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"librettos" Synonyms
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570 Sentences With "librettos"

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

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I read librettos and the biographies of composers and singers.
Opera librettos are not normally thought to be good for silent reading.
His librettos were usually straightforward scaffolding for extravagant musical and dance numbers.
A book of his verse translations, "Seven Mozart Librettos," was published in 22009.
He never heard Wagner, though he welcomed compliments comparing his poetry to Wagner's librettos.
Be warned that song texts and opera librettos have to be downloaded from mozart225.com.
Now, the convenience of titling has made translating librettos for performance seem pointless, even stilted.
Forbidden love, jealousy and betrayal are some of the most common components of operatic librettos.
" His less-heralded achievements included several opera librettos, including the one for Virgil Thomson's "Lord Byron.
In a word, the wind — a fixture in the librettos, as well as in the weather.
Each has been recorded on his Orange Mountain Music label, whose CD editions also include librettos.
Wagner wrote his own German librettos and considered himself as much a poet-dramatist as a composer.
In Venice, Giulio Strozzi was a mover and shaker, famous for his plays, poetry and opera librettos.
It was once common practice for opera librettos to be translated and performed in the language of the audience.
But Heartbeat Opera is far more unusual in its tweaking (and trimming) of librettos and its reorchestration of scores.
Mr. Kushner has dabbled in librettos, but operatic texts require concision — something you don't associate with his sweeping, capacious plays.
Over the years, Myles has written at least 19 books of poetry, fiction, and nonfiction, and several librettos and plays.
"I am convinced that Hans has written a masterpiece," he wrote in a letter quoted in the complete edition of his librettos with Kallman.
Mr. Corsaro also wrote several librettos and is remembered by many as a teacher, whether in his capacity as director or in other settings.
Mr. McClatchy also wrote well-received English translations of European opera librettos, that, with their careful attention to stress and sound, were expressly designed to be sung.
Ms. Tesori's strong yet subtle score is combined with Mr. Thompson's grimly elegant and snappy words — one of the best librettos I've heard in a long while.
He draws upon phrases from the librettos Beethoven went through in earlier versions of his opera, and also adapts texts from Machiavelli, Jeremy Bentham and other pertinent sources.
But some critics have found it lacking drama or poetry — which Mr. Adams rejects, saying he prefers them to many other recent librettos, which remind him of television scripts.
Even when librettos are sung in English, subtitles are often necessary, either because of the way the words are set or because the singers struggle to project over the orchestra.
With a look inspired by European cafes and a reading room atmosphere, it will sell coffee, merchandise and writing materials, along with play scripts, librettos and books about the arts.
Overwhelmed by the spectacle and unable to understand a single word of the Italian, French, German, or Russian librettos, I focused all my attention on the music— such glorious music.
Talebi, who has written librettos, done performance art, and translated poetry and prose, says she struggled with the structure of this memoir, writing thousands and thousands of words over the years.
Since travelling to Iraq in 2003 as a correspondent for public radio station KPFK, the Queens-born, LA-based artist has grappled constantly with large-scale conflict, writing poems, screenplays, and even librettos.
In the mid-20th century, ballet would be reimagined in a sleek, plotless Neo-Classicism that made the go-for-broke enchantments of the old librettos all the more difficult to believe in.
He has long been John Adams's key partner on both librettos and stagings, and has also been a frequent collaborator with Kaija Saariaho, whose "L'Amour de Loin" arrives at the Metropolitan Opera this fall.
This collagelike approach — which Mr. Sellars has used since he took over the lyric-writing duties from Alice Goodman, who wrote the librettos of Mr. Adams's first two operas, "Nixon" and "Klinghoffer," — has been controversial.
His other librettos include Mr. Picker's "Emmeline," based on Judith Rossner's novel; Lorin Maazel's "1984," an adaptation of the George Orwell novel; and, with Ms. Taymor, Elliot Goldenthal's "Grendel," based on John Gardner's "Beowulf"-inspired novel.
Mr. Cruz's words, however, are poetic and poignant, reminiscent of Alice Goodman's librettos for the John Adams operas "Nixon in China" and "The Death of Klinghoffer," which occupy a dreamy realm between historical fact and ethereal enigma.
Rossini's wonderful "La Regata Veneziana" sets a three-part text by Francesco Maria Piave, best known for his librettos for Verdi, in which a young Venetian woman insistently urges on her boyfriend, who is competing in a regatta.
He also wrote poems, a translation of Homer into ottava rima, librettos, some pamphlets on mathematics, historical studies on Poland and Venice and — among other things — a five-volume work of science fiction set in the Earth's interior.
In addition to collaborating with artists (Donna Dennis, Ken Tisa, and Trevor Winkfield), he has also written many songs and librettos, including one for an opera adapted from Anton Chekhov's play, The Seagull (1974), with music by Thomas Pasatieri.
AT 58 SECONDS John Adams's "Nixon in China," which turns 30 this year, is featured in "History Is Our Mother," a new annotated collection of librettos by Alice Goodman, who also worked with Mr. Adams on "The Death of Klinghoffer" in 1991.
In addition to his wife, an Anglican rector and the author of the librettos for the John Adams operas "Nixon in China" and "The Death of Klinghoffer," he is survived by three sons, Julian, Andrew, and Jeremy; two daughters, Bethany Hill and Alberta Hill; and four grandchildren.
"History Is Our Mother," its title drawn from one of Nixon's lines in the opera and published this summer by New York Review Books, gathers the two librettos she wrote for Mr. Adams with her English translation of "The Magic Flute," prepared for a British production in 1991.
Ms. Smith has also written two opera librettos: for "A Marvelous Order," about the city planner Robert Moses and the urban activist Jane Jacobs, and "Castor and Patience," about a Southern family dispute over land rights, which was commissioned by the Cincinnati Opera and is set to open in 2020.
