 places the visitor in the 19th century with Gioachino Rossini, whose name is forever tied to Bologna. Portraits, busts, and libretti from the first recitals of Isabella Colbran, a singer and Rossini's first wife, can be found here.
In addition to numerous early paintings, Ribemont-Dessaignes wrote plays, poetry, manifestos and opera librettos. He contributed to the Dada (and later surrealist) periodical Literature. Among Ribemont-Dessaignes' works for the theater are the plays The Emperor of China (1916) and The Mute Canary (1919), and the opera libretti The Knife's Tears (1926) and The Three Wishes (1926), both with music by Czech composer Bohuslav Martinů. His novels include L'Autruche aux yeux clos (1924), Ariane (1925), Le Bar du lendemain (1927), Céleste Ugolin (1928), and Monsieur Jean ou l'Amour absolu (1934).
Yet Molière and Lully had quarrelled bitterly and the composer found a new and more pliable collaborator in Philippe Quinault, who would write the libretti for all but two of Lully's operas. On 27 April 1673, Lully's Cadmus et Hermione – often regarded as the first French opera in the full sense of the term – appeared in Paris.Viking Opera Guide p. 589 It was a work in a new genre, which its creators Lully and Quinault baptised tragédie en musique,Also known as tragédie lyrique a form of opera specially adapted for French taste.
''''' (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the libretti written by Charles-Guillaume Étienne for the opera Cendrillon (Isouard), with music by Nicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini for Agatina o La virtù premiata, with music by Stefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy tale Cendrillon by Charles Perrault. Rossini's opera was first performed in Rome's Teatro Valle on 25 January 1817.
Orchestras grew in size, arias lengthened, ensembles became more prominent, and obbligato recitative became both common and more elaborate. While throughout the 1780s Metastasio's libretti still dominated the repertory, a new group of Venetian librettists pushed opera seria in a new direction. The work of Gaetano Sertor and the group surrounding him finally broke the absolute dominance of the singers and gave opera seria a new impetus towards the spectacular and the dramatic elements of 19th-century Romantic opera. Tragic endings, on-stage death and regicide became the norm rather than the exception.
He also served as annotator for the programs of the concerts by the New York Philharmonic, and translated several German opera libretti for performance or publication in English. He also translated Alexander Wheelock Thayer's seminal three volume German language biography on Beethoven for its 1921 English language publication. Thayer had left a planned fourth volume unwritten at the time of his death, and Krehbiel wrote a fourth volume to complete the series in his final years. It was published posthumously in 1925 for the second publishing of his English translation.
In 1968 he won the National Book Award for his novel The Eighth Day. The Wilder Family Website Being proficient in four languages, Wilder translated plays by André Obey and Jean-Paul Sartre, and wrote the libretti to two operas, The Long Christmas Dinner, composed by Paul Hindemith, and ''The Alcestiad'', composed by Louise Talma and based on his own play. Also, Alfred Hitchcock, whom he admired, asked him to write the screenplay to his thriller, Shadow of a Doubt. He completed the first draft of the screenplay for Hitchcock.
After the death of Bandinelli, he joined the Chigi household in Rome, working first for Cardinal and then for Sigismondo's cousin Cardinal Flavio Chigi. The Colonna and Chigi families, who both had residences in the Piazza dei Santi Apostoli in Rome, had close social, political, and cultural ties with each other. They jointly sponsored the creation of several operas with libretti by Apolloni, including L'Alcasta composed by Bernardo Pasquini and dedicated to Queen Christina. It was through this extended network that Apolloni also began working with Alessandro Stradella.
Edward Storey died at his home in Discoed early on the morning of 18 November 2018. The funeral service took place at St. Michaels church, Discoed on 5 December. Edward Storey's poems and libretti have been set to music by Trevor Hold, Adrian Williams, David Twigg, Cecilia MacDowell, Trevor Jones and others, leading to performances and/or recordings. Recent CD recordings of musical settings of Edward's poems are 'Pure Music' featuring Voller String Quartet and mezzo-soprano Zarah Hible, and 'Spirit Songs' featuring soprano Louise Wayman accompanied by pianist Sarah Gard.
Many sources recount his virtuosity as a theorbo player. None of his operatic music survives. Extant works include libretti, an oratorio, and three books of monodies under the title Musiche varie a voce sola (Venice 1633, 1637, 1641). Though the last were composed within a relatively short time span, they reflect the changing style of accompanied monody, from the emergence of recitar cantando (midway between song and speech) to the vocal style that is typical of mid-17th century opera, with a more distinctive melody and a clearer rhythm.
The words of an opera are known as the libretto (literally "small book"). Some composers, notably Wagner, have written their own libretti; others have worked in close collaboration with their librettists, e.g. Mozart with Lorenzo Da Ponte. Traditional opera, often referred to as "number opera", consists of two modes of singing: recitative, the plot-driving passages sung in a style designed to imitate and emphasize the inflections of speech, and aria (an "air" or formal song) in which the characters express their emotions in a more structured melodic style.
He first won fame with the scandalous Salome and the dark tragedy Elektra, in which tonality was pushed to the limits. Then Strauss changed tack in his greatest success, Der Rosenkavalier, where Mozart and Viennese waltzes became as important an influence as Wagner. Strauss continued to produce a highly varied body of operatic works, often with libretti by the poet Hugo von Hofmannsthal. Other composers who made individual contributions to German opera in the early 20th century include Alexander von Zemlinsky, Erich Korngold, Franz Schreker, Paul Hindemith, Kurt Weill and the Italian-born Ferruccio Busoni.
Cairon was first a journalist and columnist in many newspapers. He started successively at the Corsair in 1850, the Gazette de France in 1851, the National Assembly in 1853, then as editor of Le Figaro weekly of which he was one of the main editors. He worked simultaneously with the Revue fantaisiste, the Gazette de Paris, La Silhouette, the Revue des Beaux Arts, L'Univers illustré and became successively chief-editor of the Figaro-programme, the Soleil and the Nouvelles (1865–66). He also wrote theatre plays, operetta libretti and novels under the pseudonym Jules Noriac.
In 1979, Decca Records released the album as a set of four LPs (catalogue number D132D4) and two cassettes (catalogue number K132K42), both accompanied by notes, texts and translations. In the USA, the album was released by London Records (catalogue number OSA 1443). In 1988, Decca issued the album on CD (catalogue number 421 125-2), packaged in a slipcase with a 372-page booklet. The booklet provided libretti, synopses, an essay by Stanley Sadie and a note by Christopher Raeburn on the Moberly- Raeburn proposal, all in English, French, German and Italian.
Leo Stein (1896) Leo Stein, born Leo Rosenstein (25 March 1861, Lemberg – 28 July 1921, Vienna, Austria) was a playwright and librettist of operettas in the latter part of the 19th and early 20th centuries, including works adapted for a number of Broadway productions. Stein wrote libretti for Johann Strauss Jr, Franz Lehár, Emmerich Kálmán, and Oskar Nedbal. His collaboration with Viktor Léon contributed much to Lehár's success. A selection of his works includes Wiener Blut (1899), Die lustige Witwe (1905), Der Graf von Luxemburg (1909) and Die Csárdásfürstin (1915).
Wagner specifically developed the libretti for these operas according to his interpretation of Stabreim, highly alliterative rhyming verse-pairs used in old Germanic poetry.Millington (1992) 239–40, 266–7 They were also influenced by Wagner's concepts of ancient Greek drama, in which tetralogies were a component of Athenian festivals, and which he had amply discussed in his essay "Oper und Drama".Millington (2008) 74 The first two components of the Ring cycle were Das Rheingold (The Rhinegold), which was completed in 1854, and Die Walküre (The Valkyrie), which was finished in 1856.
Her novella Navigatio was recommended in the 1995 The Australian/Vogel Literary Award and all four novels of the fantasy genre series Pellinor have been published. She also edits the online writing magazine Masthead and writes theatre criticism. Croggon has also written libretti for Michael Smetanin's operas Gauguin: A Synthetic Life and The Burrow, which premiered respectively at the 2000 Melbourne Festival and Perth Festival, produced by ChamberMade. In 2014, Iain Grandage's opera The Riders, to Croggon's libretto based on Tim Winton's novel The Riders, had its world premiere in Melbourne.
He produced several pieces at the Paris theatres, and also collaborated with Gérard de Nerval in adaptations from Shakespeare and in other plays. A friend of Offenbach, he wrote libretti for three of the composer's works. His novella Histoire de ce qui n'est pas arrivé (1854) is a significant exercise in alternate history, in which Méry imagined that Napoleon's life took a different turn in Egypt in 1799. It was translated by Brian Stableford in 2012 and is available in a collection of Méry stories entitled The Tower of Destiny.
Harness (2006) pp. 175-178 The libretto for La Flora was written by Andrea Salvadori, who had been employed by the Medici as their court poet since 1616 and had provided the texts and libretti for numerous musical spectacles there, both sacred and secular. The opera he had originally planned for the wedding celebrations was Iole ed Ercole (Iole and Hercules) for which Jacopo Peri had already composed the music by the end of 1627. However, during that time Salvadori was engaged in a feud with the singer and composer, Francesca Caccini.
217 Scribe's own hard-headed views on his libretti are summarised in his comments on a dispute over payment with Léon Pillet, the director of the Opéra, in 1841: > I want to be paid for them according to what they bring in, that is to say, > a great deal. The...director only wants to pay for them according to what > they are worth, that is to say, very little.Cited in Roberts (2003), 211 Scribe wrote a few novels, but none of any mark. His Œuvres complètes appeared in seventy-six volumes between 1874 and 1885.
Bach had composed his Christmas Oratorio, based on the gospels of Luke and Matthew, in 1734, a work in six parts to be performed on six occasions during Christmas tide. He had composed an Easter Oratorio already in 1725. The composition for Ascension appeared thus in the same liturgical year as the Christmas Oratorio. The text for the Ascension Oratorio, a compilation of several biblical sources, free poetry and chorales, was presumably written by Picander who had written the libretti for the St Matthew Passion and the Christmas Oratorio, among others.
The booklet contained libretti, synopses by Erik Smith and an essay by H. C. Robbins Landon, all in English, French, German and Italian. It was illustrated with images of Haydn and the title page of a libretto printed for his opera's première, and with production photographs of Alva, Cotrubas, Doráti, Landy, Lövaas, Mazzieri, von Stade, Valentini Terrani and Titus taken by Klaus Hennich. Philips Classics also issued the album with seven other of Doráti's recordings of Haydn's operas in a 20-CD box set (catalogue number 438 167-2).
In 1839 he became editor of the Renaissance, a paper founded to encourage the fine arts. His chief work, the epic of the Quatre Incarnations du Christ, was published in 1867. In the same volume were printed his Études rythmiques, a series of metrical experiments designed to show that the French language could be adapted to every kind of musical rhythm. With the same end in view he executed translations of many German songs, and wrote new French libretti for the best- known operas of Mozart, Weber and others.
Tungal studied Estonian literature at the University of Tartu. After her graduation, she has worked as a teacher, editor, drama and literature consultant for the Estonian Puppet Theatre, and as a freelance writer. In 1994, she founded the children's magazine Hea Laps, and worked as its editor-in-chief until January 2019. She has published over 80 books of prose and poetry for children and young adults, has written several libretti for Estonian composers, and has translated children's poetry and plays from Bulgarian, English, Finnish, Russian, and several other languages.
Gébler's many subsequent works include plays and screenplays, libretti, children's books, short stories, novels and several memoirs. Several of Gébler's novels are based on historical murder cases. Reviewing the 2011 novel, The Dead Eight, based on events that took place in rural Tipperary in 1940, Julian Evans described Gébler as an "overlooked novelist" with a "Swiftian understanding of the world’s secret machinations". In 2000 he published Father and I, a memoir of his relationship with his emotionally abusive father, from whom he was estranged for much of his life.
Giuseppe Petrosellini (29 November 1727 – 1799) was an Italian poet and prolific librettist working primarily in the dramma giocoso and opera buffa genres. Petrosellini was born in Corneto, Papal State (now Tarquinia, Lazio) and spent most of life in Rome at the Papal Court where he held the title of "Abate". He was also a member of several accademie (learned societies), most notably the Accademia degli Arcadi for whom he wrote under the pseudonym "Enisildo Prosindio". Amongst his most well-known libretti is Paisiello's Il barbiere di Siviglia.
Ashbrook 1982, pp. 252–253 Another of the French traditions, as developed from the dominant force in French dramatic literature and personified by Eugene Scribe's concept of the "well-made play" (which may be seen in many of the opera libretti he wrote), concerns the notion of a "coup de theatre" whereby some extraordinary action occurs to turn the evolution of the story totally on its head. This is certainly the case with L'assedio. As it turned out, Donizetti had to wait four more years for one of his operas to be staged in Paris.
Summer 2011. However, nothing more came of it at that point, and Gilbert and Sullivan went their separate ways. Gilbert worked again with Clay on Happy Arcadia (1872), and with Alfred Cellier on Topsyturveydom (1874), as well as writing several farces, operetta libretti, extravaganzas, fairy comedies, adaptations from novels, translations from the French, and the dramas described above. Also in 1874, he published his last contribution for Fun magazine ("Rosencrantz and Guildenstern"), after a gap of three years, then resigned due to disapproval of the new owner's other publishing interests.
It is not easy to settle the rights and wrongs of the issue at this distance, but it does seem fairly clear that there was something very wrong with the accounts at this time. Gilbert wrote to Sullivan on 28 May 1891, a year after the end of the "Quarrel", that Carte had admitted "an unintentional overcharge of nearly £1,000 in the electric lighting accounts alone." Gilbert brought suit, and after The Gondoliers closed in 1891, he withdrew the performance rights to his libretti, vowing to write no more operas for the Savoy.Shepherd, Marc.
Adrien-Nicolas Piédefer, marquis de La Salle, comte d'Offrémont (1735–1818) was a French writer and cavalry officer who saw service in the Seven Years' War, a writer of comedies and libretti, and a Masonic brother of Benjamin Franklin. He was appointed maréchal de camp in 1791;Tableau de la vie militaire d'Adrien-Nicolas La Salle, maréchal de camp le 1er avril 1791, depuis commandant de la province de l'ouest de S. -Domingue, et deux fois gouverneur général, par intérim des isles sous le vent. [Paris?], 1794. (John Carter Brown Library, Providence, Rhode Island).
In lighter moments he wrote a successful comedy in verse, in three acts, L'oncle et les tantes ("Uncle and aunts"), which was reprinted in 1786.A copy is in the Biblioteca Labronica, Livorno []. Previously he had supplied the libretti for at least two one-act operas for which the music was composed by François-Joseph Gossec. One, Le périgourdin ("The man from Périgord") was an intermède, a between-acts intermezzo that was presented at the private theatre of the prince de Conti at the Château de Chantilly, 7 June 1761.F.-J.
During the production of Gilbert and Sullivan's 1889 comic opera, The Gondoliers, Gilbert became embroiled in a legal dispute with producer Richard D'Oyly Carte over the cost of a new carpet for the Savoy Theatre and, more generally, over the accounting for expenses of the Gilbert and Sullivan partnership. Sullivan sided with Carte (who was about to produce Sullivan's grand opera, Ivanhoe), and the partnership disbanded. After The Gondoliers closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy.Shepherd, p. vii.
Sullivan felt that Gilbert was questioning his good faith, and in any event, Sullivan had other reasons to stay in Carte's good graces: Carte was building a new theatre, the Royal English Opera House, to produce Sullivan's only grand opera, Ivanhoe.Ainger, pp. 312–316 On 5 May 1890, Gilbert had written to Sullivan: "The time for putting an end to our collaboration has at last arrived." Gilbert brought suit, and after The Gondoliers closed in 1891, he withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy.
Charles de La Rounat,Also spelt « de la Rounat » ou « de Larounat ». real name Aimé-Nicolas-Charles Rouvenat, (16 April 1818 – 25 December 1884 Acte n° 2637 (p.13), registre des décès de l'année 1884 pour le 6th arrondissement sur le site des Archives numérisées de la Ville de Paris.) was a 19th-century French writer, playwright, journalist and theatre director. A director of the Théâtre de l'Odéon from 1856 to 1867, then from 1880 to 1884, he authored several theatre plays and opéra comiques libretti, most of them in collaboration.
He wrote three operas, all to his own libretti, including a television opera Alceste (1963, after Euripides), the one-act De Droom ("the Dream", 1963), and finally Antigone (1989–1991, after Sophocles). In 2005 his 1964 book on twentieth-century music was published in English translation as Music of the Twentieth Century: A Study of Its Elements and Structure (Amsterdam: University Press, 1995), also in Swedish and German. Olivier Messiaen wrote about his later works: 'Ton de Leeuw's music is essentially diatonic. He uses modes, melodic lines, counterpoints, chords, but it all remains diatonic.
Letter from Ursula Vaughan Williams to Alan Bush – Letter No.: VWL3696 – The Letters of Ralph Vaughan Williams database In 1964, she published RVW: A Biography of Ralph Vaughan Williams. She completed her autobiography, Paradise Remembered, in 1972, but did not publish the book until 2002. Additionally, she published four novels, including Set to Partners (1968) and The Yellow Dress (1984), and five volumes of poetry. She provided libretti for other composers, including Herbert Howells, Malcolm Williamson and Elisabeth Lutyens, for example, her famous "Hymn to St. Cecilia", which was put to music by Howells.
Gidwitz (n.d.) Already during his studies, he turned to literature on his own time, writing poetry and plays, some in standard Italian and some in Milanese dialect.Gidwitz (n.d.) An early success (1780) was Gli antiquari in Palmira, an opera composed by Giacomo Rust to Carpani's libretto,Clive (2001:66) which led to his being invited to write libretti for the Milanese court, performed in the country residence at Monza. These were translations/revisions of French works, some of which appeared under Carpani's own name.Gidwitz (n.d.) From 1792 to 1796, Carpani edited the Gazzetta di Milano.
Kalbeck was a close friend and partisan of Johannes Brahms. Kalbeck's principal achievement was his eight-volume biography of that composer, published from 1904 to 1914, which has never been translated into English. Kalbeck also edited several volumes of Brahms's correspondence and in 1918, the letters of the poets Gottfried Keller and Paul Heyse, as well as publishing two collections of his own music reviews. Kalbeck wrote new libretti for Mozart's Bastien und Bastienne and La finta giardiniera; and he revised those of Don Giovanni and The Marriage of Figaro for Gustav Mahler's productions at the Vienna Hofoper.
Henry Clifford was written in 1893-95, the first of a series of operas by Albéniz which were commissioned and supplied with English libretti by the wealthy Englishman Francis Money-Coutts. Other operas in the series are Pepita Jiménez (1896) and Merlin (1902). Albéniz began writing the opera while living in London, but subsequently moved to Barcelona where he completed the piano-vocal score for the second act. After a few months he became uncomfortable with the conservative cultural conditions under the Bourbon dynasty in Spain, and moved to Paris where the remainder of the work was completed in 1894-95.
She won the Prize of Group 47 in 1953 for her poetry collection Die gestundete Zeit. Ingeborg Bachmann's residence at Palazzo Sacchetti, Via Giulia, Rome In 1953, she moved to Rome, Italy, where she spent the large part of the following years working on poems, essays and short stories as well as opera libretti in collaboration with Hans Werner Henze, which soon brought with them international fame and numerous awards. From 1958 to 1963, she lived on and off with Max Frisch. Her 1971 novel, Malina, has been described as a response, at least partially, to his 1964 novel Mein Name sei Gantenbein.
In 1875 Fibich married Růžena's sister, the operatic contralto Betty Fibichová (née Hanušová), but left her in 1895 for his former student and lover Anežka Schulzová. The relationship between Schulzová and Fibich was important to him artistically, since she wrote the libretti for all his later operas including Šárka, but also served as the inspiration for his Moods, Impressions, and Reminiscences. Birthplace of Zdeněk Fibich Fibich was given a bi-cultural education, living during his formative early years in Germany, France and Austria in addition to his native Bohemia. He was fluent in German as well as Czech.
Amadis de Gaule, or Amadis des Gaules (Amadis of Gaul), is a French opera in three acts by the German composer Johann Christian Bach. The libretto is a revision by Alphonse de Vismes of Amadis by Philippe Quinault, originally set by Jean-Baptiste Lully in 1684, which in turn, was based on the knight- errantry romance Amadis de Gaula (1508). Bach's opera was first performed at the Académie Royale de Musique, Paris on 14 December 1779. It followed the contemporary French fashion for resetting libretti by Quinault (Armide by Gluck and Roland by Piccinni are other examples of this trend).
Grimani was born either in Venice or Mantua. He is best remembered for having supplied the libretto for George Frideric Handel's early operatic success Agrippina, although he also supplied libretti for Elmiro re di Corinto, by Carlo Pallavicino, and Orazio by G. F. Tosi. All the operas were produced at the Teatro S Giovanni Grisostomo, which he owned, while the remainder of his family owned several other Venetian opera houses. Politically he was allied to the Habsburg cause, and this alliance and his importance diplomatically to the Habsburgs led to him being made a cardinal in 1697.
Under Welser-Möst, the Orchestra began presenting regularly staged operas in 2009, typically during the second half of each season, with a three-year cycle of Mozart operas that feature libretti by Lorenzo Da Ponte: Le nozze di Figaro, Don Giovanni, and Così fan tutte. Additional staged productions included Richard Strauss’s Salome (2011–12), Janáček’s The Cunning Little Vixen (2013–14 and 2017–18), returns to Strauss with Daphne (2014–15) and Ariadne auf Naxos (2018–19), Bartók’s The Miraculous Mandarin and Bluebeard’s Castle in the 2015–16 season (a collaboration with the Joffrey Ballet), and Debussy’s Pelléas et Mélisande (2016–17).
The comic opera The Miser a work of 17 scenes brought him most success. Its roles are: Scriagin, Liubima’s guardian; Liubima, his niece; Milovid, her beloved; Marfa, the servant girl that Scriagin is in love with; Prolaz, Milovid’s manservant who is in Scriagin’s service. Accordingly the speech and the names of the characters of Molière's comedy were turned into Russian as well as the music that combines some features of European form with typically Russian melodies. Catherine had literary ambitions, and Pashkevich was asked to set one of her own opera libretti for performance at the royal court.
Amor und Psyche is an opera (singspiel) in four acts composed by Ludwig Abeille to a German libretto by Franz Carl Hiemer (1768–1822). Based on the story of Cupid and Psyche, the opera premiered on January 18, 1800, at the Hoftheater (Herzöglichestheater) in Stuttgart. Amor und Psyche was popular in Germany in its day and a version of the score for voice and piano was published by Breitkopf & Härtel. Franz Carl Hiemer went on to write the libretto for Abeille's third opera, Peter und Ännchen (1809) as well as the libretti for Carl Maria von Weber's operas Silvana and Abu Hassan.
The real Raoul de Coucy is believed to have died in the Siege of Acre The only comedy in the list, Rossini's Le comte Ory, recounts the attempts by Ory and his friends to seduce the Countess of Formoutiers and the women of her household while their men are away at the Crusades. Ory's ploy of dressing up as nuns to gain access to the women is foiled when the Crusaders return. Many of the libretti for the operas listed are based either directly or indirectly on Torquato Tasso's epic poem, La Gerusalemme liberata (Jerusalem Delivered), or on Voltaire's tragic play, Zaïre.
He moved to Naples while he was still young and stayed there for the rest of his life. Between 1800 and 1839 he wrote libretti for 45 operas, especially for the Teatro San Carlo for which he was the official poet. He and Andrea Leone Tottola were the two librettists who dominated theatrical life in Naples in the first quarter of the 19th century. His lyrics were mostly banal and verbose, but were set by the most important composers of the era, such as Giacomo Tritto, Gaetano Andreozzi, Luigi Mosca, Pietro Generali, Saverio Mercadante and Gioachino Rossini.
Dunlap has published poems, essays, anthologies, guides and opera libretti. As a writer, producer, and on-camera presenter for public television, he has been a major contributor to more than 200 programs beginning with his much-acclaimed 1979 series Cinematic Eye. Among his many awards for work in film and television are a national Emmy Award nomination, two CINE Golden Eagle Awards, a First Place Award in the Samuel G. Engel International Film & Television Drama Competition, and a Parents' Choice Award. He has written a novel, Famous Dogs of the Civil War, and a novella, Sunshine: The Autobiography of a Genius.
In 1958, Freier established the Israel Composer's Fund, and in 1966 she founded, together with the composer Roman Haubenstock-Ramati, the Festival "Testimonium" ("Witness"), designed to support the setting to music the stories of central events in the life of the Jewish people. For this purpose she managed to engage the help of notable composers, both Jewish and non- Jewish, such as Ben-Zion Orgad, Mauricio Kagel, Karlheinz Stockhausen, Iannis Xenakis, Lukas Foss and others."Freier, Recha (1892–1984)", Women in World History: A Biographical Encyclopedia, accessed 30 June 2017). She also wrote a number of libretti for Israeli composers.
The opera libretto from its inception (ca. 1600) was written in verse, and this continued well into the 19th century, although genres of musical theatre with spoken dialogue have typically alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti. Much of the recitatives of George Gershwin's opera Porgy and Bess, for instance, are merely DuBose and Dorothy Heyward's play Porgy set to music as written – in prose – with the lyrics of the arias, duets, trios and choruses written in verse.
Ricimer's life was used as a subject of opera libretti in the 17th and 18th centuries, embellishing his biography with romantic and political intrigues. The earliest setting was Matteo Noris's Ricimero re de' Vandali (set by Carlo Pallavicino, 1684), which focuses on the installation of Anthemius in Rome and the promise of marriage to his daughter Domizia. A better-known setting was Apostolo Zeno and Pietro Pariati's libretto Flavio Anicio Olibrio, set by Francesco Gasparini (1708), Nicola Porpora (1711), Leonardo Vinci (1728), and Niccolò Jommelli (1740). This libretto is based on Ricimer's siege of Rome and his relationship with Olybrius and their loves.
After several projects as production manager at Telefunken, Schultze decided in 1936 to try his luck as a freelance composer for stage and film. He delivered a series of compositions for martial and propaganda songs and was advised to become a member of the National Socialist German Workers Party in 1940 in order not to be conscripted. In 1932 he married his first wife, the actress Vera Spohr, with whom he had four children. After his divorce in 1943 he married the Bulgarian actress, singer and writer Iwa Wanja, who contributed libretti to several of his stage works.
There is a strong continuity between his poetic work and his activism, including his work as author and performer for the satirical antiwar street theatre troupe the John Wayne Peace Institute (1980–81) and his participation in Processed World. His work is discussed in this context in the essay by Andrew Joron, "Neo-Surrealism: Or, The Sun at Night". In collaboration with Daniel Steven Crafts, Cornford has written libretti and other musical texts, most recently the "Spider Woman" section for the orchestral song-cycle From a Distant Mesa. Crafts has also set a number of Cornford's poems as songs .
He returned to Munich in 1798. Five years later he visited London, where he produced La grotta di Calipso in 1803, Il ratto di Proserpina in 1804 (both to libretti by Lorenzo Da Ponte), and Zaira in 1805, with great success. Maometto (1817) is probably his most famous opera, still performed sometimes and it exists in an excellent recording on CD. His last opera, Der Sänger und der Schneider, was produced in 1820 at Munich, where he died. Besides his dramatic works he composed concertos for wind and orchestra and some sacred music, including 26 masses.
322 It was published as an appendix to Wagner's essay The Art-Work of the Future as an example of the ideals to which such art-works should aspire - "a glorious Saga which long ago the raw, uncultured Folk of old-time Germany indited for no other reason than that of inner, free, Necessity".Wagner (1993), p. 210 The libretto contains many elements which are found in other of Wagner's operas (a swan, a wound, a spear, a ring, smithying, an absent mysterious father, a forbidden question), and one biographer calls it 'one of Wagner's most frankly autobiographic libretti'.Gutman (1990), p.
C. S. Terry and D. Litti, Bach's Cantata Libretti, Journal of the Royal Musical Association 1917 44(1):71-125; The poet refers to the Gospel and expands on the contrast of Jesus hidden (sleeping) and appearing (acting), similar to , written in 1716 and performed three weeks earlier on the First Sunday after Epiphany. The words of movement 4 are a quote from the Gospel, the question of Jesus: "" (Why are ye fearful, O ye of little faith?). The closing chorale is the second stanza of Johann Franck's hymn "". Bach first performed the cantata on 30 January 1724.
Arrigo Boito Arrigo Boito (; 24 February 1842 10 June 1918) (whose original name was Enrico Giuseppe Giovanni Boito and who wrote essays under the anagrammatic pseudonym of Tobia Gorrio)Ashbrook 1998, in Sadie, p. 528 was an Italian poet, journalist, novelist, librettist and composer, best known today for his libretti, especially those for Giuseppe Verdi's last two monumental operas Otello and Falstaff (not to mention Amilcare Ponchielli's operatic masterpiece La Gioconda) and his own opera Mefistofele. Along with Emilio Praga and his own brother Camillo Boito, he is regarded as one of the prominent representatives of the Scapigliatura artistic movement.
As well as writing the libretti for his own operas, he wrote them for greater operas by two other composers. As "Tobia Gorrio" (an anagram of his name), he provided the libretto for Amilcare Ponchielli's La Gioconda. Collaboration with Verdi His rapprochement with Verdi, whom he had offended in a toast to his long-time friend, the composer (and later conductor) Franco Faccio, shortly after they (i.e., Boito and Verdi) had collaborated on Verdi's Inno delle nazioni ("Anthem of the Nations", London, 1862), was effected by the music publisher Giulio Ricordi whose long-term aim was to persuade Verdi to write another opera.
In March, 1793, he was appointed the Royal Prussian court kapellmeister and he led the operation of theatres in Berlin and Potsdam.Lorraine Byrne Bodley Goethe and Zelter: musical dialogues 2009 Page 158 "Vincenzo Righini was court Kapellmeister in Berlin from 1793 and Director of Italian Opera until 1806; he was active as a Kapellmeister and composer until his death." He also composed grand operas for local theatres, often to the libretti of Antonio De' Filistri. He died in Bologna. Beethoven wrote Vierundzwanzig Variationen über die Ariette „Venni Amore“ von Vincenzo Righini in D-Dur WoO 65.
Libreria. Autore:G.M.Crespi, c. 1720 – 1730. Collocazione: Museo internazionale e biblioteca della musica The collection inherited from Padre Martini constitutes one of the most prestigious collections of music repertory printed between the 16th and 18th centuries because of its incunabulums, valuable manuscripts, opera libretti, and for the unique collection of autographs and letters, which are the result of the correspondence Martini painstakingly kept with eminent people, scholars, and musicians of the time. Saved from the Napoleonic confiscations due to the intervention of Stanislao Mattei, Martini's disciple and successor, the valuable bibliographic patrimony was donated to the Liceo musicale di Bologna in 1816.
In the mid-1850s, having forsaken the stage, Ghislanzoni became active in journalism in the bohemian circles of Milan, serving as director of Italia musicale and editor of the Gazzetta musicale di Milano. He also founded L'uomo di pietra the magazine Rivista minima, collaborating with, among others, Arrigo Boito. In 1869, Ghislanzoni retired from journalism and returned to his native Lombardy, where he dedicated himself to literature and writing libretti for operas. He wrote many short stories in verse and diverse novels including Un suicidio a fior d'acqua (1864), Angioli nelle tenebre (1865), La contessa di Karolystria (1883), Abracadabra and Storia dell'avvenire (1884).
The plot of Kolmekymmentä hopearahaa studies the relationship between a revivalist minister and those around him (both lay and clergy) and is based upon a play by Heikki Ylikangas. Ameriikka is a study of love and long-distance relationships: a miner goes to America leaving his fiancée behind - her imagination leads her to jealousy and she decides to pursue him across the Atlantic Ocean. Isontaloon Antti follows a recruiting Jägare who, after returning from training in Germany, is pursued by the police for this allegiance. The libretti of both Ameriikka and Isontaloon Antti's were written by Antti Tuuri.
His last known libretto from that period was La reggia d'Imeneo, a festa teatrale performed in Dresden in 1787 to celebrate the marriage of Anton of Saxony. The libretto printed for that performance still listed him as a diplomatic counselor to the Saxony court. Migliavacca's libretti were long ignored by later literary critics who dismissed them as the work of a semi-dilettante and mediocre imitator of Metastasio. However, in the late 20th century, he came to be appreciated as one of a group of reforming Italian librettists which also included Ranieri de' Calzabigi, Mattia Verazi, Giovanni de Gamerra, and Gaetano Martinelli.
Letter to Giovanni Claudio Pasquini, 29 June 1748, in Raccolta di lettere scientifiche, familiari, e giocose dell'abate Pietro Metastasio romano, Rome, at the expence of Pietro Puccinelli, s.d., III, p. 338 (accessible online at Google Books). Caricature of Tesi (by Antonio Maria Zanetti) After further successful appearances at the Burgtheater in the latter half of 1748 and in 1749 (among others, in Niccolò Jommelli's Achille in Sciro and Didone abbandonata, both set to Metastasian libretti), and after having undergone a real tour de force of four new operas and two pasticcios in 1750, Tesi began to retire from her professional singing career.
Gaetano Martinelli (? – 1802) was an Italian librettist active in the court theatres of Charles Eugene, Duke of Württemberg from 1766 to 1769 and in Lisbon as the court poet to Joseph I of Portugal and his daughter Maria I from 1769 until his death in 1802. He was one of a group of reforming Italian librettists which also included Calzabigi, Verazi, and Migliavacca, who moved away from the traditional Metastasian plot structures that had dominated opera during the first half of the 18th century. The majority of his early libretti were for comic (opera buffa) or semi-comic (dramma giocoso) operas.
Betty Comden (born Basya Cohen, May 3, 1917 November 23, 2006) was one-half of the musical-comedy duo Comden and Green, who provided lyrics, libretti, and screenplays to some of the most beloved and successful Hollywood musicals and Broadway shows of the mid-20th century. Her writing partnership with Adolph Green, called "the longest running creative partnership in theatre history", lasted for six decades, during which time they collaborated with other leading entertainment figures such as the famed "Freed Unit" at MGM, Jule Styne, and Leonard Bernstein, and wrote the musical comedy film Singin' in the Rain.
Cavalli was the most influential composer in the rising genre of public opera in mid-17th-century Venice. Unlike Monteverdi's early operas, scored for the extravagant court orchestra of Mantua, Cavalli's operas make use of a small orchestra of strings and basso continuo to meet the limitations of public opera houses. Cavalli introduced melodious arias into his music and popular types into his libretti. His operas have a remarkably strong sense of dramatic effect as well as a great musical facility, and a grotesque humour which was characteristic of Italian grand opera down to the death of Alessandro Scarlatti.
Michel Carré, who co-wrote the libretto with Eugène Cormon The libretto was written by Eugène Cormon and Michel Carré. Cormon was a prolific author of libretti and straight drama, usually in collaboration with other writers. In his career he wrote or co-wrote at least 135 works, of which ', set to music by Aimé Maillart, was perhaps the most successful. Carré, who had initially trained as a painter, had worked with Jules Barbier on Gounod's opera Faust and had co-written the play ', which became the basis of the libretto for Offenbach's opera The Tales of Hoffmann.
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.