He was also a prolific editor, anthologist, translator and critic, as well as the author of a string of acclaimed opera librettos, among them "Our Town," for Ned Rorem's setting of Thornton Wilder's enduring drama of village life, and the Metropolitan Opera's condensed English-language production of Mozart's "Magic Flute," designed by Julie Taymor.
At a time when recordings of live performances have largely eclipsed more expensive studio recordings of opera, Mr. Roscic made a bet in the other direction, engaging the conductor Teodor Currentzis and the orchestra and chorus known as MusicAeterna (also the ensemble of the Perm Opera and Ballet Theater in northern Russia) to record the operas Mozart wrote to librettos by Lorenzo DaPonte.
The Passion librettos were printed each year for sale to the congregation; copies of these librettos survive to this day in the Hamburg Staatsarchiv.The librettos are transcribed in Clark (1984). It is important to note that in addition to the chorale texts, the librettos also listed a corresponding number in the Hamburg Gesangbuch (Hymnal), strongly suggesting that the congregation participated in the chorale singing. Out of all 21 Passions written in Hamburg, none is an entirely original work.
In June 1728 Picander produced the first installment of his 1728–29 cycle of cantata librettos. In its introduction he invited Bach to set the texts. No response of Bach has been recorded to this first set of 16 cantatas. If he set any of the librettos, the music has been completely lost. Contrary to his 1724–25 cycle the installments were now in quarterly submissions of 16 to 19 cantata librettos each.
Calisto Bassi (Cremona, beginning of the 19th centuryAbbiategrasso, c. 1860) was an Italian opera librettist. Bassi wrote many original librettos and was also active as translator into Italian of several librettos from other languages. For many years he was also stage director at La Scala in Milan.
He wrote opera librettos, a children's book, a volume of poetry and the words of a cantata about Noah's Ark.
Giovanni Battista Casti (29 August 1724 – 5 February 1803) was an Italian poet, satirist, and author of comic opera librettos.
Graham Trottman opted to leave at this point, so Peacock contacted his former Librettos bandmate Craig Collinge, who broke up The Knack and moved to Melbourne to join the quartet, which was renamed Procession. In 1997 EMI released a Librettos CD anthology, which compiled almost all of their studio recordings, including all the tracks from their 1965 Let's Go With The Librettos album and all of their HMV and Sunshine tracks, except their final Sunshine 45 ("Rescue Me"/"What Do You Want To Make Those Eyes At Me For").
Printed librettos of the Passion oratorio appeared in Rudolstadt and Nürnberg in 1736, indicating performances in both cities in that year.
She has composed for solo instruments, chamber and orchestral music. She has also written two operas with librettos by Alain Germain.
Cristoforo Ivanovich, from Minerva al tavolino, 1680 Cristoforo Ivanovich (1620–1689) was the first historian of Venetian opera, who also wrote several librettos.
In 1901 de Flers married Geneviève Sardou, the daughter of Victorien Sardou. He continued to be active writing librettos. His third opera libretto, Les travaux d'Hercule (1901), marked his first collaboration with fellow playwright Gaston Arman de Caillavet and composer Claude Terrasse. Most of his remaining librettos were written with Caillavet, often for Terrasse who was their most frequent musical collaborator.
Enzo Fileno Carabba is an Italian writer with published works in Italy and abroad. He writes short stories, scripts for radio, librettos and children's books.
He also translated some opera librettos by Tchaikovsky and Glinka into German.Slonimsky, Nicholas, ed. (1984). Baker's Biographical Dictionary of Musicians, 7th edition. Schirmer, p. 80.
This series featured (complete with Cyrillic librettos) Russian operas otherwise little known in the West.Review of orchestral recording, musicweb-international.com, 4 February 2004.Vladimir Fedoseyev biography, fedoseyev.
Carr also wrote essays, books, plays, librettos, English-language adaptations of foreign works and stage adaptations of Dickens novels and classic tales like King Arthur and Faust.
A collection of essays, journals, and librettos by Partch was published posthumously as Bitter Music: Collected Journals, Essays, Introductions, and Librettos 1991. Philip Blackburn edited a collection of Partch's writings, drawings, scores, and photographs, published as Enclosure 3 in 1997. Partch partially supported himself with the sales of recordings, which he began making in the late 1930s. He published his recordings under the Gate 5 Records label beginning in 1953.
Gilardoni was born in Naples, but little is known about his early life and training. He died early, and thus had a short career, but wrote more than 20 librettos in five years, all for Naples. Most of his early work was for the Teatro Nuovo, where his librettos contained much prose and often included comic roles in Neapolitan dialect. His first published libretto was Bianca e Gernando for Bellini.
Some of his earliest works were for pantomimes and cabaret and variety shows. He then began collaborating on operetta librettos with his friends and fellow writers Rudolf Bernauer and Ernst Welisch. Their success led him to becoming a full-time librettist. During the course of his career he would write or co- write over 30 operetta and musical theatre librettos, many of which were later made into films.
He wrote a number of plays and two other opera librettos, Die Kirmes and Der Zigeuner, both set by Wilhelm Taubert. In Karlsruhe, in the course of seventeen years, he not only raised it to a high position, but enriched its repertory by many noteworthy librettos. But his chief work is his history of the German stage, Geschichte der deutschen Schauspielkunst (Leipzig, 1848-1874). Eduard Devrient died in Karlsruhe.
Johann Sebastian Bach set these librettos. The music of these settings is however largely lost:Picander (=Christian Friedrich Henrici). Ernst-Schertzhaffte und Satyrische Gedichte, Volume III. Leipzig: Joh. Theod.
Many of the operas listed have librettos in Spanish, the official language of Mexico. However, the practice of using French or Italian librettos was common in 19th and early 20th century Mexico when much of the opera in that country was performed by visiting troupes largely composed of European singers unaccustomed to singing in Spanish. Both Gustavo Campa's Le roi poete and Ricardo Castro Herrera's La légende de Rudel had French librettos,The French libretto of La légende de Rudel was translated into Italian for its first performance while Catalina de Guisa by Cenobio Paniagua and several other notable operas of this period had Italian librettos.Standish, Peter, A Companion to Mexican Studies, Boydell & Brewer Ltd, 2006, pp. 69–70.