Da Ponte moved to Gorizia (Görz), then part of Austria, where he lived as a writer, attaching himself to the leading noblemen and cultural patrons of the city. In 1781 he believed (falsely) that he had an invitation from his friend Caterino Mazzolà, the poet of the Saxon court, to take up a post at Dresden, only to be disabused when he arrived there. Mazzolà however offered him work at the theatre translating libretti and recommended that he seek to develop writing skills. He also gave him a letter of introduction to the composer Antonio Salieri.
At the University of Genoa he translated French literature and, with a colleague, prepared a six-volume dictionary of mythology and antiquities, including the history of the Celts in Italy. Romani's expertise in French and antiquity is reflected in the libretti he wrote; the majority are based on French literature and many, such as Norma, use mythological sources. After refusing a post at the University of Genoa, he appears to have travelled to France, Spain, Greece and Germany before returning to Milan in either 1812 or 1813. There he became friends with important figures in the literary and musical world.
He was stage manager at the Paris Opéra from 1859 to 1870, and administrator of the Théâtre du Vaudeville from 1874. His libretti include Les dragons de Villars (with Lockroy), Gastibelza (with d'Ennery) and Les pêcheurs de Catane (with Carré) for Maillart, Les pêcheurs de perles (with Carré) for Bizet, Robinson Crusoé (with Crémieux) for Offenbach, and Les Bleuets (with Trianon) for Cohen.Walsh (1981). The Fontainebleau act as well as the auto-da-fé scene of Verdi's opera Don Carlos is based in part on Cormon's 1846 play Philippe II, Roi d'Espagne ("Philip II, King of Spain").
Giovanni Claudio Pasquini (1695 – 1763) was an Italian poet and librettist. Born in Siena, he served at the court of Charles VI, Holy Roman Emperor in Vienna, first as the Italian teacher to Maria Theresa and her younger sister Maria Anna, and from 1733 as the court poet. After the death of Charles VI, he worked in the Habsburg courts of Mannheim and Dresden before returning to Siena in 1749 where he remained for the rest of his life. He wrote the libretti for numerous operas, including Caldara's I disingannati, as well as courtly entertainments and oratorios.
Sixteen alumni died in the September 11 attacks in 2001. They are Dennis Cross '59, Ronald F. Orsini '60, Joel Miller '63, Sheldon R. Kanter '66, Stephen Johnson '75, Danny Libretti '76, Dominick E. Calia '79, Dipti Patel '81, Andre Fletcher '82, Courtney W. Walcott '82, Gerard Jean Baptiste '83, Wai C. Chung '84, Paul Innella '85, Michael McDonnell '85, Thomas Tong '87, and Paul Ortiz '98. Since 2001, Brooklyn Tech has undergone such refurbishing as the renovation of the school's William L. Mack Library entrance, located on the fifth-floor center section. As well, two computer labs were added.
A short version of The Lion's Face, (then titled The Present) won the Audience Prize at the Zurich Opera House's New Opera Festival in January 2009. His other libretti include The Girl of Sand, also composed by Elena Langer and performed at the Almeida Opera Festival in 2004, and The Birds (after Aristophanes), composed by Edward Dudley Hughes and performed by I Fagiolini at the City of London Festival in 2005. In 2016, Maxwell collaborated with David Bruce again, on Nothing, an opera adapted from the book by Janne Teller. This was staged at Glyndebourne in 2016 (dir.
As author, he wrote such books on music and operatic composers as: Wagner Without Fear (1998), Verdi With a Vengeance (2000), Puccini Without Excuses (2005), all published by Random House. He has also written opera libretti and articles on religion and architecture. He frequently gives lectures on operatic music and composers, and is also a radio commentator and has recently been a regular host for New York Public Radio's Overnight Music and WNYC radio. Since creation of the Metropolitan Opera Radio on Sirius in the Fall of 2006, he writes all the commentaries heard during entractes of historical broadcasts.
Basil Hood Basil Willett Charles Hood (5 April 1864 - 7 August 1917) was a British dramatist and lyricist, perhaps best known for writing the libretti of half a dozen Savoy Operas and for his English adaptations of operettas, including The Merry Widow. He embarked on a career in the British Army, rising to the rank of captain, while writing theatrical pieces in his spare time. After some modest success, Hood and his collaborator, the composer Walter Slaughter, had a major hit with their long-running show, Gentleman Joe, in 1895. Another long-running success was The French Maid (1896).
He eventually became the Grimani "house poet". Musicologist and historian Reinhard Strohm, described Lalli's role in the Venetian theatres, and especially those of the Grimani family, as "resourceful poet and hack, theatre manager and career- maker." According to Strohm, he proved particularly useful in obtaining the latest libretti written by Metastasio for Rome, slightly revising them and having them set by another composer for a rival production in Venice. In one case, he managed to do this even before the Rome premiere. Metastasio's Ezio had its official premiere in Rome on 26 December 1728 with music by Pietro Auletta.
He worked for The Times Literary Supplement (1978–81) and was literary editor of both The Observer (1981–89) and the Independent on Sunday (1989–95). Morrison's early writing career outside of journalism was as a poet and poetry critic. He became a full-time writer in 1995 and has since produced novels and volumes of autobiography as well as plays, libretti, and writing for television. He has contributed articles to The New Yorker, the London Review of Books, the New Statesman, The New York Times and Poetry Review and since 2001 he has written regularly for The Guardian.
Le pescatrici was the second of the three Goldoni libretti that Haydn set to music — the other two were Lo speziale (1768) and Il mondo della luna (1777). However, Haydn was not the first to use Goldoni's libretto. It had previously been used for operas by Ferdinando Bertoni (Venice, 1751) and Niccolò Piccinni (Rome 1766) and was later used by Florian Leopold Gassmann (Vienna, 1771). Haydn composed Le pescatrici as part of the lavish celebrations for the marriage of Prince Nikolaus Esterházy's niece, Maria Theresa Countess Lamberg to Alois Count Poggi at Eszterháza where the opera was first performed on 16 September 1770.
Collin was born in Conches-en- Ouche. In the 18th and early 19th centuries, his family produced administrative officers in the military, mail and law service as well as physicians. He started a professional career as a lawyer before marrying one of the daughters of the French chemist Theodore Gobley. Poetry proved to be Collin's real vocation, and he went on to write libretti and song lyrics for a number of operas and cantatas, collaborating with contemporary composers of the second half of the 19th century including Tchaikovsky, who used several of his shorter poetry works for songs.
Gilbert's creative output included over 75 plays and libretti, and numerous short stories, poems and lyrics, both comic and serious. After brief careers as a government clerk and a lawyer, Gilbert began to focus, in the 1860s, on writing light verse, including his Bab Ballads, short stories, theatre reviews and illustrations, often for Fun magazine. He also began to write burlesques and his first comic plays, developing a unique absurdist, inverted style that would later be known as his "topsy-turvy" style. He also developed a realistic method of stage direction and a reputation as a strict theatre director.
Gilbert's working relationship with Sullivan sometimes became strained, especially during their later operas, partly because each man saw himself as subjugating his work to the other's, and partly due to their opposing personalities. Gilbert was often confrontational and notoriously thin-skinned, though prone to acts of extraordinary kindness, while Sullivan eschewed conflict.Crowther, Andrew, "The Carpet Quarrel Explained", The Gilbert and Sullivan Archive, 28 June 1997, accessed 22 July 2016 Gilbert imbued his libretti with "topsy-turvy" situations in which the social order was turned upside down. After a time, these subjects were often at odds with Sullivan's desire for realism and emotional content.
336-44, 405-425; and She also commissioned secular works (operas and pastorales) from him, some of which were performed at the royal court. Isabelle was a fervent supporter of her cousin Louis XIV's policies to bring Huguenots back into the Catholic fold. As early as November 1676, when she supervised the conversion of a Protestant lady, Isabelle commissioned from Marc-Antoine Charpentier the first of a succession of oratorios that recounted how St. Cecilia had won over her bridegroom and his brother to Christianity. The probable author of the libretti was Philippe Goibaut, a protegé of the two Guise women.
These libretti "are used by singers, teachers and conservatories throughout North America and Europe." He was on the faculties of The Juilliard School of Music and Mannes College The New School for Music in New York and Boston University, and was a lecturer, teacher and master class leader at other universities and conservatories around the world. His language and diction classes are taught at Juilliard, Eastman School of Music, Indiana University, New York University, Metropolitan Opera, New York City Opera, Chicago Opera, Pittsburgh Opera, the Opera NUOVA Vocal Intensive Program in Edmonton, Alberta, and American Institute of Musical Studies, Graz, Austria.
Louis de Cahusac (6 April 1706 – 22 June 1759) was an 18th-century French playwright and librettist, and Freemason, most famous for his work with the composer Jean-Philippe Rameau. He provided the libretti for several of Rameau's operas, namely Les fêtes de l'Hymen et de l'Amour (1747), Zaïs (1748), Naïs (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacréon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boréades (c. 1763). Frank A. Kafker: Notices sur les auteurs des dix-sept volumes de « discours » de l'Encyclopédie.
75 In his early Munich years Busch's attempts to write libretti, which are almost forgotten today, were unsuccessful. Up to 1863 he worked on two or three major works; the third was composed by Georg Kremplsetzer. Busch's Liebestreu und Grausamkeit, a romantic opera in three acts, Hansel und Gretel, and Der Vetter auf Besuch, an opera buffa of sorts, were not particularly successful. There was a dispute between Busch and Kremplsetzer during the staging of Der Vetter auf Besuch, leading to the removal of Busch's name from the production; the piece was renamed, Singspiel von Georg Kremplsetzer.
Carter (2002), p. 274 The libretto has survived in numerous forms—two printed versions, seven manuscript versions or fragments, and an anonymous scenario, or summary, related to the original production.Carter (2002), p. 265 One of the printed editions relates to the opera's 1651 Naples revival; the other is Busenello's final version published in 1656 as part of a collection of his libretti. The manuscripts are all from the 17th century, though not all are specifically dated; some are "literary" versions unrelated to performances. The most significant of the manuscript copies is that discovered in Udine, Northern Italy, in 1997 by Monteverdi scholar Paolo Fabbri.
Menotti also taught at the Curtis Institute of Music. Music critic Joel Honig served as his personal secretary during the late 1950s. Menotti wrote the libretti for two of Samuel Barber's operas, Vanessa and A Hand of Bridge, as well as revising the libretto for Antony and Cleopatra. Amelia al Ballo is the only one of Menotti's operas still to be published in its original or perhaps "complementary" Italian libretto (alongside the English) (see Ricordi editions 1937, 1976 and recent): it is an example of the traditional romantic Italianate style, with a nod to (but not an imitation of) Puccini and, notably, Mascagni (whose final opera, Nerone, had premiered in 1935).
His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works.
During his childhood and adolescence Grünbaum lived with his family in Brünn which were dealing in art. At an age of 18 years, he attended law school in Vienna which he concluded, in fact, as a doctor, but more and more he began to show interest for literature. After the law studies, he began as a master of ceremonies at Vienna Cabaret Die Hoelle, where he had his first performance in the operetta "Phryne" in 1906. From 1903 on he composed first libretti, among others with Robert Bodanzky and made his appearance as an actor in the most different minor parts on many Vienna Cellar Stages and Revue Theatres.
However, various cultural and artistic contributions from these diverse sources melded together to help form the zaju performances: musical modes of the steppes, traditional Chinese shi and ci poetry, the newly developed and embedded qu lyrics, acrobatics, and dance, combined together with the other varieties of artistic performance to contribute to the mix which zaju represents. Accompanying musical notation is evidently lacking; instead, the tune to which an aria was meant to be sung is indicated in the text by the title of a popular song or aria using the same tune. Generally, information about performances derives from preserved literary texts: arias, libretti, and/or other forms of stage direction.
195 According to Virgil Thomson, who wrote music to libretti authored by Stein, the "book is in every way except actual authorship Alice Toklas's book; it reflects her mind, her language, her private view of Gertrude, also her unique narrative powers. Every story in it is told as Alice herself had always told it.... Every story that ever came into the house eventually got told in Alice's way, and this was its definitive version."Thomson, Virgil - "A Portrait of Gertrude Stein", from An Autobiography of Virgil Thomson, p. 176-177 The book is considered to be one of the most accessible of Stein's works.
Valentine d'Aubigny was first and only time that Halévy used a libretto by Barbier and Carré, who went on to co-write several libretti for operas by other composers including Gounod and Ambroise Thomas. It was also the last opéra comique composed by Halévy. He completed only one more stage work before his death in 1862, the five-act grand opera La magicienne. Clément and Larousse wrote in their 1869 Dictionnaire lyrique that the "bizarre" plot of Valentine d'Aubigny detracted somewhat from the score which had several distinguished pieces and singled out Gilbert's aria "Comme deux oiseaux", Sylvia's bolero, and Chevalier Boisrobert's aria "Un amoureux".
He was born in Hull and educated at Hull Grammar School and St John's College, Cambridge. He was ordained in 1754 and held a number of posts in the church. In 1747, his poem "Musaeus, a Monody on the Death of Mr. Pope" was published to acclaim and quickly went through several editions. Summarizing this poem, a threnody, William Lyon Phelps writes: Among his other works are the historical tragedies Elfrida (1752) and Caractacus (1759) (both used in translation as libretti for 18th century operas: Elfrida - Paisiello and LeMoyne, Caractacus - Sacchini (as Arvire et Évélina) and a long poem on gardening, The English Garden (three volumes, 1772–82).
Georg Gebel composed at least nine opera libretti and about a hundred symphonies, partitas and concerts. In 1746, John Frederick rewarded him with the title of Concertmeister and in 1750 with the title of Kapellmeister. In 1754, Christian Gotthelf Scheinpflug succeeded gebel as Kapellmeister. He composed music for all kinds of courtly occasions.Axel Schröter: Der historische Notenbestand der Hofkapelle Rudolstadt , viewed on 13 October 2011 In 1746, he founded a theological seminary and supported the founding of an extensive public library. He added his private library to the existing collection and from 1751 onwards, he allowed the general public to access it once a week.
Scowcroft, Philip L. "A Twentieth Garland of British Light Music Composers" , MusicWeb.UK In 1883, Cellier left the D'Oyly Carte company, but he was back for brief periods as music director with D'Oyly Carte's touring companies for Princess Ida (1884) and The Mikado (1885). In 1885, also, Cellier composed incidental music for a production of As You Like It. He composed two more companion pieces that had Savoy Theatre premieres, both with libretti by Desprez: The Carp (performed with The Mikado and Ruddigore in 1886-87), and Mrs. Jarramie's Genie (composed together with his brother François, which played together with several different operas at the Savoy between 1887 and 1889.
From the mid-1960s Uspensky and Savostyuk often traveled to Karelia, where they created several series of works: The Loggers of Karelia, Border Guards, and Karelia. In the 1960s Uspensky started working with the Bolshoi Theatre in Moscow, where he was acquainted with the ballet choreographer Yuri Grigorovich and the dancer Vladimir Vasiliev. For the Ballet, Uspensky painted posters and drew illustrations for programmes and libretti, his first poster being Swan Lake for the ballet's tour of France in 1958. Over the next decades he worked on many ballets, including Petrushka, Spartacus, Angara, Ivan the Terrible, Leniniana (after Mayakovsky), Paganini, Chopeniana (les Sylphides), and Romeo and Juliet.
He had already produced several comedies when in 1873 he secured real success with two short pieces, Chez l'avocat and Les Incendies de Massoulard. Others of his numerous plays are Les Compensations (1876); L'Art de tramper les femmes (1890), with Émile de Najac. One of Ferrier's biggest successes was the production with Fabrice Carré of Josephine vendue par ses sœurs (1886), an opera bouffée with music by Victor Roger. His opera libretti include La Marocaine (1879), music of Jacques Offenbach; Le Chevalier d'Harmental (1896) after the play of Alexandre Dumas, père, for the music of André Messager; La Fille de Tabarin (1901), with Victorien Sardou, music of Gabriel Pierné.
D'Arienzo made his debut as a composer at the age of 17 with the premiere of Monzù Gnazio o La fidanzata del parrucchiere at the Tearo Nuovo. A comic opera with a libretto in Neapolitan dialect, Monzù Gnazio made a strong impression on Mercadante who took D'Arienzo under his wing, offering both advice and encouragement. Eight more operas followed between 1866 and 1887, all but one in the opera buffa or semiseria genres, and most of them with libretti written in Neapolitan dialect. Of these, his greatest critical success was Il cuoco e il segretario (The Cook and the Secretary) which premiered at the Teatro Rossini in Naples in January 1873.
This was followed by Semiramide (Il finto Nino, overo La Semiramide riconosciuta) in 1737, Artaserse in 1738, Seleuco with Russian translation by Sumarokov, premiered in Moscow 1744, Scipione with Russian translation by Adam Olsufiev, in St. Petersburg 1745, Mitridate in 1747, and others. The majority of the operas he wrote in Russia were to Italian libretti. However, in 1755 Araja composed Цефал и Прокрис (Tsefal i Prokris – Cephalus and Prokris), an opera in three acts to the Russian libretto by Alexander Sumarokov after the Metamorphoses by Ovid. It was staged at St. Petersburg on March 7, OS February 27, 1755 with effective sets by Giuseppe Valeriani.
Under Goodwin's tuition, she received honours from Trinity College of Music, Morrison was the first person on the island to pass a music college examination.Kenyon, J. Stowell; Maddrell,Breesha and Quilliam, Leslie (2006) 'Sophia Morrison' in Kelly, Dollin, ed. New Manx Worthies, Douglas, Manx National Heritage. Even as a youth, Goodwin was noted for his aptitude for learning languages: > At the age of twelve I picked up my first knowledge of German and French > from old books which had belonged to my father. My first inducement to learn > Latin and Italian was to be able to understand the words of Mozart’s Masses > and Italian opera libretti.
High points in this history are the 80 or so libretti by Carlindo Grolo, Loran Glodici, Sogol CardoniPatrick J. Smith: The Tenth Muse (Schirmer 1970) p. 103. and various other approximate anagrams of Carlo Goldoni, the three Mozart/Da Ponte collaborations, and the comedies of Gioachino Rossini and Gaetano Donizetti. Similar foreign genres such as French opéra comique, English ballad opera, Spanish zarzuela or German singspiel differed as well in having spoken dialogue in place of recitativo secco, although one of the most influential examples, Pergolesi's La serva padrona (which is an intermezzo, not opera buffa), sparked the querelle des bouffons in Paris as an adaptation without sung recitatives.
In 1787, the writer Valadier offered Méhul one of his libretti, Cora, which had been rejected by Gluck in 1785.. The Académie royale de musique (the Paris Opéra) put Méhul's work, under the title Alonzo et Cora, into rehearsal in June 1789. However, the rehearsals were abandoned on 8 August, probably because the Opéra had been suffering severe financial difficulties throughout the 1780s, and the opera was not premiered until 1791.Adélaïde de Place pp. 27–28 In the meantime, Méhul found an ideal collaborator in the librettist François-Benoît Hoffman, who provided the words to the first of Méhul's operas to be performed, Euphrosine.
His choices of libretti, texts, and themes come almost exclusively from the symbolist canon. Compositions such as his settings of Cinq poèmes de Charles Baudelaire, various art songs on poems by Verlaine, the opera Pelléas et Mélisande with a libretto by Maurice Maeterlinck, and his unfinished sketches that illustrate two Poe stories, The Devil in the Belfry and The Fall of the House of Usher, all indicate that Debussy was profoundly influenced by symbolist themes and tastes. His best known work, the Prélude à l'après-midi d'un faune, was inspired by Mallarmé's poem, L'après-midi d'un faune. The symbolist aesthetic also influenced Aleksandr Scriabin's compositions.
Jacopo Ferretti, who since 1821 had written five libretti for Donizetti and two for Rossini (including La Cenerentola), had proposed the unusual subjectBattaglia, p. 11 and he was contracted to write the Italian libretto based on a five-act play of the same title by an unknown author in 1820, which "had been given in the same theatre [...] and which Donizetti had immediately loved". However, as has been noted by Charles Osborne, the "ultimate derivation of both play and libretto is an episode in part 1 of Don Quixote by Miguel de Cervantes's published in 1605" which is the story of Cardenio and Lucinda.
He wrote numerous stage plays, television screen plays, and in addition to the Tom & Viv film, scripts for two motion pictures, The American (1998) and The Nightcomers (1971, based on the Henry James novella The Turn of the Screw and starring Marlon Brando). Hastings also wrote two libretti for Michael Nyman: Man and Boy: Dada (2003, assisted by Victoria Hardie) and Love Counts (2005). Hastings' 1950's play The Cutting of the Cloth saw its world premiere at the Southwark Playhouse in London, from 11 March till 4 April 2015. The cast were Alexis Caley, Andy de la Tour, James El- Sharawy, Paul Rider and Abigail Thaw, directed by Tricia Thorns.
Greenaway's most familiar musical collaborator during this period is composer Michael Nyman, who has scored several films. In 1989, he collaborated with artist Tom Phillips on a television serial A TV Dante, dramatising the first few cantos of Dante's Inferno. In the 1990s, he presented Prospero's Books (1991), the controversial The Baby of Mâcon (1993), The Pillow Book (1996), and 8½ Women (1999). In the early 1990s, Greenaway wrote ten opera libretti known as the Death of a Composer series, dealing with the commonalities of the deaths of ten composers from Anton Webern to John Lennon, however, the other composers are fictitious, and one is a character from The Falls.
By the end of his life, Rameau's music had come under attack in France from theorists who favoured Italian models. However, foreign composers working in the Italian tradition were increasingly looking towards Rameau as a way of reforming their own leading operatic genre, opera seria. Tommaso Traetta produced two operas setting translations of Rameau libretti that show the French composer's influence, Ippolito ed Aricia (1759) and I Tintaridi (based on Castor et Pollux, 1760).Viking pp. 1110–11 Traetta had been advised by Count Francesco Algarotti, a leading proponent of reform according to French models; Algarotti was a major influence on the most important "reformist" composer, Christoph Willibald Gluck.
Although Griffiths's libretto was not directly related to or based on his novel, the first line of the opera, "I have not told one half of what I saw", was the novel's final statement. Griffiths's next commission as a librettist was for Elliott Carter's only opera, What Next?. The work premiered in 1999 at Berlin's Staatsoper Unter den Linden, conducted by Daniel Barenboim who also conducted its US premiere in a concert performance by the Chicago Symphony Orchestra the following year.Tommasini (10 December 2007) In addition to his original libretti, Griffiths has produced modern English translations of those for Stravinsky's Histoire du soldat, Mozart's Die Zauberflöte, and Puccini's La bohème.
His first appearance as a librettist was at the Teatro San Moisè in Venice, where between 1764 and 1766 he produced the libretti for four successful opere buffe. The first three of these—Li rivali placati, Il ratto della sposa, and Lo spirito di contradizione—were composed by Pietro Alessandro Guglielmi. The fourth, Le nozze disturbate, was composed by the young Giovanni Paisiello. Martineli in 1782 wrote a libreto to opera Everardo II, re di Lituania (Everardo II, King of Lithuania) it never performed since its original premiere until 2013 when it was newly discovered by Lithuanian -Spanish conductor Alexis Soriano at a royal archive in Spain.
Leben des Orest (The Life of Orestes) is a grand opera in five acts (eight scenes) with words and music both by Ernst Krenek. It is his Op. 60 and the first of his own libretti with an antique setting.Orpheus und Eurydike of 1923 used a libretto by Oskar Kokoschka [Bowles 2001]) The score is inscribed with the dates of composition: 8 August 1928 – 13 May 1929, and includes indications of recommended cuts made for the first production. It premiered at the Neues Theater in Leipzig on 19 January 1930,Krenek's song cycle Reisebuch aus den österreichischen Alpen had its premiere earlier the same day.
With the help of Salieri, Da Ponte applied for and obtained the post of librettist to the Italian Theatre in Vienna. Here he also found a patron in the banker Raimund Wetzlar von Plankenstern, benefactor of Wolfgang Amadeus Mozart. As court poet and librettist in Vienna, he collaborated with Mozart, Salieri and Vicente Martín y Soler. Da Ponte wrote the libretti for Mozart's most popular Italian operas, The Marriage of Figaro (1786), Don Giovanni (1787), and Così fan tutte (1790), and Soler's Una cosa rara, as well as the text on which the cantata Per la ricuperata salute di Ofelia (collaboratively composed in 1785 by Salieri, Mozart and Cornetti) is based.
During his tenure he translated a considerable body of books and libretti into English, and wrote often in the Musical Quarterly, a Schirmer publication. He published Baker's Dictionary of Musical Terms (1895) and most notably, Baker's Biographical Dictionary of Musicians (1900), which was revised after his death by Nicholas Slonimsky and then Laura Kuhn and as of 2007 is in its ninth edition. He translated Oscar Paul's A Manual of Harmony For Use in Music-Schools and Seminaries and For Self-Instruction (1885) and numerous other works published by Schirmer. After his retirement in 1926, Baker moved with his wife to Germany due to his wife's ill health.
Herbert von Karajan, Angel Records CD, CDCC 49350, 1987 The discs were issued in a slipcase with a 128-page booklet containing a photograph of Debussy, an essay in French by Maurice Tassart, essays on the opera and its leitmotivs by Felix Aprahamian in English and German and synopses and libretti in all three languages. In 1999, the album was reissued by EMI Records on CD (catalogue number CMS 5 67057 2) as part of their series of "Great Recordings of the Century". In 2014, the album was issued on CD by Warner Classics (catalogue number 667232 7).Debussy, Claude: Pelléas et Mélisande, cond.
For his next piece, Morocco Bound (1893, with the song "Marguerite from Monte Carlo"), Ross concentrated on writing lyrics, leaving the "book" mostly to Arthur Branscombe. This proved to be his most successful model through most of his career."Adrian Ross" profile at the British Musical Theatre site of The Gilbert and Sullivan Archive, 7 October 2004 The position of "lyricist" was relatively new, as previously the writers of libretti would invariably write the lyrics themselves. As the new Edwardes- produced "musical comedies" took the place of burlesque, comic opera and operetta on the stage, Ross and Harry Greenbank established the usefulness of a separate lyricist.
8; and The Palace Theatre at the Arthur Lloyd theatre site, accessed 13 October 2009 After The Gondoliers closed in 1891, Gilbert withdrew the performance rights to his libretti and vowed to write no more operas for the Savoy. The D'Oyly Carte company turned to new writing teams for the Savoy, first producing The Nautch Girl, by George Dance, Desprez and Edward Solomon, which ran for a satisfying 200 performances in 1891–92. Next was a revival of Solomon and Sydney Grundy's The Vicar of Bray, which played through the summer of 1892. Grundy and Sullivan's Haddon Hall then held the stage until April 1893.
In the essay, Wagner recapitulates the ideas he had developed ten years previously in the essays Art and Revolution, The Artwork of the Future and Opera and Drama, placing them in the context of his own autobiographical experiences. He advances his opera libretti as practical examples of his theories. He condemns the artificiality of Italian opera, with its recitatives and repeated arias that break up dramatic flow; he continues his attack on Grand Opera; he denounces German opera as without any style of its own, with a few exceptions (notably Carl Maria von Weber). He takes Beethoven's symphonies as the furthest possible development of instrumental music.
In the 1870s, Gilbert wrote 40 plays and libretti, including his German Reed Entertainments, several blank-verse "fairy comedies", some serious plays, and his first five collaborations with Sullivan: Thespis, Trial by Jury, The Sorcerer, H.M.S. Pinafore and The Pirates of Penzance. In the 1880s, Gilbert focused on the Savoy operas, including Patience, Iolanthe, The Mikado, The Yeomen of the Guard and The Gondoliers. In 1890, after this long and profitable creative partnership, Gilbert quarrelled with Sullivan and Carte concerning expenses at the Savoy Theatre; the dispute is referred to as the "carpet quarrel". Gilbert won the ensuing lawsuit, but the argument caused hurt feelings among the partnership.
The role reversal in the Rodgers and Hammerstein partnership permitted Hammerstein to craft the lyrics into a fundamental part of the story so that the songs could amplify and intensify the story instead of diverting it. As Rodgers and Hammerstein began developing the new musical, they agreed that their musical and dramatic choices would be dictated by the source material, Green Grow the Lilacs, not by musical comedy conventions. Musicals of that era featured big production numbers, novelty acts, and show-stopping specialty dances; the libretti typically focused on humor, with little dramatic development, punctuated with songs that effectively halted the story for their duration.Kenrick, John.
During this time most of Wagner's creative energy was devoted to the Ring cycle, which was finally completed in 1874 and given its first full performance at Bayreuth in August 1876. Only when this gargantuan task had been accomplished did Wagner find the time to concentrate on Parsifal. By 23 February 1877 he had completed a second and more extensive prose draft of the work, and by 19 April of the same year he had transformed this into a verse libretto (or "poem", as Wagner liked to call his libretti). In September 1877 he began the music by making two complete drafts of the score from beginning to end.
Roberto Pagano suggests that the author of the text may be Pietro Metastasio, insofar as the most famous librettist of the 18th century was united by a deep friendship - caro gemello - with Carlo Broschi, i. e. Farinelli, who held the title role during the creation at just eighteen years. During his law studies in Naples between 1721 and 1723, Metastasio wrote some libretti inspired by antiquity, played in Naples: Angelica (1720), Endimione, Gli Orti esperidi (1721), Galatea (1722) and a few months before Scarlatti's work, La Forza della virtù. The author later rejected the early works cited above, particularly for the publication by Bettinelli, his Venetian publisher in 1733–1734.
In 1830, when Anna Bolena was premiered, Donizetti made a major impact on the Italian and international opera scene and this shifted the balance of success away from primarily comedic operas, although even after that date, his best-known works included comedies such as L'elisir d'amore (1832) and Don Pasquale (1843). Significant historical dramas did appear and succeed; they included Lucia di Lammermoor (the first to have a libretto written by Salvadore Cammarano) given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837.Black 1982, p. 52 Up to that point, all of his operas had been set to Italian libretti.
However, the opera company was satisfied with the improvements to the structure and the sound quality, which was enhanced when the heavy red carpets in the hall were removed. The stage was entirely rebuilt, and an enlarged backstage allows more sets to be stored, permitting more productions. Seats now include monitors for the electronic libretto system provided by Radio Marconi, an Italian company, allowing audiences to follow opera libretti in English and Italian in addition to the original language. The opera house re- opened on 7 December 2004 with a production, conducted by Riccardo Muti, of Salieri's Europa riconosciuta, the opera performed at La Scala's inauguration in 1778.
It is a paraphrase of the Latin "", a medieval hymn attributed to Bernard of Clairvaux, a meditation on Jesus as a comforter and helper in distress.C. S. Terry and D. Litti, Bach's Cantata Libretti, Journal of the Royal Musical Association 1917 44(1):71–125; The unknown librettist retained the words of stanzas 1, 2 and 18 as movements 1, 2 and 6. In movement 2, stanza 2 is expanded by paraphrases of stanzas 3–5, while movement 3 is a paraphrase of stanza 6; movement 4 incorporates ideas from stanzas 7–14, and movement 5 relies on stanzas 15 and 16.In movement 2, stanza 2 is expanded by paraphrases of stanzas 3–5.
Although during the Enlightenment of the 18th century reaction against Greek myth spread throughout Europe, the myths continued to provide an important source of raw material for dramatists, including those who wrote the libretti for many of Handel's and Mozart's operas.l. Burn, Greek Myths, 75 By the end of the 18th century, Romanticism initiated a surge of enthusiasm for all things Greek, including Greek mythology. In Britain, new translations of Greek tragedies and Homer inspired contemporary poets (such as Alfred Tennyson, Keats, Byron and Shelley) and painters (such as Lord Leighton and Lawrence Alma-Tadema).l. Burn, Greek Myths, 75–76 Christoph Gluck, Richard Strauss, Jacques Offenbach and many others set Greek mythological themes to music.
Farnie's other adaptations include the English libretti for Offenbach's Breaking the Spell (Le violoneux) (1870; later played on tour as a companion piece with The Sorcerer),Walters, Michael and George Low. Breaking the Spell, The Gilbert and Sullivan Archive, 3 September 2011, accessed 26 May 2018 Geneviève de Brabant (1871),Sherson, Erroll. London's lost theatres of the nineteenth century, p. 263, Ayer Publishing, 1925 Barbe-bleue (1872, Bluebeard), Fleur de Lys, with music by Leo Delibes (based on La cour du roi Pétaud), starring Selina Dolaro and Emily Soldene (1873),Adams, William Davenport. "Fleur de Lys", A dictionary of the drama, Chatto & Windus, 1904 a version of Dick Whittington and His Cat with music by Offenbach (1875),Gänzl, Kurt.
Bortniansky returned to the Saint Petersburg Court Capella in 1779 and flourished creatively. He composed at least four more operas (all in French, with libretti by Franz-Hermann Lafermière): Le Faucon (1786), La fête du seigneur (1786), Don Carlos (1786), and Le fils-rival ou La moderne Stratonice (1787). Bortniansky wrote a number of instrumental works at this time, including piano sonatas and a piano quintet with harp, and a cycle of French songs. He also composed liturgical music for the Orthodox Church, combining the Eastern and Western European styles of sacred music, incorporating the polyphony he learned in Italy; some works were polychoral, using a style descended from the Venetian polychoral technique of the Gabrielis.
Renaud is an opera by Antonio Sacchini, first performed on 28 February 1783 by the Académie Royale de Musique at the Théâtre de la Porte Saint-Martin in Paris. It takes the form of a tragédie lyrique in three acts. The French libretto, by Jean-Joseph Lebœuf, is based on Cantos XVII and XX of Torquato Tasso's epic poem Gerusalemme liberata and, more directly, on the five-act tragedy by Simon-Joseph Pellegrin, Renaud, ou La suite d'Armide, which had been set to music by Henri Desmarets in 1722 and was intended as a sequel to Lully's famous opera Armide. According to Théodore Lajarte, Lebœuf was helped by Nicolas-Étienne Framery, the regular translator of Sacchini's libretti.
In 1841, while Donizetti was in Paris waiting for the libretto to be completed for a commission by La Scala, he had a chance encounter with Gustave Vaëz, who had co-written the libretti for two of his earlier operas, Lucie de Lammermoor (the French version of Lucia di Lammermoor) and La favorite. He asked Vaëz if he could provide a libretto for a short opera to keep him busy while waiting for the La Scala project to advance. Vaëz quickly created Deux hommes et une femme (Two Men and a Woman), a comic piece in one act consisting of eight musical numbers connected by spoken dialogue. According to Vaëz, Donizetti completed the score in eight days.
This opera, to a libretto by Calzabigi, marked the start of Gluck's reforms of opera seria, in which the composer moved away from the more usual type of serious Italian opera then current, epitomised by the operas of composers like Vivaldi and Hasse in their settings of the libretti of Metastasio. Guadagni sang in other "reform operas": Orestes in Traetta's Ifigenia in Tauride (1763), and the title role in another of Gluck's operas, Telemaco (1765). He also continued to sing in Metastasian roles by composers such as Jommelli and Gassmann, and by Gluck himself. By 1767, his expressive, yet inherently simple style was finding much less favour with opera-goers than the more typical florid singing of his contemporaries.
Nuitter studied law and practised in Paris from 1849. He was a keen theatre-goer, and in the 1850s he started writing librettos, mainly vaudevilles, later opéras comique, operas bouffes, operettas and ballets. It is estimated that he wrote or co-authored around 500 theatrical pieces, including libretti for several works by Offenbach, the scenario for Léo Delibes's ballet Coppélia (Nuitter had wanted the piece to be called La poupée de Nuremberg) and pieces by Hervé, Guiraud, Lalo, Lecocq and others, of which 100 or so were staged.Gressel V. Charles Nuitter : des scènes parisiennes à la bibliothèque de l'Opéra. Website of enssibs (Ecole Nationale Supérieure des Sciences de l'Information et des Bibliothèques), accessed 28 October 2008.