Berlin: M. Hesse, 1922Busoni, Ferruccio, translated by Rosamond Ley. The Essence of Music: And Other Papers. London: Rockliff, 1957. (digitized: ) Busoni also wrote the librettos of his four operas.
According to the first publication of the cycle's librettos, this cycle ran from 24 June 1728 (Feast of John the Baptist) to the fourth Sunday after Trinity, 10 July 1729.
Svensk uppslagsbok. Bd 17. Malmö: Svensk Uppslagsbok AB. Sid. 57 He produced over 170 plays and librettos, with operatic settings by Adam including Le postillon de Lonjumeau, Clapisson and Thomas.
Fäyzi also is known as a collector of Tatar musical folklore. His works include articles on Tatar musical culture, librettos, plays, novels and poetry. Ğabdulla Tuqay TASSR State Prize laureate (1966).
Such works often became modest best-sellers as published librettos, and indeed Barton's opera sold impressively in this form, first when it was published in New York in 1767, then later when a revised Philadelphia version appeared in 1796. However, the librettos contain no music whatever; the songs that occur throughout the play exist as texts only, along with the titles of the popular songs whose tunes would have been used for the songs in the play. Presumably, the musical arrangements for The Disappointment were discarded upon its cancellation or have been lost during the many years since. While librettos could be printed in many copies, musical arrangements typi¬cally were made in one copy only, for one particular production.
Picander's cycle of 1728–29 is a cycle of church cantata librettos covering the liturgical year. It was published for the first time in 1728 as ' (Cantatas for the Sun- and feastdays throughout the year). Johann Sebastian Bach set several of these librettos to music, but it is unknown whether he covered a substantial part of the cycle. This elusive cycle of cantata settings is indicated as the composer's fourth Leipzig cycle, or the Picander cycle (German: ').
A large quantity of librettos of the opera by Mabellini are part of the Giorgio Cini Collection in Venice, at the Biblioteca Nazionale Centrale and the Marucelliana in Firenze, at the Biblioteca Comunale and at the Conservatorio in Milano, at the Biblioteca Palatina in Parma, and at the Biblioteca Ariostea in Ferrara. The Conservatorio in Naples, the Biblioteca centrale siciliana in Palermo,and the Biblioteca musicale «of the Court» in Torino possess more than five examples of Mabelliniani librettos.
In general usage, a dictum ( in Latin; plural dicta) is an authoritative or dogmatic statement. In some contexts, such as legal writing and church cantata librettos, dictum can have a specific meaning.
Michel-Antoine Carré or Michel Carré (fils) (7 February 1865, Paris – 11 August 1945, Paris) was a French actor, stage and film director, and writer of opera librettos, stage plays and film scripts.
Chester Simon Kallman (January 7, 1921 – January 18, 1975) was an American poet, librettist, and translator, best known for collaborating with W. H. Auden on opera librettos for Igor Stravinsky and other composers.
Michael Turner (born 1962 in North Vancouver, British Columbia) is a musician, and writer of poetry, prose and opera librettos. His writing is noted for including detailed and purposeful examination of ordinary things.
Haavikko's works represent many different literary genres, including the librettos for the two operas. His career as is exceptional in its mere productivity: a book every eight months according to his own reckoning.
Its date is assumed between 1627 and 1732. It was part of an exhibition in 2010, celebrating the 425th anniversary of the composer's birth by showing manuscripts, librettos, first prints, documents and instruments.
Editorial "Ring in the new". Opera, December 1999, p1387. Milnes translated opera librettos under his original name, including Rusalka, The Jacobin, Osud, Don Chischiotte, Pollicino, Undine, Giovanna d'Arco, Die drei Pintos and Tannhäuser.
The Ich lebe, mein Herze, zu deinem Ergötzen libretto for a cantata for the Third Feast-day of Easter ("") was published in Picander's 1728–29 year-cycle of cantata librettos, which was first issued starting with a cantata for an occasion some three months after Easter. If first performed according to the plan of Picander's original publication of the cycle's librettos, BWV 145 premiered on 19 April 1729. The closing chorale is the fourteenth and final stanza of Nikolaus Herman's Easter hymn "".
Procession were formed in October 1967 by members of two earlier Australasian pop groups, Normie Rowe's long-time backing band, the Playboys, and New Zealand group, the Librettos. The Librettos had formed in Wellington as a beat-pop group in 1960 and by 1965 they relocated to Sydney, where they included Craig Collinge (born 24 August 1948, Sydney) on drums and Brian Peacock (born 27 June 1946, Levin, New Zealand) on bass guitar and vocals. The Librettos broke up in June of the following year, with Peacock joining the Playboys and Collinge forming a heavy rock-trio, the Knack. The Playboys had formed in July 1963 as an instrumental group in Melbourne and in November 1966 they relocated to London where they were the backing band for Rowe.
He wrote mostly librettos for Paul Wranitzky, Adalbert Gyrowetz and C. Weigl (Weisenhaus, The Orphanage), and translated many French operas into German. In 1814 he revised the libretto of Fidelio at Ludwig van Beethoven's request.
The house stood until 1861. The Duke himself wrote opera librettos and enlisted Bressand to assist him in the organization of theatrical events. They started with German arrangements of French and Italian operas and Bressand soon fashioned a significant number of his own librettos, which evidently became popular with composers, given the number of composers who set his texts. His texts were even performed at the richly-furnished Hamburg opera, the Oper am Gänsemarkt, alongside those of such poets as Christian Heinrich Postel (1658–1705).
He was a cousin of the famous Ukrainian composer Mykola Lysenko and father-in-law of Ivan Steshenko. He was orphaned early in life and raised by Lysenko's father, so he was able to supply much of the information for the composer's biography. Starytsky wrote librettos, songs, stories, dramas and poems. Later in life, Starytsky worked with Lysenko, collecting Ukrainian folk songs and transforming them into plays and operas for which Starytsky wrote the librettos (including Taras Bulba, an adaptation of the novel by Gogol).