See Casares, López-Calo, et al. (1999) p.455 and Enrique García Velloso.Enrique García Velloso (1880-1938) wrote more than 150 plays and libretti, including that for Rolón's zarzuela, Chin Yonk. See Cortés and Barrea-Marlys (2003) p. 25 Rolón composed about eighty works during his lifetime, including Symphony (1879); the operettas (1885), (The Enchanted Castle) (1887), and (Nannetta's Stratagem) (1887); the operas (date unknown) and (1899); the zarzuelas Chin Yonk (1895), (The Rehearsal of a Creole Opera) (1899), and (An Improvised Joke) (1900); and the cantatas, (Star of Italy) (1891) and (Farewell to the Virgin) (1900). He also composed numerous waltzes, polkas, marches, and barcarolles (several of which were published in Florence during his time there).
Huebner, p. viii Scene from first Paris production of Gwendoline, 1893 L'etoile, an opéra bouffe in three acts (1877) was Chabrier's first modestly successful opera, and is the most often revived."Chabrier, (Alexis-)Emmanuel (1841–1894)", OperaBase. Retrieved 16 September 2018 Although the plot was described by a reviewer in 2016 as "wilfully unfathomable and illogical", the libretto was professional and polished, in contrast with other libretti set by Chabrier.Seymour, Claire, "Emmanuel Chabrier, L’Étoile – Royal Opera House London", Opera Today, 5 February 2016 The critic Elizabeth Forbes calls the score, "light as thistle-down … in the best tradition of Offenbachian opéra bouffe, with each singer perfectly characterized in his or her music".
Le maréchal ferrant (The Blacksmith) is a 1761 French two-actThe libretto of 1761 suggests a one-act reduction and provides 6 verses to facilitate the transition between the acts (). Some later libretti were printed in the one- act version, for example see the Nabu reprint (, title page and preface omitted). opéra comique with spoken dialogue and music composed by François- André Danican Philidor as well as several vaudevilles (popular old songs with new words), which were typically included in opéras comiques of the time. The libretto is by Antoine-François Quétant, after one of the stories in Boccaccio's Decameron (VII, 1), with verses for the ariettes by Louis Anseaume and a plan devised by Serrière.
The libretto is not always written before the music. Some composers, such as Mikhail Glinka, Alexander Serov, Rimsky- Korsakov, Puccini and Mascagni wrote passages of music without text and subsequently had the librettist add words to the vocal melody lines. (This has often been the case with American popular song and musicals in the 20th century, as with Richard Rodgers and Lorenz Hart's collaboration, although with the later team of Rodgers and Hammerstein the lyrics were generally written first, which was Rodgers' preferred modus operandi.) Some composers wrote their own libretti. Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas.
A year after its triumphal premiere, Romero gave up his job as a telegraphist to become a full-time writer. However, he continued to maintain ties with his former colleagues, contributing articles and poems to their magazines, El Telégrafo Español and El Electricista, into the 1930s. In 1943, he performed at the celebrations for the 88th anniversary of the Spanish Telegraph Service with two other telegraphists who also became zarzuela librettists, Pedro Llabrés and Francisco Prada.Olivé (2009) p. 185. The Spanish Telegraph Service was established on 22 April 1855. In the course of their 30-year collaboration, Romero and Fernández-Shaw wrote libretti for virtually every Spanish lyric composer of the day.
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).
Born in Mulhouse, Lion studied history and philosophy in Strasbourg, Munich and Heidelberg, got to know André Gide during a stay in Paris and worked as a journalist during the First World War, among others for the Neuen Merkur. Since 1917 he became friends with Thomas Mann, later also with Alfred Döblin. After the end of the war he became literary editor by Ullstein Verlag in Berlin, employee of the Neue Rundschau and wrote libretti, among others for Eugen d'Albert and Paul Hindemith. He emigrated to Switzerland in 1933, was editor of the magazine Maß und WertMaß und Wert on WorldCat in 1937/1938, lived in France during the Second World War and returned to Zurich in 1946.
But their fame would be eclipsed by the grand operas for which Scribe provided the libretti: Meyerbeer's Robert le diable (1831) and Les Huguenots (1836) and Halévy's La Juive (1835). Nevertheless, Auber's pioneering work caught the attention of the young Richard Wagner, who was eager to create a new form of music drama. He noted that in La muette, "arias and duets in the wonted sense were scarcely to be detected any more, and certainly, with the exception of a single prima-donna aria in the first act, did not strike one at all as such; in each instance it was the ensemble of the whole act that riveted attention and carried one away...".Parker, pp.
Mozart's correspondence shows he wanted to write a comic opera to a new text for the Italian company in Vienna. He had only just met Lorenzo Da Ponte, who would later pen the libretti for several of Mozart's most successful operas, but Da Ponte was not available, so Mozart turned to Giambattista Varesco, librettist for Mozart's earlier opera Idomeneo. Mozart's urgent need of a poet is attested by his willingness to work with someone, who in his opinion had "not the slightest knowledge or experience of the theatre". Eventually Mozart realized the hopelessness of the project and abandoned Varesco's libretto after six months because of its silly ending, a farcical travesty of the Trojan Horse legend.
The subject for the opera was suggested to the composer by Mily Balakirev, who also orchestrated certain passages of the opera, as did Nikolai Rimsky-Korsakov. The libretto of the opera was adapted by the composer from Vasily Zhukovsky's Russian verse translation of the like-named tragedy by Heinrich Heine, with some additional verses by Viktor Krylov, who had already written the libretti for Cui's operas Prisoner of the Caucasus and The Mandarin's Son. (The same play has been used for other operas, most notably Pietro Mascagni's Guglielmo Ratcliff, which premiered over a quarter century later.) The action takes place in Scotland, during the 17th century (Heine's original was set in Scotland of his own time).
J M Gordon at Who Was Who in the D'Oyly Carte Opera Company, accessed 21 December 2009 Except for Ruddigore, which underwent some cuts and received a new overture,Cox and Box was cut and arranged into a short curtain raiser very few changes were made to the text and music of the operas as Gilbert and Sullivan had produced them, and the company stayed true to Gilbert's period settings. Even after Gordon's death, many of Gilbert's directorial concepts survived, both in the stage directions printed in the libretti and as preserved in company prompt books. Original choreography was also maintained.See, for instance, 1882 images of the Act II trio in Iolanthe in Mander and Michenson, p.
In 1763, Coltellini succeeded Metastasio as the Imperial Poet at the Court of Vienna. He provided libretti for Gluck, Hasse (Piramo e Tisbe) and Salieri, as well as revising Carlo Goldoni's La finta semplice so it could be set by Mozart. His collaboration with Traetta, Ifigenia in Aulide (1763), developed the operatic innovations of Gluck's Orfeo ed Euridice. In 1768, he wrote the libretto for Giuseppe Scarlatti's opera Dove è amore è gelosia, which was premiered at the newly refurbished theatre in Český Krumlov Castle for the wedding celebration of the eldest son of Prince Joseph Adam I of Schwarzenberg, in which he sang the role of Patrizio, one of the characters of the opera.
The Speculator (1999) and San Diego (2003) were commissioned by the Edinburgh International Festival. When the National Theatre of Scotland was formed in 2006, Greig served as its first DramaturgWallace 2013, p.4. and also wrote an adaptation of Euripides' The Bacchae for them. His adaptation of Alasdair Gray's novel Lanark opened at the Lyceum Theatre as part of the Edinburgh International Festival in 2015. In 2006, he joined the Board of the Traverse Theatre.Wallace 2013, p.4. Greig produced around 50 plays, texts, adaptations, translations and libretti in the first two decades of his career. Dr Korczak's Example (2004) is a play for young people and Danny 306 + Me 4 Ever (1999) is for puppets.
The Thomas Fisher Rare Book Library constitutes one of the largest repositories of publicly accessible rare books and manuscripts. Its collections range from ancient Egyptian papyri to incunabula and libretti; the subjects of focus include British, Western and Canadian literature, Aristotle, Darwin, the Spanish Civil War, the history of science and medicine, Canadiana and the history of books. The Cheng Yu Tung East Asian Library has a rare 40,000 volume Chinese collection from the Song Dynasty (960–1279) to the Qing Dynasty (1644–1911) that was originally held by scholar Mu Xuexun (1880–1929). The Richard Charles Lee Canada-Hong Kong Library has the largest research collection for Hong Kong and Canada-Hong Kong studies outside of Hong Kong.
According to Mazzarella's 1818 biography of Lalli, on his return to Venice he recited some of his poetry to Zeno and asked for his opinion. Zeno recognized the poems which had been published several years earlier in Naples and said that while the poetry had merit, Lalli was either a plagiarist or was actually Sebastiano Biancardi. At this point, Lalli revealed his true identity to Zeno and confessed to the reason he had left Naples. Zeno took him under his wing and introduced him to the Grimani family who hired Lalli to assist in the management of their theatres (Teatro San Samuele and Teatro San Giovanni Grisostomo) and to re-work older libretti for new productions.
An 1889 Hetzel poster advertising Verne's works Jules Verne novels: The Carpathian Castle, The Danube Pilot, Claudius Bombarnac, and Kéraban the Inflexible, on a miniature sheet of Romanian postage stamps (2005) Verne's largest body of work is the Voyages extraordinaires series, which includes all of his novels except for the two rejected manuscripts Paris in the Twentieth Century and Backwards to Britain (published posthumously in 1994 and 1989, respectively) and for projects left unfinished at his death (many of which would be posthumously adapted or rewritten for publication by his son Michel). Verne also wrote many plays, poems, song texts, operetta libretti, and short stories, as well as a variety of essays and miscellaneous non-fiction.
475-476 It is likely that Rameau did not start work on the music of Dardanus until after the premiere of Les fêtes d'Hébé, so that he must have completed it in five months or less. There is some evidence that initially Voltaire had been considered as the librettist for the new opera but he did not have a finished text to hand and so he may have suggested using Dardanus by Leclerc de La Bruère instead. La Bruère was only 23 but he had already written four opera libretti, although none were as lengthy or weighty as Dardanus.Bouissou, pp. 476-481 From the start critics attacked Dardanus, not for the quality of its verse, but for its dramatic incoherence.
It centers on a day in the life of middle- class housewife Sarah Boyle as she goes about preparing her children's breakfast and organizing a birthday party. Boyle's domestic sphere is presented as a possibly closed system analogous to the universe itself, and Boyle as subject to the ravages of literal and metaphorical entropy. As the narrative veers back and forth among scientific explanations, descriptions of household events, and philosophical speculation, the cumulative effect is of a mind and a culture on the verge of collapse. Zoline has also written a children's book (Annika and the Wolves), libretti for two operas (Harry Houdini and the False and True Occult, The Forbidden Experiment), and original science fiction radio plays for the Telluride Science Fiction Project.
Weaver was best known for his translations of the work of Umberto Eco, Primo Levi and Italo Calvino,Bruce Weber "William Weaver, Influential Translator of Modern Italian Literature, Dies at 90", New York Times, 16 November 2013 but translated many other Italian authors over the course of a career which spanned more than fifty years. In addition to prose, he translated Italian poetry and opera libretti, and worked as a critic and commentator on the Metropolitan Opera radio broadcasts. According to his nephew, Weaver was probably born in Washington, D.C., but spent a portion of the year in Virginia during his childhood. Educated at Princeton University he graduated with a B.A. summa cum laude in 1946, followed by postgraduate study at the University of Rome in 1949.
Two of the male characters were played by women, whose shapely legs were put on display in a fashion that Gilbert later condemned.Williams, chapter 1 The musical score to Thespis was never published and is now lost, except for one song that was published separately, a chorus that was re-used in The Pirates of Penzance, and the Act II ballet music. Over the next three years, Gilbert and Sullivan did not have occasion to work together again, but each man became more eminent in his field. Gilbert worked with Frederic Clay on Happy Arcadia (1872) and with Alfred Cellier on Topsyturveydom (1874), and wrote The Wicked World (1873) Sweethearts (1874) and several other libretti, farces, extravaganzas, fairy comedies, dramas and adaptations.
RISM is one of the four bibliographic projects sponsored by the International Musicological Society and the International Association of Music Libraries, Archives and Documentation Centres, the others being Répertoire International de Littérature Musicale (RILM, founded in 1966), Répertoire international d'iconographie musicale (RIdIM, founded in 1971), and Répertoire international de la presse musicale (RIPM, founded in 1980). Shortly after its founding, A.H. King called RISM, "one of the boldest pieces of long-term planning ever undertaken for the source material of any subject in the humanistic field."Alec Hyatt King, "The Music Librarian, his tasks, national and international," Fontes Artis Musicae 6 (1959): 54; quoted in Benton, 195. The musical sources recorded are manuscripts or printed music, writings about music and libretti.
He studied modern philology and music in London, Paris, Berlin, and Leipzig, and earned a Ph.D. in 1869 from the University of Göttingen for a critical edition of the works of Guillem de Cabestant, a 12th-century troubadour. Following his studies, he moved to London in 1869 as a writer on music, and from 1878 worked as music critic for The Times, succeeding James William Davison. He wrote a number of books on music, especially on music history and biography; edited the Great Musicians series for Novello & Co; and translated the correspondence of Richard Wagner and Franz Liszt to English. He also wrote the libretti for several English operas: Alexander Mackenzie's Colomba and The Troubadour, and Frederic Hymen Cowen's Sleeping Beauty.
The first performance, in French, was at the Salle Le Peletier of the Paris Opéra on 9 October 1826. It was given as L'assedio di Corinto in Parma on 26 January 1828 and it reached Vienna in July 1831. In the United States, the first performance was given in French by the Italian Opera House in New York in February 1833Almanacco Amadeus and in Italian in February 1835. The opera became popular across Europe in its Italian translation by Calisto Bassi with a contralto in the tenor role of Neocle, but from the 1860s it disappeared entirely from the repertory and was no longer staged for roughly the next eighty years.Beghelli, Marco & Gallino, Nicola (ed.) (1991), Tutti i libretti di Rossini, Milan: Garzanti, p. 786.
Sadie (1992) Vol IV, p. 33. See also Olivé (2009) pp. 183 and Manzanares and Webber (2001) During that time he also began his writing career, and in 1911, published a long poem, Nochebuena en la Central in the magazine El Telegrafista Español. Romero had been a close friend of the Spanish writer Carlos Fernández-Shaw, and after his death formed a writing partnership with his son, Guillermo Fernández-Shaw, which was to produce over 70 libretti including those for two of the best-known zarzuelas of the 20th century, Doña Francisquita by Amadeo Vives and Luisa Fernanda by Federico Moreno Torroba.La Vanguardia (18 August 1965) p. 5 The first libretto they wrote together was for the 1916 zarzuela, La canción del olvido by José Serrano.
Sartori managed to obtain the support and cooperation of many correspondents and was thus able to collect an impressive amount of data from Italian libraries. Since 1955, Sartori was a member of the Executive Committee of the International Association of Musical Libraries (IAML) / Association internationale des bibliothèques musicaux (AIBM). In 1959 he was appointed to the Biblioteca Nazionale Braidense in Milan, where a few years later in 1965, together with Mariangela Donà, he founded the (URFM), which he directed until his retirement. With all the data collected through the URFM, Sartori completed three works of the highest value: the bibliography of printed Italian instrumental music before 1700, Il nuovo Vogel, and the majestic Catalogo dei libretti italiani a stampa or Catalogo Sartori.
His collaboration with René Mugica (which Aisemberg considered very pleasant) were also two libretti presented in the contest of the Institute of Cinematography in 1979, El señor Brown y El despoblado, one won first prize and the other a mention. He was a great speaker, memorable and captivating to those who listened to him. Between 1995 and 1996, he was the president of Argentores, an Argentine entity that brings together the authors, to which Aisemberg belonged for many years.[Communication from his daughter, Gabriela Aisemberg, in the discussion of this article] He died on 26 December 1997 while he was acting as director of the Center for Experimentation and Cinematographic Production (CERC), the film school of the National Institute of Cinematography.
Hirschfeld began a career as a journalist, and then branched out in the theatre under the pseudonym that was to become familiar - Viktor Léon. Between 1880 and 1884 he wrote one-act libretti for Vienna's variety theatre, the Carl-Schultze-Theater in Hamburg, and the German Theatre in Pest, collaborating with composers such as Max von Weinzierl, Rudolf Raimann and Alfred Zamara. Then came a three-act collaboration with Zamara, Der Doppelgänger, produced at the Staatstheater am Gärtnerplatz in Munich in September 1886. He then wrote a libretto for Johann Strauss. Alas, Simplicius, a story of the Thirty Years' War, produced at the Theater an der Wien on 17 December 1887, was scarcely a success, even after being revised twice.
His major works from the 1980s were his two children's operas, Where the Wild Things Are and Higglety Pigglety Pop!, both libretti by Maurice Sendak – and based on Sendak's own eponymous children's books."Oliver Knussen interview", Classic CD, February 1999. Accessed 19 August 2007. Where the Wild Things Are received its New York premiere in November 1986 by New York City Opera, which also performed the work in April 2011. Knussen was the head of contemporary music activities at Tanglewood between 1986 and 1993. A much-admired orchestral work from 1994 is his Horn Concerto written for Barry Tuckwell, which "combines the colorful sound world of early 20th century music with a contemporary approach to time and melody". He was awarded CBE in the 1994 Birthday Honours.
12 Tarantella (1899; libretto: Alfred Murray)"Tarantella in Chicago; Edward Jakobowski's New Opera Presented Successfully There", The New York Times, 18 July 1899, p. 7, accessed 25 May 2012 and Winsome Winnie (1903). He was one of eight composers who contributed to Pat in 1892.Scowcroft, Philip L. "A 109th Garland of British Light Music Composers", Classical MusicWeb, accessed 25 May 2012 Two short operettas in 1893 with libretti by B. C. Stephenson, The Improvisatore and A Venetian Singer, made little impact.The Musical Times, September 1893, p. 549 and "Things Theatrical", The Sporting Times, 11 November 1893, p. 3 Jakobowski was married twice, the second time in New York in 1895 to Clara Brown,Wedding Certificate of Edward Jakobowski and Clara Brown in New York (1895), Ancestry.
In 1989, CBS Masterworks issued the album as a double CD (catalogue numbers M2K 35194 in North America, M2K 79323 elsewhere) in a clamshell box with a 148-page booklet. The latter provided libretti in English, French and German, notes and a synopsis in English by Michael Williamson, notes and a synopsis in French by Gérard Condé, an essay in English by Barrymore Laurence Scherer, an essay in German by Karl Dietrich Gräwe and production photographs by Clive Barda of Bastin, Berbié, Gedda, Rudel, von Stade, Welting and the orchestra. The booklet also offered several images of Massenet, his score, a poster advertising the opera's première and illustrations of the opera's story. In 2003, Sony reissued the album as a repackaged double CD (catalogue number SM2K 91178).
Julian Wagstaff (born 1970) is a Scottish composer of classical music, musical theatre and opera. Born in Edinburgh, Wagstaff originally studied German language and politics, and graduated from the University of Reading in 1993. Wagstaff worked as a translator and interpreter in the German language before turning to music as a profession in the late 1990s. His interest in language and political history continues to be reflected in much of his music and in his theatre libretti. He came to public attention with the musical John Paul Jones (2001), based on the life of the Scots-born sailor and hero of the American Revolution.The Scotsman, 11 July 2001 Premiered in Edinburgh in 2001, this was the first of the composer's works to reach a significant audience.
Its success was partly due to the differences between Romani's earlier libretti and this one, as well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation."Weinstock 1971, p. 95 Press reactions were universally positive, as was that of the Russian composer, Mikhail Glinka, who attended and wrote overwhelmingly enthusiastically: : Pasta and Rubini sang with the most evident enthusiasm to support their favourite conductor [sic]; the second act the singers themselves wept and carried the audience along with them.Glinka, Memoires, in Weinstock 1971, p. 97 After its premiere, the opera was performed in London on 28 July 1831 at the King’s Theatre and in New York on 13 November 1835 at the Park Theatre.
He had six children with his wife Katharina (née Heim); Pauline (1862-1942), Sidonie (born 1863), Bertha (1864-1942), twins Arnold (1866-1942) and Emil (1866-1944) Golz, and Irma Golz (1872-1903). Pauline, Bertha and Arnold all perished at the Theresienstadt concentration camp. Arnold and Emil Golz wrote libretti for operettas and burlesques performed on the Viennese stage. These included Die Gaukler (The Juggler, 1909), Die Königin der Nacht (The Queen of the Night, 1913), Die Unsterbliche Familie (The Immortal Family, 1913), Die Schöne Ehebrecherin (The Beautiful Adulteress, 1913), Die Meerjungfrau (The Mermaid, 1916), Baron Menelaus (1919), Mamselle Napoleon (1919), Die Fromme Helene (Pious Helene, 1921) Epsteins Witwe (Epstein's Widow, 1923), Der Ledige Schwiegersohn (The Unmarried Son-in-law, 1923), Frau Pick in Audienz (Mrs.
Its success was partly due to the differences between Romani's earlier libretti and this one, as well as "the accumulation of operatic experience which both [Bellini] and Romani had brought to its creation."Weinstock 1971, p. 95 Press reactions were universally positive, as was that of the Russian composer, Mikhail Glinka, who attended and wrote overwhelmingly enthusiastically: :Pasta and Rubini sang with the most evident enthusiasm to support their favourite conductor [sic]; the second act the singers themselves wept and carried the audience along with them.Glinka, Memoires, in Weinstock 1971, p. 97 After its premiere, the opera was performed in London on 28 July 1831 at the King’s Theatre and in New York on 13 November 1835 at the Park Theatre.
Salvadore Cammarano Salvadore Cammarano (also Salvatore) (born Naples, 19 March 1801 – died Naples 17 July 1852) was a prolific Italian librettist and playwright perhaps best known for writing the text of Lucia di Lammermoor (1835) for Gaetano Donizetti. For Donizetti he also contributed the libretti for L'assedio di Calais (1836), Belisario (1836), Pia de' Tolomei (1837), Roberto Devereux (1837), Maria de Rudenz (1838), Poliuto (1838), and Maria di Rohan (1843), while for Giuseppe Persiani he was the author of Ines de Castro. For Verdi he wrote Alzira (1845), La battaglia di Legnano (1849) and Luisa Miller (1849), but after he died in July 1852, Verdi worked with Leone Emanuele Bardare to complete the libretto for Il trovatore (1853).Budden, Vol.
In 1723, Langlois and his family arrived in Sweden as members of the troupe, which was hired to perform at the theatre of Bollhuset in Stockholm under the leadership of Jean- Baptiste Landé. His speciality was playing kings and peasants within French theatre, and Scaramouche on the Italian stage, while his wife took the parts of queens and other characters. He wrote a libretto to celebrate the birthday of the Swedish queen in 1724, and performed in two such libretti for the queen as Pan, with his wife playing Premiére Bergére in 1726 and 1727. Byström, Tryggve, Svenska komedien 1737-1754: en studie i Stockholmsteaterns historia, Norstedt, Stockholm, 1981 In 1727, he became involved in a conflict with Landé when he launched performances on Bollhuset without Landés approval.
In a long career, he followed these up by many further operas, supported as maestro di cappella in the households of aristocratic patrons, such as the commander of military forces at Naples, prince Philip of Hesse-Darmstadt, or of the Portuguese ambassador at Rome, for composing operas alone did not yet make a viable career. However, his enduring fame rests chiefly upon his unequalled power of teaching singing. At the Neapolitan Conservatorio di Sant'Onofrio and with the Poveri di Gesù Cristo he trained Farinelli, Caffarelli, Salimbeni, and other celebrated vocalists, during the period 1715 to 1721. In 1720 and 1721 he wrote two serenades to libretti by a gifted young poet, Metastasio, the beginning of a long, though interrupted, collaboration. In 1722 his operatic successes encouraged him to lay down his conservatory commitments.
Many composers have set Heine's works to music. They include Robert Schumann (especially his Lieder cycle Dichterliebe), Friedrich Silcher (who wrote a popular setting of "Die Lorelei", one of Heine's best known poems), Franz Schubert, Felix Mendelssohn, Fanny Mendelssohn, Johannes Brahms, Hugo Wolf, Richard Strauss, Pyotr Ilyich Tchaikovsky, Edward MacDowell, Clara Schumann and Richard Wagner; and in the 20th century Nikolai Medtner, Hans Werner Henze, Carl Orff, Lord Berners, Paul Lincke, Yehezkel Braun, Marcel TybergBuffalo News. Performers revel in premiere of Tyberg songs and Friedrich Baumfelder (who wrote another setting of "Die Lorelei", as well as "Die blauen Frühlingsaugen" and "Wir wuchsen in demselben Thal" in his Zwei Lieder). Heine's play William Ratcliff was used for the libretti of operas by César Cui (William Ratcliff) and Pietro Mascagni (Guglielmo Ratcliff).
Literaturoper (literature opera, plural “Literaturopern”), a term coined by the German music critic Edgar Istel, describes a genre of opera that emerged during the late 19th century. When an existing play for the legitimate theatre is set to music without major changes and without the intervention of a librettist, a “Literaturoper” is the result. Although the term is German, it can be applied to any kind of opera, irrespective of style or language. (In that sense it can be regarded as a term rather than a genre as such.) The former, much broader usage of the term “Literaturoper” for opera libretti on the basis of dramas, novels and short stories of undoubted literary renown, which was still common until around 1980, has been made obsolete by recent research on the history of the opera libretto.
Wagner had been an enthusiast for the 1848 revolutions and had been an active participant in the Dresden Revolution of 1849, as a consequence of which he was forced to live for many years in exile from Germany. "Art and Revolution" was one of a group of polemical articles he published in his exile. His enthusiasm for such writing at this stage of his career is in part explained by his inability, in exile, to have his operas produced. But it was also an opportunity for him to express and justify his deep-seated concerns about the true nature of opera as music drama at a time when he was beginning to write his libretti for his Ring cycle, and turning his thoughts to the type of music it would require.
Born in Berlin to a wealthy family, as a young man Giacomo Meyerbeer had musical ambitions and studied and traveled in Italy. Much impressed and influenced by the leading Italian composer of operas of the day, Rossini, Meyerbeer composed an opera in the style of that composer, Romilda e Costanza, which was produced in Padua in 1817. Through the support of a star singer of the day, Carolina Bassi, Meyerbeer had the opportunity to compose an opera for Turin, and the already ninety year old libretto Semiramide riconosciuta (presented in Turin simply as Semiramide) by Pietro Metasasio was chosen for the occasion. The libretti of Metastasio followed the form of opera seria, with passages of secco recitative followed by solo arias for the singers and contain little or no ensembles (duets, trios, etc.) or choruses.
In addition to his journalistic work, Ernst Décsey also taught music history and esthetics at the Vienna music school and published a number of novels, short stories, plays, libretti and biographies. He co-authored (with Gustav Holm) a play Sissys Brautfahrt ("Sissy's bridal journey") which was later used for the libretto of the well-known operetta ' by Ernst and Hubert Marischka; and wrote the libretto for Erich Wolfgang Korngold's opera Die Kathrin. His biographies of great musicians in particular earned him wide reputation throughout the music world, far beyond Austria's borders. They included Hugo Wolf – Das Leben und das Lied (Hugo Wolf – life and lied); Bruckner – Versuch eines Lebens (Bruckner – a tentative outline of his life); Claude Debussy; Debussys Werke (Debussy's works – published after his death ); Johann Strauß; Franz Lehár; and Maria Jeritza.
In 1922 Momčilo Nastasijević's poems were first published, and in 1923 his first prose appeared in leading Belgrade reviews and periodicals, particularly Srpski Knjižani Glasnik and Misao. The dramatic opus of Momčilo Nastasijević consists of three "lyrical dramas" Nedozvani (The Unevoked), Gospodar Mladenova čer (Master Mladen's Daughter), Kod 'Večite slavine' (At 'The Eternal Tap'), two musical dramas, Medjuluško blago (The Treasure of Medjulužje), Djuradj Branković, and a "ballet drama" Zivi ognaj (Live Fire). This small but varied repertoire reflects, in concentrated form, the Serbian offering to the new European turn-of-the-century Symbolist drama running parallel with, but forming a separate stream to, the mainstream Naturalist theatre. The "lyric drama" as theatre medium has its immediate antecedents in the "musical dramas" (Musikdramen), composed by Richard Wagner as libretti for his own innovative operas.
Henry Purcell (1659–1695), whose operas were written to English libretti As the originating language of opera, Italian dominated that genre in Europe (except in France) well through the 18th century, and even into the next century in Russia, for example, when the Italian opera troupe in Saint Petersburg was challenged by the emerging native Russian repertory. Significant exceptions before 1800 can be found in Purcell's works, German opera of Hamburg during the Baroque, ballad opera and Singspiel of the 18th century, etc. Just as with literature and song, the libretto has its share of problems and challenges with translation. In the past (and even today), foreign musical stage works with spoken dialogue, especially comedies, were sometimes performed with the sung portions in the original language and the spoken dialogue in the vernacular.
Romophone was a UK historical reissues record label dedicated to restoring and transferring historic 78 rpm recordings of opera singers to CD. It was founded in 1993 by Louise Barder and Virginia Barder.Will Crutchfield, "From the Attic: Singing as Good as It Gets", New York Times, March 27, 1994 Romophone CDs characteristically present the complete recording output of a singer on a particular label in a particular period, in chronological order. Romophone has been praised for the accuracy and faithfulness of the material it presents, both discographic and musical. The CD liner notes include biographical material about the singers and photographs (often rare and previously unpublished).David Mermelstein, "CD Player As Time Machine: Voices Echo Across Decades", New York Times, July 19, 1998 Libretti and lyrics are not included in the liner notes.
Libretti > Londonesi, p. 735. Il polifilo The opera initially ran for twelve performances and was revived four times at the King's Theatre in the ensuing years. As late as 1802, The Times wrote of the work that "no modern composition is equal to it". Following the end of the 1795 season, Anna Morichelli returned to Italy and scored further triumphs in the leading role of La capricciosa, performing it in Venice in 1795; Florence, Genoa and Udine in 1796; and Pisa and Naples in 1797. By 1800, the opera had been performed in several other Italian cities as well as in Dresden, Prague, Vienna, Madrid, Lisbon, Weimar, and Darmstadt. It also received a performance in Paris at the Théâtre-Italien in 1819 with Joséphine Mainvielle-Fodor in the leading role.
He authored theatre plays, mostly comedies and comédie en vaudeville and successful operettas libretti including La Fille de madame Angot (1872) by Charles Lecocq which he wrote in collaboration with Clairville and Paul Siraudin. Victor Koning was also managing director of the Théâtre de la Gaîté from 1 April 1868 to 13 March 1869 and of the Théâtre de la Renaissance from 1875 to 1882. On 19 June 1884 in Marylebone (England), he married Transcrit le 31 décembre suivant dans le registre des mariages de l'année 1884 pour le 1er arrondissement, actes n° 726-727, sur le site des Archives numérisées de la Ville de Paris. the actress Jane Hading, who he helped make her debut at the Théâtre du Gymnase the previous year in Le Maître de forges, a huge theatrical and literary success.
Arthur de Beauplan (20 June 1823 – 11 May 1890 Archives de Paris 16e, acte de décès, year 1890Le Figaro, 12 mai 1890.), The son of the writer and composer Amédée de Beauplan, he wrote numerous vaudevilles and libretti for opéras comiques for Adolphe Adam (La poupée de Nuremberg, 1852), Ferdinand Poise (Bonsoir, voisin, 1853) or Théodore Dubois (Le Pain bis ou La Lilloise, 1879), in collaboration in particular with Adolphe de Leuven and Léon Lévy Brunswick. He was made a knight in the Order of the Legion of Honour in 1858. In 1868, he was appointed Imperial Commissioner of the Théâtre de l'Odeon then of the opera houses and of the Conservatoire de Paris Vapereau Head office of the theaters, he became Deputy Director in the Académie des Beaux-Arts in 1871.
Jommelli wrote cantatas, oratorios and other sacred works, but by far the most important part of his output were his operas, particularly his opere serie of which he composed around sixty, several with libretti by Metastasio. These tended to concentrate more on the story and drama of the opera than on flashy technical displays by the singers, as was the norm in Italian opera at that time. He wrote more ensemble numbers and choruses, and, influenced by French opera composers such as Jean-Philippe Rameau, introduced ballets into his work. He used the orchestra (particularly the wind instruments) in a much more prominent way to depict what was going on in the story, including passages for orchestra alone, rather than consigning it to merely support for the singers.
Opera was slow to develop within Spain in comparison to France, Italy, and to a lesser extent Germany which have had continuous traditions of opera since the early part of the 17th century. One of the reasons for this slow development was the existence of a strong tradition of spoken drama in Spain which made some critics believe that opera was a less worthy art form. However, there was a tradition of songs given within largely spoken plays which began in the early 16th century by such distinguished composers as Juan del Encina.Temperley: "Opera", Grove Music Online The earliest Spanish operas appeared in the mid 17th century with libretti by such famous writers as Calderón de la Barca and Lope de Vega to music by such composers as Juan Hidalgo de Polanco.
Teachout has also written the libretti for three operas by Paul Moravec: The Letter, an opera based on the 1927 play by W. Somerset Maugham that was premiered on July 25, 2009, by the Santa Fe Opera; Danse Russe, a one-act backstage comedy about the making of Igor Stravinsky's The Rite of Spring that was premiered by Philadelphia's Center City Opera Theater on April 28, 2011; and The King's Man, a one-act companion piece to Danse Russe about Benjamin Franklin and his illegitimate son William that was premiered by Louisville's Kentucky Opera on a double bill with Danse Russe on October 11, 2013. In addition, Teachout was the librettist for Moravec's cantata "Music, Awake!," which was premiered at Rollins College by the Bach Festival Society of Winter Park (Florida) on April 16, 2016.
Also in 1901, he collaborated with his sister Mary Emily Ropes on the children's story, On Peter's Island. When Edwardes found success, beginning in 1907, in mounting English-language versions of the new generation of continental European operettas to the London stage, Ross wrote the English lyrics for the adaptations, often with libretti by Basil Hood. His words to the songs in The Merry Widow (1907) became the standard English version of that piece, performed throughout the world for many decades. Other Continental musicals that Ross anglicised included A Waltz Dream (1908), The Dollar Princess (1909), The Girl in the Train (1910), The Count of Luxembourg (1911), The Girl on the Film (1913) and The Marriage Market (1913), most of which had enduring success throughout the English-speaking world.
At Christmas 1762 the novelist, playwright and poet Oliver Goldsmith took a room in the house which he occupied for about eighteen months, allegedly often using it to hide from his creditors. It is uncertain whether any of his novel The Vicar of Wakefield was written in Canonbury Tower, where tradition has it that Goldsmith occupied the Spencer Room. On Sunday, 26 June 1763 James Boswell notes in his London Journal: "I then walked out to Islington to Canonbury House, a curious old monastic building now let out in lodgings where Dr. Goldsmith stays. I took tea with him and found him very chatty." An earlier literary lodger was Samuel Humphreys whose libretti for three of Handel's early oratoriosEsther, Athalia and Deborahdate from 1730 to 1738, when he died.