Andrea Leone Tottola (died 15 September 1831) was a prolific Italian librettist, best known for his work with Gaetano Donizetti and Gioachino Rossini. List of librettos (with composers) written by Tottola It is not known when or where he was born. He became the official poet to the royal theatres in Naples and agent for the impresario Domenico Barbaia, and started writing librettos in 1802. His libretto for Gabriella di Vergy, originally set by Michele Carafa in 1816, was reworked by Donizetti in the 1820s and 1830s.
He wrote six other librettos for Donizetti, including those for La zingara (1822), Alfredo il grande (1823), Il castello di Kenilworth (1829) and Imelda de' Lambertazzi (1830). For Rossini he wrote Mosè in Egitto (1818), Ermione (1819), La donna del lago (1819) and Zelmira (1822). For Vincenzo Bellini he wrote Adelson e Salvini (1825). Other composers who set Tottola's librettos to music included Giovanni Pacini (Alessandro nelle Indie (1824) and others), Saverio Mercadante, Johann Simon Mayr, Nicola Vaccai, Errico Petrella, Ferdinando Paer and Manuel Garcia.
He wrote a great deal of music and some librettos for other playwrights during this period. In 1732, J. F. Lampe, Thomas Arne, J. C. Smith and Henry Carey formed the English Opera project. Their goal was to revive serious opera in English. Together, they formed the English Opera Company, and Carey wrote two librettos, for Amelia (set by Lampe and acted at the Little Theatre at The Haymarket (an opposition playhouse favored by Henry Fielding)) and Teraminta (set by Smith and performed at Lincoln's Inn Fields).
Louis Payen in 1913 Louis Payen, real name Albert Liénard, (1875 in Alès – 1927 in Épinay) was a French librettist. He was secretary general of the Comédie-Française. He wrote several librettos for Massenet, Kunc etc.
He also wrote some light comedies, in the style of Edmond Rostand, and co-authored librettos for operettas; notably Viktória and Hawaii rózsája. He published a number of short stories in newspapers and magazines as well.
All of which had librettos written by F. A. Dixon. Arthur Clappé's opera was written for thirteen soloists representing different regions and people of Canada. It also featured a chorus of 100 voices and an orchestra.
Antonio Salvi, the family doctor, wrote several librettos, used by Handel for his opera.Dean, W. & J.M. Knapp (1996) Handel's Operas 1704–1726. Clarendon Press Oxford, p. 80. Handel's opera Rodrigo was first performed in Florence in 1708.
Hannah tells the story of Hannah and of her devotion to God which resulted in her being blessed with fertility by God. It was the first of two oratorio librettos written by Smart, the second being Abimelech.
Catherine Chisholm Cushing, from a 1916 publication. Catherine Chisholm Cushing (April 15, 1874 — October 19, 1952) was an American writer of songs, librettos, and plays, best known for her 1916 stage adaptation of Eleanor H. Porter's Pollyanna.
When Desyatnikov met with Sorokin, the latter proposed, "Let's write an opera about clones of classic composers". Desyatnikov and Sorokin selected two Russians and three non-Russians as composers most representative of the opera genre: Wagner, Verdi, Mozart, Mussorgsky, and Tchaikovsky. During preparation Sorokin read Russian translations of librettos of Der Ring des Nibelungen and some of Verdi's operas, and original librettos of Khovanshchina and Boris Godunov. Desyatnikov composed music based on works of 19th-century composers; in an interview he admitted that he also considered modern pop music as potential source material.
His designation for the work, a rappresentazione morale ("morality play") is probably unique for an opera of this era. After the libretto "reform" of the turn of the 18th century, it was not customary to mix serious and comic action in opera librettos. If comic action were to be included in an evening's entertainment, it would usually be confined to comic intermezzi that were presented between the acts of a serious drama. Denzio's drama preserves the mixing of serious and comic action that would be more typical of 17th-century Venetian librettos.
From the first Sunday after Trinity in 1724, that year falling on 11 June, he started his second cantata cycle with forty chorale cantatas composed to new librettos. Each of these librettos was based on the text of a known chorale, usually a Lutheran hymn, the tune of which was adopted by Bach in his setting. The first weeks of the post Trinitatem (after Trinity) season included the Feast of John the Baptist (24 June) and the Feast of the Visitation (2 July). In Bach's time Protestant Leipzig observed three Marian feasts requiring .
Johannes Agricola The librettos of the church cantatas presented for the first time in Leipzig during Bach's third to fifth year in that city have a diverse origin. The most substantial group of librettos with a similar structure derives from a 1704 cycle of cantata texts printed in Meiningen, which was used for most of the cantatas presented in the liturgical year 1725–26.Sonn- und Fest-Andachten Uber die ordentlichen Evangelia Aus gewissen Biblischen Texten Alten und Neuen Testaments Und In der Hoch-Fürstl. Sachs. Meining. Hof-Capell Der Heil.
Baku Pages. 1 July 2005 His later works included Khalg Gazabi ("The Popular Rage", 1941; co- author Boris Zeidman), Nizami (1948) and Soyudlar aghlamaz ("Willows Don't Cry", 1971). He wrote librettos for the Azerbaijani opera Bahadir va Sona and the ballets Giz Galasi, Garaja Giz ("Nigella") and Gizil Achar ("The Golden Key"). He composed background music for theatrical plays and being the only libretto translator of the time did equirhythmic Azeri translations of the librettos of the operas by Pyotr Tchaikovsky, Gioacchino Rossini, Armen Tigranyan and Zakaria Paliashvili.
François-Benoît Hoffman (11 July 1760 – 25 April 1828) was a French playwright and critic, best known today for his operatic librettos, including those set to music by Étienne Méhul and Luigi Cherubini (most notably Cherubini's Médée, 1797).
Ervin Fritz (born 27 June 1940) is a Slovene poet, playwright and translator. He also writes poetry for children, radio plays, songs and librettos. He started publishing poetry in the mid-1960s. Fritz was born in Prebold in 1940.
Kurt Honolka (27 September 1913 – 7 October 1988) was a German musicologist, journalist, and music and theatre critic. He is known as a translator of the librettos of Czech operas into German, such as Smetana's Dalibor and Janáček's Osud.
Daniel Schiebeler (25 March 1741 – 19 August 1771) was a German writer, poet, librettist and Protestant hymnwriter. He wrote librettos for operas and oratorios, set by composers such as Georg Philipp Telemann, Johann Adam Hiller and Carl Philipp Emanuel Bach.
Antonio Ghislanzoni Antonio Ghislanzoni (; 25 November 1824 - 16 July 1893) was an Italian journalist, poet, and novelist who wrote librettos for Verdi, among other composers, of which the best known are Aida and the revised version of La forza del destino.
Karl Lindau (also Carl Lindau, born Karl Gemperle; 26 November 1853 – 15 January 1934) was an Austrian actor and writer. He excelled in comic roles at the Theater an der Wien, and wrote several plays, librettos for operettas and songs.
However, Meilhac's work is most closely tied to the music of Jacques Offenbach, for whom he wrote over a dozen librettos, most of them together with Halévy. The most successful collaborations with Offenbach are La belle Hélène (1864), Barbe-bleue (1866), La Vie parisienne (1866), La Grande-Duchesse de Gérolstein (1867), and La Périchole (1868). Other librettos by Meilhac include Jules Massenet's Manon (with Philippe Gille) (1884), Hervé's Mam'zelle Nitouche (1883), and Rip, the French version of Robert Planquette's operetta Rip Van Winkle (also with Gille). Their vaudeville play Le réveillon was the basis of the operetta Die Fledermaus.
Forzano agreed to write the librettos for two of the works, Suor Angelica and Gianni Schicchi, but declined Il tabarro saying that he preferred to create his own plots (Giuseppe Adami wrote the libretto for Il tabarro). Il trittico premiered at the Metropolitan Opera on 14 December 1918 to high acclaim. With the success of Il trittico, Forzano was soon approached by other composers to provide librettos, including Alberto Franchetti, Ruggero Leoncavallo, Ermanno Wolf-Ferrari, Mario Peragallo, Umberto Giordano, and Pietro Mascagni. In 1920 Forzano became a stage director at La Scala, serving in that capacity through 1930.
These latter works are entirely lost, in contrast to the first, BWV 71, of which both Bach's autograph and the contemporary print survive. During Bach's tenure as director musices in Leipzig, from 1723 to 1750, there were 27 instances where he had to provide music for the council election occasion. For 20 of these instances no music is known to be extant: the librettos of three cantatas, BWV 1139.1 (programmed in 1725 and 1751), 1140 (programmed in 1730) and 1141 (programmed in 1740), did however survive. Picander was the author of the first two of these librettos.
In the 1850s and 1860s a group of patriotic writers and composers led by Francisco Barbieri and Joaquín Gaztambide revived the zarzuela form, seeing in it a possible release from French and Italian music hegemony. The elements of the work continue to be the same: sung solos and choruses, spiced with spoken scenes, and comedic songs, ensembles and dances. Costume dramas and regional variations abound, and the librettos (though often based on French originals) are rich in Spanish idioms and popular jargon. The zarzuelas of the day included in their librettos various regionalisms and popular slang, such as that of Madrid castizos.
The Italian composer Claudio Monteverdi (1567–1643), in addition to a large output of church music and madrigals, wrote prolifically for the stage. His theatrical works were written between 1604 and 1643 and included operas, of which three—L'Orfeo (1607), Il ritorno d'Ulisse in patria (1640) and L'incoronazione di Poppea (1643)—have survived with their music and librettos intact. In the case of the other seven operas, the music has disappeared almost entirely, although some of the librettos exist. The loss of these works, written during a critical period of early opera history, has been much regretted by commentators and musicologists.
154 Neuendorff began to compose comic operas and operettas himself, most of which were written to librettos in German as well as in English. Besides, he translated German operas into English to be performed on Broadway, for example Franz von Suppé's Die Afrikareise.
His plays were written for the National Theatre in Prague, which was constructed in his thirties (1881). He wrote more than 30 dramas, some of them as verse drama. He also wrote several librettos with stories from Czech history or foreign literature.
Foreningen Dansk Musiktidsskrift, Vol. 80, pp. 104-106. Retrieved 25 November 2015 . Her opera librettos include Den sidste virtuos (1991), composed by Lars Klit, Løgn og latin (1998), composed by Svend Aaquist and I-K-O-N (2003), composed by John Frandsen.
Among his operetta librettos, Jean-Baptiste Weckerlin's setting of La Laitière de Trianon, a salon opera in 1 act, is the best remembered, along with one song, "Ça fait peur aux oiseaux" from the operetta Bredouille, set to music by Paul Bernard (composer).
He also translated numerous opera librettos into Norwegian. Michael Flagstad was married to the pianist Maja Flagstad and was the father of the singer Kirsten Flagstad, conductor Ole Flagstad, pianist Lasse Flagstad, and singer Karen-Marie Flagstad.Rothe, Anna (ed.). 1987. Current Biography Yearbook.
25 June 1730 was 200 years after the Augsburg Confession. In Leipzig the occasion was remembered by a three-day festival. Picander wrote three cantata librettos (later published in Ernst-Schertzhaffte und Satyrische Gedichte, Vol. III, 1732), one for each day of the celebration.
Francis Neilson (26 January 1867 – 13 April 1961), was an accomplished actor, playwright, stage director, political figure (Member of the British House of Commons), avid lecturer, author of more than 60 books, plays and opera librettos, and the most active leader in the Georgist movement.