In 1920 Grey was invited to New York by Kern to renew their collaboration, writing Florenz Ziegfeld's Sally. Grey remained in the US for most of the decade, with occasional sorties back to London for Phi-Phi with Henri Christiné (1922), The Smith Family with Ayer (1922), and The Rainbow with George Gershwin (1923). For Broadway, he provided a regular stream of lyrics – and some libretti – for musical comedies and revues. His collaborators included Sigmund Romberg and Melville Gideon on some of the less-remembered shows, Ivan Caryll and Guy Bolton on The Hotel Mouse (1922),The New York Times, March 14, 1922, p. 20 Vincent Youmans on Hit the Deck (1927), and Rudolph Friml and Wodehouse on The Three Musketeers (1928) and Ups-A-Daisy with Robert A. Simon for the Shubert Theatre (1928).
From 1956 to 1961 he was Professor of Poetry at Oxford; his lectures were popular with students and faculty, and served as the basis for his 1962 prose collection The Dyer's Hand. Auden and Isherwood maintained a lasting but intermittent sexual friendship from around 1927 to 1939, while both had briefer but more intense relations with other men. In 1939, Auden fell in love with Chester Kallman and regarded their relationship as a marriage, but this ended in 1941 when Kallman refused to accept the faithful relations that Auden demanded. However, the two maintained their friendship, and from 1947 until Auden's death they lived in the same house or apartment in a non-sexual relationship, often collaborating on opera libretti such as that of The Rake's Progress, to music by Igor Stravinsky.
Cellier, Leslie and Stephenson Although billed as a "comic opera" like the popular Gilbert and Sullivan operas on the London stage at the same time, Dorothy was a key forerunner of the Edwardian musical comedy, bearing many of the attributes of that genre. Its libretto is more farcical than W. S. Gilbert's satiric libretti, revolving around mistaken identities and topical humour instead of topsy-turvy plot absurdities. Dorothy anticipated George Edwardes's musical comedy hits of the 1890s and 1900s, and its remarkable success showed Edwardes and other theatre managers that audiences were ready for a shift towards the more topical pieces that soon dominated the musical theatre stage. In 1885, Cellier had composed a song, "There once was a time, my darling", for a piece produced by Edwardes, Little Jack Sheppard (1885).
Firth has collaborated with her partner Andreas Loewe on key Lutheran compositions, creating English study translations of the German libretti of Bach's St John Passion, and Martin Luther's iconic hymn "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"). Both contributed a joint reflection on the word setting and music of Bach to Ida Lichter's The Secret Magic of Music: Conversations with Musical Masters. A lecturer at La Trobe University, Firth has published widely in the field of poetry and music, including articles on modernist poets T. S. Eliot, Louis MacNeice and Ezra Pound, Australian and British women poets Judith Wright and Kathleen Raine, and composers such as Gerald Finzi. In 2013, she received the University of Melbourne's Norman Curry Award for her work in developing Thesis Boot Camp with educators Peta Freestone and Liam Connell.
Il pomo d'oro became known all over the world through the prints by Matthäus Küsel and Frans Geffels based on Burnacini's designs. This and other operas, whose libretti were magnificently complimented with large-format engravings, such as Il fuoco eterno delle Vestali (1674) composed by Antonio Draghi and the Monarchia latina trionfante (1678) composed by Draghi and Johann Heinrich Schmelzer vastly contributed to Burnacini's international reputation. In 1688, after a visit to Vienna, the Swedish architect and art collector Nicodemus Tessin the younger wrote: > Bejim H. Burnacini der trusser undt ingegner vom Keijsser ist, habe ich > alles höffligkeit genossen, in theatern undt festen wirdt heüt zu tage dass > gröste lumiere von allen haben. ("At Mr. Burnacini's, who is steward and > engineer of the emperor, I enjoyed all courtesy; concerning theater and > festivities nowadays he will be the most luminous one").
The Michotte collection also comprises 420 titles of musical editions, of which approximately 120 are by Rossini, and 300 Italian or French publications from the XIXe century, as well as a complete edition of the works of J.S. Bach and of Beethoven's symphonies. It is complemented by a precious collection of libretti of the first performances of Rossini, carefully assembled and bound by his father. Other publications, many of which contain a dedication to Rossini, are of a different nature, but undoubtedly belonged to the shelves of the musician, such as the 1818 edition of Dante's Divina Commedia and the Répertoire général du théâtre français. Monographs and press articles concerning Rossini, several printed programmes of the Soirées musicales – private concerts organised in Paris by the composer and his second wife Olympe Pélissier – give witness to the esthetic taste of the time.
Despite the ideals of Gluck, and the trend to organise libretti so that arias had a more organic part in the drama rather than merely interrupting its flow, in the operas of the early 19th century, (for example those of Gioachino Rossini and Gaetano Donizetti), bravura arias remained focal attractions, and they continued to play a major role in grand opera, and in Italian opera through the 19th century. A favoured form of aria in the first half of the 19th century in Italian opera was the cabaletta, in which a songlike cantabile section is followed by a more animated section, the cabaletta proper, repeated in whole or in part. Typically such arias would be preceded by recitative, the whole sequence being termed a scena. There might also be opportunities for participation by orchestra or chorus.
Anderson was born in London, the son of James H. Anderson and Lydia Warren Townley. He attended the Leys School for Boys in Cambridge. He married Helen Peel Massy (died 1947) in 1908, and they had one child, Aileen Peel Anderson (born 1912). He collaborated on the libretti for Edwardian musical comedies, including The White Chrysanthemum (1905; with Leedham Bantock; Anderson also wrote the lyrics),"The White Chrysanthemum" at The Guide to Musical Theatre, accessed 11 December 2009 The Girl Behind the Counter (1906; with Bantok; Anderson also wrote the lyrics), The Girl Behind the Counter at the Guide to Musical Theatre, accessed 8 December 2010 Two Merry Monarchs (1910; with George Levy; Anderson also wrote the lyrics), Two Little Brides (1912; with Harold R. Atteridge; Anderson also wrote the lyrics) and The Joy-Ride Lady (1914; with Hartley Carrick).
He wrote many other burlesques for the Globe Theatre, the Olympic Theatre (including Richelieu in 1873 and Clockwork in 1877),Programme listings the Vaudeville Theatre (including Green Old Age, with music by Frederic Clay, in 1874; and a burlesque, Ruy Blas Righted), the Strand Theatre, and the Gaiety. At the Gaiety, he produced fourteen pieces between 1872 and 1884, among them the pantomimes Ali Baba (1872), Don Giovanni in Venice (1873), The Forty Thieves, (written with F. C. Burnand, H. J. Byron and W. S. Gilbert) (1878) and another version of the same story, with music by Meyer Lutz in 1880;"The Gaiety", The Times, 25 December 1880, p. 8 and the burlesques Aladdin, (1881); Little Robin Hood, (1882); and Valentine and Orson, (1882). He collaborated with Henry Brougham Farnie on 15 libretti or adaptations and occasionally joined with other dramatic writers.
Hasse's friendship with Metastasio, and his appreciation of the art form the librettist had created, increased over the years. The early Metastasio texts he set were all greatly altered for the purpose, but Frederick the Great and Francesco Algarotti both exerted influence in order to make Hasse pay greater respect to Metastasio's works. In the early 1740s he began setting new Metastasian libretti unadapted, and his personal relations with the librettist also improved significantly at around this time. In one of his letters, dated to March 1744, Metastasio made the following comments: In the following years Hasse reset his earlier works based on Metastasio's texts, this time paying great attention to the poet's original intention, and during the 1760s, as Metastasio wrote new texts, Hasse was, as a general rule, the first composer to set them.
The music of Edmund Eysler was an early influence in the pieces of Max Steiner; however, one of his first introductions to operettas was by Franz Lehár who worked for a time as a military bandmaster for Steiner's father's theatre. Steiner paid tribute to Lehár through an operetta modeled after Lehár's Die lustige Witwe which Steiner staged in 1907 in Vienna. Eysler was well-known for his operettas though as critiqued by Richard Traubner, the libretti were poor, with a fairly simple style, the music often relying too heavily on the Viennese waltz style. As a result, when Steiner started writing pieces for the theater, he was interested in writing libretto as his teacher had, but had minimal success. However, many of his future film scores such as Dark Victory (1939), In This Our Life (1941), and Now, Voyager (1942) had frequent waltz melodies as influenced by Eysler.
The play inspired the tragedy Iphigénie (1674) by Jean Racine and was the basis of several operas in the eighteenth century, using librettos that drew from both Euripedes's and Racine's versions and had various plot variants. The earliest extant libretto is by Christian Heinrich Postel, Die wunderbar errettete Iphigenia, set by Reinhard Keiser in 1699. The most popular libretto was Apostolo Zeno's Ifigenia in Aulide (1718), set by Antonio Caldara (1718), Giuseppe Maria Orlandini (1732), Giovanni Porta (1738), Nicola Porpora (1735), Girolamo Abos (1752), Giuseppe Sarti (1777), Angelo Tarchi (1785), and Giuseppe Giordani (1786). Other libretti include Ifigenia by Matteo Verazi (set by Niccolò Jommelli, 1751), that of Vittorio Amadeo Cigna-Santi (set by Ferdinando Bertoni, 1762 and Carlo Franchi, 1766), that of Luigi Serio (set by Vicente Martín y Soler, 1779 and Alessio Prati, 1784), and that of Ferdinando Moretti (set by Niccolò Antonio Zingarelli, 1787 and Luigi Cherubini, 1788).
The text is by Heinrich (sometimes rendered as "Hinrich") Hinsch, an established Gänsemarkt librettist whose stated intention was adapting stories to provide "a pleasurable poetic experience", to "[titillate] the senses of its audience without attempting to address their reason or understanding". In this case he took as his base material the episode of Phoebus (Apollo) and Daphne as told in Book 1 of Ovid's Metamorphoses, but added a plethora of new characters and incidents which move the story significantly away from the Ovidian original. The main language is German, but the presence of several ensembles and arias in Italian leads Dean and Knapp to speculate that Hinsch may have used an Italian libretto as his source. The Florindo and Daphne libretti were published in the Händel-Jahrbuch, in 1984 and 1985 respectively, and in facsimile form in 1989 as part of a 13-volume edited by Ellen T. Harris.
It was founded by the papal bull, Ratione congruit, issued by Sixtus V in 1585, which invoked two saints prominent in Western musical history: Gregory the Great, after whom Gregorian chant is named, and Saint Cecilia, the patron saint of music. Her feast day became an occasion for musical concerts and festivals that occasioned well-known poems by John Dryden and Alexander PopeOde on St. Cecilia's Day (composed 1711) at, for example, www.PoemHunter.com and music by Henry Purcell (Ode to St. Cecilia); several oratorios by Marc-Antoine Charpentier (In honorem Caeciliae, Valeriani et Tiburtij canticum; and several versions of Caecilia virgo et martyr to libretti probably written by Philippe Goibaut); George Frideric Handel (Ode for St. Cecilia's Day; Alexander's Feast); Charles Gounod (St. Cecilia Mass); as well as Benjamin Britten, who was born on her feast day (Hymn to St Cecilia, based on a poem by W. H. Auden).
The movement in Russia was notable for having a large percentage of female painters, in contrast to the movement in Italy. Composition with Cards (1915) by Olga Rozanova The Cubo-Futurists - both poets and artists - were also notable for their curious activities, both public and artistic: Mayakovsky wore a bright yellow jacket, Ilia Zdanevich ("Iliazd") and Burliuk painted on their faces, and some of the painters attached objects upon their canvases, in such manners that predated the Dada avant-garde movement based in Zurich, Berlin, and Paris, which would begin a few years later. In 1913, the opera Victory over the Sun - prologue by Khlebnikov, libretti by Kruchenykh, and music by Mikhail Matyushin - was completed. The costume and set designer was Malevich; the opera has since become notable for starring the first appearance of his influential painting Black Square, as part of a design for a stage curtain.
Practically all his song texts and libretti were supplied by or written at four-hands with his brother, Alberto Donaudy (1880–1941), a poet whose style reflects the prevailing literary tastes of the period, from Arrigo Boito and Gabriele D'Annunzio to Guido Gozzano. Today, Donaudy's fame rests exclusively on his collection 36 Arie di Stile Antico, first published by Casa Ricordi in 1918 with revisions in 1922, but using material composed from 1892 onwards. It's still currently in print. Several of its songs have never disappeared from the concert repertoire of Italianate opera singers, and titles such as Vaghissima sembianza, Spirate pur, spirate, O del mio amato ben and the beautiful Amorosi miei giorni, have been given unforgettable renditions on record by singers like John McCormack, Enrico Caruso, Beniamino Gigli, Tito Schipa, Claudia Muzio, Rosa Ponselle and more recently people like Arleen Augér, Marcello Giordani, Sumi Jo and Andrea Bocelli.
The son of a captain of Dragons from a family of the minor nobility (squire) of the former Forez province, parallel to its inspector general career in the watch of Benevolent Institutions of the City of Paris, he started writing theatre plays. He authored numerous plays and libretti for opéras comiques, most of them written in collaboration, in particular with Théophile Marion Dumersan, Francis baron d'Allarde, Armand d'Artois, Nicolas Brazier, Eugène Scribe, Bernard Lopez, Élie Sauvage, Alexis Wafflard, Théodore-Ferdinand Vallou de Villeneuve, Auguste-Michel Benoît Gaudichot Masson, Adolphe Charles Adam and Emmanuel Théaulon. In 1823, in the 7th arrondissement of Paris, he married his cousin Louise-Charlotte Gonyn de Lurieu,died 21 decembre 1884 in Paris 8th. Archives numérisées de la Ville de Paris, état-civil du 8e arrondissement, registre des décès de 1884, act n° 1916, vue 29/31 daughter of a former officer became a magistrate.
After completing The Age of Anxiety in 1946 he focused again on shorter poems, notably "A Walk After Dark", "The Love Feast", and "The Fall of Rome". Many of these evoked the Italian village where he spent his summers between 1948–57, and his next book, Nones (1951), had a Mediterranean atmosphere new to his work. A new theme was the "sacred importance" of the human body in its ordinary aspect (breathing, sleeping, eating) and the continuity with nature that the body made possible (in contrast to the division between humanity and nature that he had emphasised in the 1930s); his poems on these themes included "In Praise of Limestone" (1948) and "Memorial for the City" (1949). In 1949 Auden and Kallman wrote the libretto for Igor Stravinsky's opera The Rake's Progress, and later collaborated on two libretti for operas by Hans Werner Henze.
Rollins and Witts, p. 18 Hood also wrote the libretti for two short companion pieces at the Savoy. The first was Pretty Polly, which ran with The Rose of Persia in 1900 and with Patience in 1900–01,Pretty Polly: Reviews reproduced from The Pall Mall Gazette etc. at The Gilbert and Sullivan Archive, 8 May 2008, accessed 11 June 2010 and the second was Ib and Little Christina (1900), which played in several theatres including the Savoy (in 1901, as a companion piece to Hood's The Willow Pattern).Rollins and Witts, p. 19 Hood also wrote such plays, during this period, as The Great Silence, with Louie Pounds (Coronet Theatre, London; 1900),Adams, p. 606 which was presented together with Cox and Box (starring Courtice Pounds as Box) and Ib and Little Christina, with Louie Pounds as adult Christina (otherwise, the original cast reprised their roles).
In addition to his contract at the Jamaica Broadcasting Corporation Malcolm also worked as a composer and arranger for other clients such as the Jamaica Little Theatre Movement for whom he created original musical for the libretti of two pantomimes: Banana Boy in December 1958 (libretto by Ortford St John) and Jamaica Way in 1960 – libretto by Samuel Hillary. In 1962 Carlos became the first musical director of the Jamaica National Dance Theatre Company created by Dr. Rex Nettleford of the University of the West Indies, for which Carlos and Oswald Russell created original works for the debut performance of the Company at the Inaugural Celebrations of Jamaica's Independence. In 1963 Eon Production went to Jamaica to film Dr. No, the first James Bond movie, and employed Carlos Malcolm to write incidental tropical music for the film. He was appointed director of "island content" of the musical score.
Jones wrote an episode of The Gold Robbers (1969) around the same time. In the UK he had written book and lyrics for two musicals with composer Kenny Clayton, "Cupid" and "Black Maria" and his witty two hander play, "Early One Morning" became the musical "Fugue in Two Flats" with music by Paul Knight. His popular musical version of "Peter Pan" has music by Andy Davidson. After moving to Crete he added to his canon of book and lyrics for musicals when he wrote a musical based on the life of the infamous Spanish courtesan of La Belle Époque, "La Belle Otero", music by Christopher Littlewood, two opera libretti for which, at the time of his death, he was looking for a composer, and two new plays, a comedy set in Athens, "Marry Go Round", and "The Muses Darling", a play on the last few days of the life of Christopher Marlowe.
The writer Julian Budden, noting the formulas adopted early on by Rossini in his career and consistently followed by him thereafter as regards overtures, arias, structures and ensembles, has called them "the Code Rossini" in a reference to the Code Napoléon, the legal system established by the French Emperor. Rossini's overall style may indeed have been influenced more directly by the French: the historian John Rosselli suggests that French rule in Italy at the start of the 19th century meant that "music had taken on new military qualities of attack, noise and speed – to be heard in Rossini." Rossini's approach to opera was inevitably tempered by changing tastes and audience demands. The formal "classicist" libretti of Metastasio which had underpinned late 18th century opera seria were replaced by subjects more to the taste of the age of Romanticism, with stories demanding stronger characterisation and quicker action; a jobbing composer needed to meet these demands or fail.