A. Streatfeild, 'Handel, Rolli, and Italian Opera in London in the Eighteenth Century', The Musical Quarterly, Vol. 3, No. 3 (Jul., 1917), pp. 428-445. He also worked frequently with composer Giovanni Bononcini writing and adapting numerous librettos for him including his popular Griselda (1722).
The characters of Alberich and Mime in the Ring, Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not identified as such in the librettos of these operas.See e.g. Gutman (1990) and Adorno (2009) 12–13.
Apart from the 252 completed opuses, he also wrote poems, articles, reviews and librettos for all of his eight operas. At the time of Leopold’s death on 1 February 1966 aged 83, his last piece, an opera called Isis was left on the piano unfinished.
Piave's career spanned over twenty years working with many of the significant composers of his day, including Giovanni Pacini (four librettos), Saverio Mercadante (at least one), Federico Ricci, and even one for Michael Balfe. He is most well known as Giuseppe Verdi's librettist, for whom he was to write 10 librettos, the most well-known being those for Rigoletto and La traviata. But Piave was not only a librettist: he was a journalist and translator in addition to being the resident poet and stage manager at La Fenice in Venice where he first encountered Verdi. Later, Verdi was helpful in securing him the same position at La Scala in Milan.
In 1983 he returned to the Lyric Opera of Chicago to perform the role of Ko-Ko, and sang there again in 1994 for the company's first production of Candide. Billings is also the author of several librettos for children's operas. He wrote three librettos for composer Dennis Arlan (The Ballad of the Bremen Band, The Daughter of the Double Duke of Dingle, and Meanwhile, Back at Cinderella's) and one libretto for composer Ted Kicilek (Hansel and Gretel) to name just a few of his works. For his work as a lyricist and librettist he has won several awards from the American Society of Composers, Authors and Publishers.
Plan of the Palais-Royal in 1679 showing the location of the Paris Opera's theatre (in blue) After Lully died (in 1687), the number of new works per year almost doubled, since his successors (Pascal Collasse, Henri Desmarets, André Campra, André Cardinal Destouches, and Marin Marais) had greater difficulty sustaining the interest of the public. Revivals of Lully's works were common. French composers at the Opéra generally wrote music to new librettos, which had to be approved by the directors of the company. The Italian practice of preparing new settings of existing librettos was considered controversial and did not become the norm in Paris until around 1760.
Harry Bache Smith (December 28, 1860 – January 1, 1936) was a writer, lyricist and composer. The most prolific of all American stage writers, he is said to have written over 300 librettos and more than 6000 lyrics. Some of his best- known works were librettos for the composers Victor Herbert and Reginald De Koven. He also wrote the book or lyrics for several versions of the Ziegfeld Follies. Smith was born in Buffalo, New York to Josiah Bailey Smith (born 1837) and Elizabeth Bach (born 1838). According to his autobiography First Nights and First Editions (Boston: Little, Brown, 1931), Smith's actual name at birth was Henry Bach Smith.
Since 1990, a great number of Lukić's plays, ballet librettos and drama adaptations have been set on stages in Bosnia and Herzegovina, Croatia, Serbia, Slovenia, Spain, United States, Romania, Venezuela, Germany, and Poland. Apart from his own plays, Lukić wrote a considerable number of ballet librettos and made stage adaptations and dramatizations of great literary works, such as War and Peace by Tolstoy, Madame Bovary by Flaubert, City and dogs by Mario Vargas Llosa, Orlando by Virginia Woolf, Fortress by Meša Selimović and Eliah's chair by Igor Štiks. He translated plays for theatre from English and Spanish to Croatian, such as Caryl Churchill, Tom Kempinski, Manuel Puig, Sergi Belbel and others.
Luigi Romanelli (July 21, 1751March 1, 1839) was an Italian opera librettist. Romanelli was born in Rome. He wrote tens of librettos, most of them for operas to be performed at La Scala in Milan. In the same city he was professor of declamation at the conservatory.
Beazley also translated opera librettos, including Robert le diable, Caterina Cornaro and La sonnambula. The last is said to have been adapted by Beazley to fit the English pronunciation of the opera star Maria Malibran during a series of morning interviews with her at her bedside.
He also played the mandolin and served as a music teacher to Margherita of Savoy who wanted to learn the instrument. He published several transcriptions of opera arias for mandolin and piano, including pieces from the two Donizetti operas for which his father had written the librettos.
Between 1852 and 1854, Crosby wrote the librettos of three cantatas for Root. Their first was The Flower Queen; The Coronation of the Rose (1852),Carder (2008), p. 35. often described as "the first secular cantata written by an American."For example, see Richard F. Selcer, ed.
During that time, he composed two operas which were never performed. He also began working as a translator and librettist. He produced two librettos for operas by Carlo Pedrotti composed when Pedrotti was a student, Antigone and La sposa del villaggio. Neither of which was ever performed.
Cecere set to music at least two librettos by Pietro Trinchera, including La tavernola abentorosa. Trinchera, not Cecere, was punished because La tavernola abentorosa's satirical portrayal of monastic life was considered a buffoonish mockery. It was the first comic opera written specifically for a monastic audience.
He pursues other disciplines including painting, graphic art, and journalism. Bussotti is also a well-known film director, actor, and singer. His uncle Tono Zancanaro and his older brother Renzo Bussotti strongly influenced his style in painting. He has written most of the librettos of his operas.
Fevey is an opera by Vasily Pashkevich to a Russian libretto by Catherine II of Russia. Empress Catherine II had literary ambitions and wrote nine opera librettos. This one, an allegorical fairy tale, was called The Story of Tsarevich Fevey (Russian: Сказка о царевиче Февее. Аллегорическая сказка).
Notes (2nd Ser.), 4 (1): pp. 85-89. The libretto was by Hinrich Hinsch, a lawyer, who also wrote the text for Keiser's first opera in Hamburg: Mahumet II (1696), based on the life of Mehmet II. Hinsch had been writing librettos since 1681. He died in 1712.
She wrote Alte Liebe in collaboration with Bernd Schroeder, with whom she was married from 1972 but separated in the 1990s. Passionate about opera, she worked for children's operas at the Cologne Opera for 12 years, and wrote librettos and books, introducing a broader public to its culture.
Förtsch was born in Wertheim and possibly received his musical education from Johann Philipp Krieger. Moving to Hamburg in 1674 to write librettos, he then became in the 1680s one of the main composers in the heyday of the Oper am Gänsemarkt. In later life he returned to medicine.
Glenn Perry is an Australian writer and opera librettist. He is notable for his librettos for Julian Yu's operas Fresh Ghosts (1997) and The Possessed (2003). Perry received a grant in 2002 from the Australia Council for the writing of The Obsessed.Australian Government, Hansard 2 December 2002, p.
He gained a PhD in 1956. Further studies and teaching led him to Bologna and back to Tübingen. He also taught at the universities of Stuttgart, Freiburg, and Bern. Besides his musicology work, he worked as a music critic, editor of numerous magazines, and translator of opera librettos.
In 1765 Melchior Grimm published "", an influential article for the Encyclopédie on lyric and opera librettos. Several composers of the period, including Niccolò Jommelli and Tommaso Traetta, attempted to put these ideals into practice. The first to succeed however, was Gluck. Gluck strove to achieve a "beautiful simplicity".
He provided a new libretto for the 1832 revival in Genoa of Saverio Mercadante's opera Gabriella di Vergy and contributed the synopsis for Salvadore Cammarano's libretto to Persiani's Ines de Castro. Bidera and Cammarano were subsequently involved in a year-long battle with the Neapolitan censors before the opera finally premiered in 1835. For Donizetti, he provided the complete librettos for Gemma di Vergy which premiered in 1834 and Marino Faliero which premiered the following year. The success of the Donizetti operas led to Bidera being appointed as a house librettist at the Teatro San Carlo where between 1835 and 1838 he wrote the librettos for operas by Carlo Coccia, Giuseppe Lillo, and Giuseppe Balducci.
The text of the cantata is taken from a 1704 collection of librettos from Meiningen, many of which had been set to music in the cantatas of Bach's distant cousin Johann Ludwig Bach, Kapellmeister at Meiningen. The librettos have been attributed to his employer Duke Ernst Ludwig von Sachsen-Meiningen. The symmetrical structure of seven movements is typical for this collection: the opening quotation from the Old Testament, followed by a recitative and an aria; then the central quotation from the New Testament, followed by an aria and a recitative, leading into the final chorale. The theme of BWV 39 is an invocation to be grateful for God's gifts and to share them with the needy.
His writings on the history of Croatian theatre and the theory of theatre were compiled in several books, some of which were published posthumously. He also translated a number of plays and librettos into Croatian (including works such as Shakespeare's Macbeth, which he translated for his 1957 production of the play).
He was editor of the journal ' (Illustrated Times) from 1892 to 1899. From 1899 to 1909 Christiansen was the artistic director of the Royal Danish Theatre and orchestra. Between 1912 and 1924 he served as co-director of the Folketeatret (People's Theatre). He wrote two librettos and numerous novels and plays.
January 25, 2011. His other major operas include Buoso's Ghost (1996), Corps of Discovery (2003), Slaying the Dragon (2012), Speed Dating Tonight! (2013), and Alice Ryley (2015). He has written the librettos of many of his own operas, and has done so for all of his operas composed after 2012.
Veijo Oskari Baltzar (born June 9, 1942) is a Romani author and visual artist from Finland. Baltzar's artistic output comprises over 72 literary works, including novels, short stories, plays and musicals, a film, librettos and TV screenplays. Baltzar has described his childhood as extremely poor but very rich socially and spiritually.
Maurice Léna (24 December 1859 – 31 March 1928) was a French dramatist and librettist of the Parisian Belle Époque. His opera librettos include Jules Massenet's Le jongleur de Notre-Dame (1902), Georges Hüe's Dans l'ombre de la cathédrale (1921), Charles-Marie Widor's Nerto (1924) and Henry Février's La Damnation de Blanchefleur (1920).
When adapting a play for opera, it was imperative to shorten and simplify. Traditionally grand opera conveys plot in broad brushstrokes; the audience is not particularly interested in its intricacies, or its detours and complexities.White, Nicholas (2003). "Fictions and librettos" in Charlton, David, ed. The Cambridge Companion to Grand Opera, p. 45.
Another opera, Semiramide riconosciuta, was dedicated to the "nobility of the Czech Kingdom". Rutini later moved with Locatelli and his group to the Russian St. Petersburg. He composed there the comic operas, mainly to the librettos of Carlo Goldoni. He was also the piano teacher of Catherine II, the future Russian empress.
Mefistofele is the only work of his performed with any regularity today, and Enrico Caruso included its two tenor arias in his first recording session., The Independent Review, 4 August 2003, p. 15. The prologue to the opera, set in heaven, is a favorite concert excerpt. Librettos Boito's literary powers never waned.
Marco Marcelliano Marcello (7 March 1818 – 23 July 1865) was an Italian writer and composer. He was particularly known for the opera librettos which wrote for the Italian composers Achille Peri, Carlo Pedrotti, and Antonio Cagnoni as well as his translations of French operas for their first performances in Italy, including Meyerbeer's L'Africaine.
Løveid made her literary debut in 1972, with the novel Most. She received the Gyldendal Prize in 2001. Løveid's first play was the one-act Tingene, tingene, published in the literary magazine Vinduet in 1976. In total she has written about thirty plays, librettos or other texts for radio or stage performance.
It was also set by Ariosti under the title Lucio Vero, imperator di Roma (1727), by Reinhard Keiser under the title Lucius Verus (1728) and by Davide Perez under the title Berenice (1762). Following contemporary tastes, the librettos were altered in the course of the century to shorten recitatives and simplify the plot.