Auguste-Louis Bertin d'Antilly (1763–1804) was a French dramatist and journalist whose patriotic songs and topical libretti were prominent during the French Revolution, but who emigrated from France under Napoleon. Bertin d'Antilly possessed the sinecure of premier Commis des Finances au département des revenus casuels du Roi, and thus was a pensioner of Louis XVI of France.Notice on title page of L'école de l'adolescence. In 1783 his one-act L'Anglais à Pariswarwick Digital Library: L'Anglais à Paris, 1783. was a comedy without overt political content, and his two-act comedy L'école de l'adolescence was played in June 1789; but that same year, as "Citoyen B. Dantilly" he wrote the libretto for Pierre-David-Augustin Chapelle's opéra comique, that is, with spoken rather than sung dialogue, La Vieillesse d’Annette et Lubin based on a story by Jean-François Marmontel: at the third act finale, peasants armed with their tools face the seigneurial regime in defiance.
Motivated above all by the desire to improve Italian learning, it enjoyed considerable success. When Apostolo Zeno was called to duty as poet laureate to the imperial court of Vienna in 1718, his brother, Pier Caterino took over the direction until 1732, publishing the periodical annually. Apostolo remained in Vienna until 1729, at which point he was replaced by Pietro Metastasio. He returned to Venice, dedicating himself to works of erudition and to coin-collecting. Zeno wrote the libretti for 36 operas with historical and mythological themes, including Gli inganni felici (1695), Odoardo (1695) Faramondo (1698), Lucio Vero, Imperatore di Roma (1700), Griselda (1701), Temistocle (1701), Merope (1711, Edition, 1727), L'Ambleto (1712), Alessandro Severo (1716), T'Euzzone (1719), Ormisda (1721), Artaserse (1724), Semiramide (1725), Domenico Sarro's Il Valdemaro (1726), Astarto (1730), Caio Fabbricio (1733), Euristeo (published 1757), and Sesostri re d'Egitto (Prague edition 1760) as well as 17 oratorios, including Giuseppe (1722), Gioaz (1726), David umiliato (1731).
Many of Pierson's manuscript full and vocal scores, including those of his oratorios and operas, appear not to have survived. The funeral march Hamlet, Macbeth, Romeo and Juliet and The Maid of Orleans were his only orchestral compositions to be published in full score (copies of which are held by the Library of Congress amongst other locations), whilst Jerusalem and Faust were only published in vocal score, with no orchestral material seeming to be extant. His operas remained unpublished, excepting the libretti. Manuscript material for several works does, however, survive including the Romantische Ouverture (orchestral parts, University Of Pennsylvania Library Ms Coll 217), (full score, Royal College of Music, London, RCM MS 502), the funeral march Hamlet (full score, Landesbibliothek, Coburg, Ms Mus 364), the first version of the overture to the opera Leila (full score, Landesbibliothek, Coburg, Ms Mus 369) and the opera Leila (57 orchestral and choral parts, University Library [Carl von Ossietzky Music Department], Hamburg, D-Hs/ ND VII 310).
Under her wing, Metastasio produced libretto after libretto, and they were rapidly set by the greatest composers in Italy and Austria, establishing the transnational tone of opera seria: Didone abbandonata, Catone in Utica, Ezio, Alessandro nelle Indie, Semiramide riconosciuta, Siroe and Artaserse. After 1730 he was settled in Vienna and turned out more librettos for the imperial theater, until the mid-1740s: Adriano in Siria, Demetrio, ', Demofoonte, Olimpiade, La clemenza di Tito, Achille in Sciro, Temistocle, Il re pastore and what he regarded as his finest libretto, '. For the librettos, Metastasio and his imitators customarily drew on dramas featuring classical characters from antiquity bestowed with princely values and morality, struggling with conflicts between love, honour and duty, in elegant and ornate language that could be performed equally well as both opera and non-musical drama. On the other hand, Handel, working far outside the mainstream genre, set only a few Metastasio libretti for his London audience, preferring a greater diversity of texts.
Italian opera seria (invariably to Italian libretti) was produced not only in Italy but almost throughout Europe, and beyond (see Opera in Latin America, Opera in Cuba e. g.). Among the main centres in Europe were the court operas based in Warsaw (since 1628), Munich (founded in 1653), London (established in 1662), Vienna (firmly established 1709; first operatic representation: Il pomo d'oro, 1668), Dresden (since 1719) as well as other German residences, Saint Petersburg (Italian opera reached Russia in 1731, first opera venues followed ), Madrid (see Spanish opera), and Lisbon. Opera seria was less popular in France, where the national genre of French opera (or tragédie en musique) was preferred. Acclaimed composers of opera seria included Alessandro Scarlatti, George Frideric Handel, Antonio Vivaldi, Nicola Porpora, Leonardo Vinci, Johann Adolph Hasse, Leonardo Leo, Francesco Feo and in the second half of the 18th century Christoph Willibald Gluck, Niccolò Jommelli, Tommaso Traetta, Josef Mysliveček, Joseph Haydn, Johann Christian Bach, Antonio Salieri, and Wolfgang Amadeus Mozart.
In 1979, CBS Masterworks issued the album as a double LP (catalogue number 79321 in the UK, M2 35898 in the USA) and a double cassette (catalogue number 40-79127), both with notes, texts and translations. In 1988, CBS Masterworks issued the album as a double CD (catalogue number M2K 79217 in the UK, M2K 35898 in the USA) in a clamshell box with a 160-page booklet. The booklet, printed in gingerbread- coloured ink, includes essays in English by Barrymore Laurence Scherer and Bruno Bettelheim, an essay in French by Marcel Marnat, an essay in German by Karl Dietrich Gräwe, an essay in Italian by Franco Soprano, synopses in English, French and German and libretti in English, French, German and Italian. It is illustrated with photographs of Nimsgern, Ludwig, von Stade, Cotrubaș, Te Kanawa, Welting, Söderström, Pritchard and the children's chorus, four photographs taken during recording, a drawing and two photographs of Humperdinck and five vintage images of scenes from the story.
When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs.Millington (2001) 294–5 This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold;Millington (2001) 286 still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. The differences also result from Wagner's development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser.Puffett (1984) 43 From act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically and more developmental in its treatment of leitmotifs.
Church of Santa Maria Formosa in Venice where Lalli was buried in 1741 (painting by Bernardo Bellotto circa 1742) By the mid-1730s, Lalli's career as a librettist was waning, and he was eventually replaced by Goldoni as the director of the Grimani theatres. After the death of his first wife, he had married a Venetian woman, Barbara Pazini, who provided him with many more children to support. He eked out a living writing dedications to illustrious theatre patrons on re- worked libretti, brought out collections of Biblical proverbs and parables translated into verse, and with the help of his close friend and fellow Neapolitan exile Pietro Giannone wrote a collection of biographies of the kings of Naples which he published in 1737. Goldoni's contemporary, Gasparo Gozzi, lamented that Lalli's financial predicament was commonplace for those working in the arts in 18th-century Venice and described him as a man "who was born rich and died a poet".
In 1961 Hobcroft became Foundation Head of the Music Department of the University of Tasmania in Hobart. In 1962 he presented the complete cycle of piano sonatas of Ludwig van Beethoven in a series of weekly recitals in Hobart, a first for an Australian pianist.University of Tasmania Alumni News 2005 Among the audience was the poet Gwen Harwood, and she was inspired to dedicate a number of poems to Rex Hobcroft (including Four ImpromptusAlison J E Wood, The Poetics of Libretti: Reading the Opera Works of Gwen Harwood and Larry Sitsky and EstuaryAllPoetry: Gwen Harwood). The following year, Hobcroft introduced Harwood to the composer Larry Sitsky, which proved to be the start of an artistic collaboration that eventually produced six operas: The Fall of the House of Usher (1965), Lenz (1970), Fiery Tales (1975), Voices in Limbo (1977), The Golem (1980, performed 1993), and De Profundis (1982) He organised a National Composers' Seminar in Hobart in 1963.
Cilea's last opera, premièred at La Scala in Milan on 15 April 1907 under the baton of Arturo Toscanini, was the 3-act tragedy Gloria, again with a libretto by Colautti, based on a play by Victorien Sardou. The opera was withdrawn after only two performances; and the failure of this work, even though the composer attempted a later revision, was enough to drive him to abandon the operatic stage for good. There are however indications of some later unfulfilled operatic projects, which survive as parts or sketches of libretti, such as Il ritorno dell'amore by Renato Simoni, Malena by Ettore Moschino, and La rosa di Pompei, also by Moschino (dated "Naples, 20 May 1924"). Some sources also refer to an opera of 1909, completed but never performed, called Il matrimonio selvaggio, but no copy of this survives and Cilea himself made no mention of it in his volumes of memoirs ("Ricordi").
23–27 Carte and Lenoir also continued to run his management agency. As an example of their level of activity, an 1881 souvenir programme commemorating the 250th performance of Patience in London and its 100th performance in New York records that, in addition to these two productions of Patience, Carte was simultaneously managing many other projects. These included two companies touring with Patience, two touring with other Gilbert and Sullivan operas, one touring with the operetta Olivette (co-produced with Charles Wyndham), one with Claude Duval in America, a production of Youth running at a New York theatre, a lecture tour by Archibald Forbes (a war correspondent) and productions of Patience, Pirates, Claude Duval and Billee Taylor in association with J. C. Williamson in Australia, among other things. Iolanthe, Carte's first new production at the Savoy, 1882 Carte also introduced the practice of licensing amateur theatrical societies to present works for which he held the rights, increasing the works' popularity and the sales of scores and libretti, as well as the rental of band parts.
During the 1890s, the directors of the Bayreuth Festival initiated a particularly forceful style of Wagnerian singing that was totally at odds with the Italian ideals of bel canto. Called "Sprechgesang" by its proponents (and dubbed the "Bayreuth bark" by some opponents), the new Wagnerian style prioritized articulation of the individual words of the composer's libretti over legato delivery. This text-based, anti-legato approach to vocalism spread across the German-speaking parts of Europe prior to World War I. As a result of these many factors, the concept of bel canto became shrouded in mystique and confused by a plethora of individual notions and interpretations. To complicate matters further, German musicology in the early 20th century invented its own historical application for "bel canto", using the term to denote the simple lyricism that came to the fore in Venetian opera and the Roman cantata during the 1630s and '40s (the era of composers Antonio Cesti, Giacomo Carissimi and Luigi Rossi) as a reaction against the earlier, text- dominated stile rappresentativo.
For example, when writing on Wagner's Die Meistersinger, he traveled to Nuremberg, and when writing on cantorial chant, he attended synagogues. Krehbiel wrote many books about various aspects of music, including Afro- American folksongs: a study in racial and national music (1914); one of the earliest examinations of African American music. His interest in the music was African-Americans dates back to his attendance of World's Columbian Exposition where he was enthralled with performances of music by black musicians at the Midway Plaisance. He annotated concert programs (including many of Paderewski's recitals). The Impresario toured the United States in 1921. Krehbiel translated some opera libretti, including: Nicolai's Die lustigen Weiber von Windsor (1886), Paderewski's Manru (1902), and Mozart's Der Schauspieldirektor (1916). (Dates given are the first performance of the English translation.) When Mozart's Così fan tutte was performed for the first time in the US, in 1922, it was in a new English version with a text by Krehbiel.Aldrich, Richard. "Henry Edward Krehbiel", Music & Letters, July 1923, pp.
Numerous drawings and engravings of the stage sets survive, as well as texts of the libretti and descriptions of the music and action; the 1589 Medici intermezzi were especially well recorded, and "were to be the fount of Italian baroque scenography as well as influencing the development of the stage north of the Alps, above all the Stuart court masques designed by Inigo Jones".Strong:136 The actual content in terms of staging, music, instrumentation, presence of singers, actors, dancers, or mime was highly variable throughout the period, and sometimes all of these features were present. The 1589 intermedi were performed in the recently completed theatre in the Uffizi Palace before an audience of about three thousand, and three further performances were given some days after the end of the wedding festivities. Further significant sets of Medici intermedi were produced for the weddings in 1600 of Henry IV of France and Marie de' Medici, and then in 1608 of Grand Duke Cosimo II and a Habsburg princess, Maria Magdalena of Austria.
The date 1773 reported instead by the Grove Dictionary (Forbes) seems to be wrong, as, already at the end of 1772, Babini had taken part in the premiere of Insanguine's Merope, and in the first Bologna performance of Piccinni's L'Astratto, however singing third line roles (cf. Roles, below) Italianopera Libretti a stampa After performing in several Italian theatres, most notably Venice’s San Benedetto, Babini was engaged, between 1777 and 1781, to appear at Berlin’s Court and, later, to perform works by Paisiello in Saint Petersburg. While there he was popular performing in the Apulia composer’s operas, even some in the comic genre with which he was not associated while in Italy. Babini went on to perform all around Europe, including Lisbon, Madrid, Vienna, and London. In 1786, in London, he took part in the premiere of Cherubini’s Giulio Sabino.Grove Dictionary, Forbes His career in Italy continued successfully through the nineties, with highlights including his part in the premiere of Cimarosa’s Gli Orazi e i Curiazi, where he played the part of the villainous hero Marcus Horatius.
Yet, because of the limits imposed upon Roman citizens' dance, the populism of its song-texts and other factors, the art was as much despised as adored, and its practitioners were usually slaves or freedmen. Because of the low status and the disappearance of its libretti, the Roman pantomime received little modern scholarly attention until the late 20th century, despite its great influence upon Roman culture as perceived in Roman art, in statues of famous dancers, graffiti, objects and literature. After the renaissance of classical culture, Roman pantomime was a decisive influence upon modern European concert dance, helping to transform ballet from a mere entertainment, a display of technical virtuosity, into the dramatic ballet d'action. It became an antecedent which, through writers and ballet-masters of the 17th and 18th centuries such as Claude-François Ménestrier (1631–1705), John Weaver (1673–1760), Jean-Georges Noverre (1727–1810) and Gasparo Angiolini (1731–1803), earned it respectability and attested to the capability of dance to render complex stories and express human emotion.
Fraser sued on the basis of breach of copyright (although the matter was recorded in case law as a breach of confidence), claiming that his scenario had been used without his consent. The defence countered that the libretti were not similar, that all plays hold points in common and that, if anything, both works used The Geisha as their model. The jury found that an unfair use had indeed been made of Fraser's piece by the appropriation therefrom of characters, plot and other ideas. They assessed the damages at £3,000 plus court costs.H. B. "The Limits of Appropriation in Dramatic Copyright", The Law Journal, E B Ince (1 April 1905; Vol. 40, 1906), pp. 256–257 The case was noted in the press for the amount and quality of witty repartee among witnesses, counsel and Judge. A 1930 memoir by one of Fraser's legal team assessed that the prosecution had erred by attacking the character of an obviously honourable man and that the previously closely balanced case had been won by a legal ambush on one of the witnesses (his identity hidden in later accounts, but confirmed in contemporary newspaper accounts as the theatrical costume designer, Percy Anderson).
Fulvia in Ezio by Tommaso Traetta (Padua, 1765) Dircea in the pasticcio Demofoonte (Lucca, 1765) Beroe in La Nitteti by Brizio Petrucci (Mantua, 1766) Cleofide in the pasticcio Alessandro nell'Indie (Lucca, 1766) Cleopatra in Tigrane by Giuseppe Colla (Parma, 1767) Ipermestra in the anonymous Ipermestra (Parma, 1767) Tetide in Le nozze di Peleo e Tetide by Giovanni Paisiello (Naples, 1768) Arcinia and Bauci in Le feste d'Apollo by Christoph Willibald Gluck (Parma, 1769)source: italianopera.org, (ad nomen) (accessed 4 November 2010) Berenice in Vologeso by Giuseppe Colla (Venice, 1770) Andromeda in Andromeda by Giuseppe Colla (Turin, 1772) Zama in Tamas Kouli-Kan nell'Indie by Gaetano Pugnani (Turin, 1772) Argea in Argea by Felice Alessandri (Turin, 1773) Erasitea in Urano ed Erasitea by Giuseppe Colla (Parma, 1773) Cleonice in Demetrio by Josef Mysliveček (Pavia, 1773) Andromeda in Andromeda by Giovanni Paisiello (Milan, 1774) Cleopatra in Tolomeo by Giuesppe Colla (Milan, 1774) Aurora in Aurora by Gaetano Pampani (Turin, 1775) Andromeda in Andromeda by Giuseppe Colla (Florence, 1778) Didone in the pasticcio Didone abbandonata (Florence, 1778) Emirena in Adriano in Sira by Felice Alessandri (Venice, 1780) Cleonice in Demetrio by Francesco Bianchi (Venice, 1780) Cleopatra in the anonymous Tigrane (Genoa, 1782) Source: Claudio Sartori. I libretti italiani a stampa dalle origini al 1800. Cuneo, 1992–1994.
Moses is an 1892 sacred opera in eight scenes by Anton Rubinstein.Philip S. Taylor Anton Rubinstein: A Life in Music 0253116759 - 2007 p212 The German libretto was written by Salomon Hermann Mosenthal who had earlier supplied Rubinstein with the libretto for his most successful opera Die Maccabäer (1875), and is best known as author of the libretto Die lustigen Weiber von Windsor by Otto Nicolai.Ralf Georg Czapla, Ulrike Rembold Gotteswort und Menschenrede: die Bibel im Dialog mit Wissenschafte 3039107674 - 2006 Das Textbuch für den Moses lieferte ihm Salomon Hermann Ritter von Mosenthal (1821-1877), der bereits zwei Libretti für Rubinstein verfaßt hatte.".... Theodore Ziolkowski Uses and Abuses of Moses: Literary Representations 0268098557 - 2016 "The generalization above does not apply to the “spiritual opera” Moses (1887–89) by Anton Rubinstein with a libretto by Heinrich Mosenthal.37 Mosenthal (actually Salomon Hermann von Mosenthal, 1821–77) was a prolific writer with a pronounced interest in Jewish themes: notably his highly popular drama Deborah (1848) and his libretto for Rubinstein's better- known opera Die Makkabäer (1872–74) .... The opera was scheduled to be premiered in Prague, but had to be cancelled after two rehearsals at the Neues Deutsches Theater (25 and 27 June).

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