Procession were an Australian psychedelic pop, jazz band, formed in October 1967 by Craig Collinge on drums (ex-the Librettos, the Knack), Trevor Griffin on organ (ex-the Playboys), Brian Peacock on bass guitar and vocals (ex-the Librettos, the Playboys), Mick Rogers on lead guitar and lead vocals (ex-the Playboys). They relocated to London in mid-1968 and released a self-titled studio album in the following year. Australian singer-songwriter, Ross Wilson took over on lead vocals in April 1969 but the group disbanded in September. Rogers later joined Manfred Mann's Earth Band, Collinge was later a member of British proto-punk band, Third World War, and briefly played drums in the notorious "fake" Fleetwood Mac in 1973.
After an injury to her right hand, Bache gave up public performance excepting occasional Birmingham concerts. In 1883, she moved to London, where she took up teaching and literary musical work. Bache was very successful as a translator from German into English. Among her achievements, mention is made of the librettos of Franz Liszt's 'St.
Feydeau wrote more than twenty comic monologues,Gidel, p. 277 and provided librettos for the composers Gaston Serpette, Alfred Kaiser and Louis Varney,"The Drama in Paris", The Era, 31 December 1887, p. 7; and Gidel, pp. 86–87 and 193 but his reputation rests on those of his plays known in English as farces.
David. Michel-Jean Sedaine (2 June 1719 - 17 May 1797) was a French dramatist and librettist, especially noted for his librettos for opéras comiques, in which he took an important and influential role in the advancement of the genre from the period of Charles-Simon Favart to the beginning of the Revolution.Charlton 1992, p. 297.
Hundreds of mummified corpses, some still in burial finery or with a wig, are on display, some in open coffins, adorned with flowers or skulls, others decorated with Baroque paintings or with vanitas symbols. The most famous among them is Pietro Metastasio (1698–1782), the most famous writer of opera librettos of the baroque era.
Pietro Della Valle also wrote texts and librettos for several musical spectacles, such as "Il carro di fedeltà d'Amore", (music by his teacher of harpsichord Paolo Quagliati, performed in Rome in 1606 and printed in 1611), and "La valle rinverdita" (written in celebration of the birth of his first child in 1629, now lost).
Original libretto for Manuel García family's American tour: Romeo and Giulietta; A Serious Opera. In Three Acts. As Performed at the New-York Theatre, New York, E. M. Murden (for the New-York Theatre), 1826; libretto: Romeo e Giulietta, London, Mallet, date not reported (cited at ItalianOpera.org). In both librettos Malibran appears as Romeo.
Weiße was not appreciated by the literary representatives of the then new movement, Sturm und Drang. His most lasting success were the librettos to Johann Adam Hiller's Singspiele. Weiße died on 16 December 1804 in Stötteritz; he is buried in the Alter Johannisfriedhof in Leipzig. He was survived by his wife who died in 1813.
She also worked as a story editor for The Adams Chronicles. As an opera librettist, Bailey wrote librettos for four works. Her first libretto was for Leonard Kastle's Deseret, which is about the life of Brigham Young. The opera was commissioned for television by the NBC Opera Theatre and was first broadcast in 1961.
Southern Illinois University Press. His other opera librettos include: Galuppi's Polidoro and Scipione in Cartagine (both produced at the King's Theatre in 1742), St. Germain's La incosrtanza delusa (produced at the Haymarket Theatre in 1745) and Gluck's La caduta dei giganti. Gluck's opera, a commission by Lord Middlesex, premiered at the King's Theatre in 1746.
Farnace is the title of several 18th-century operas set to various librettos. The earliest version was written by Lorenzo Morari with music by Antonio Caldara, first performed at the Teatro Sant'Angelo in Venice in 1703. The best known libretto on this subject, however, was written by Antonio Maria Lucchini and set by Vinci and Vivaldi.
Incidents from the life of Demetrius II Nicator and Cleopatra Thea are the basis of the libretto Demetrio by Pietro Metastasio. First set by the composer Antonio Caldara for the imperial court of Vienna in 1731, it was one of Metastasio's most popular librettos, eventually set by dozens of 18th-century composers up to the year 1790.
Gänzl, Kurt. The Encyclopedia of the Musical Theatre, Schirmer Books; 2nd edition (May 2001) He often worked with composers Edward E. Rice and Woolson Morse. Goodwin was one of the earliest American writers dedicated to musical theatre librettos and lyrics. His first successful libretto was Evangeline in 1874, and his last new work was produced in 1903.
Verdi's bust outside the Teatro Massimo in Palermo Risorgimento won the support of many leading Italian opera composers.Axel Körner, "Opera and nation in nineteenth‐century Italy: conceptual and methodological approaches." Journal of Modern Italian Studies 17#4 (2012): 393–399. Their librettos often saw a delicate balance between European romantic narratives and dramatic themes evoking nationalistic sentiments.
His son did well but his daughter suffered in convent schools. Between 1782 and 1796, O'Keeffe wrote around 28 plays and librettos for comic operas. The Poor Soldier (1783), a comic opera with libretto by O'Keeffe and music by William Shield, was a farce about the lives of British soldiers returning home after the American War of Independence.
Paul Milliet (14 February 1848 - 21 November 1924) was a French playwright and librettist of the Parisian Belle Époque. His opera librettos include Jules Massenet's Hérodiade (1881) and Werther (1892), Alfred Bruneau's Kérim (1887), Spyridon Samaras's La biondinetta (1903), Mademoiselle de Belle Isle (1905) and Rhea (1908) and Camille Erlanger's Forfaiture (1921). He was married to soprano Ada Adini.
England 1881 census As a poet he adopted the combined names of his mother and his wife as his pseudonym, Shapcott Wensley. He wrote lyrics for songs and librettos for cantatas. Among the composers he worked for were Edward Elgar and John Henry Maunder. Many of his texts were written on commission of the publishing house Novello.
Rudolf (or Rudolph) Schanzer (12 January 1875 – 1944) was an Austrian playwright and journalist. He is primarily known for the numerous operetta librettos that he wrote for composers such as Leo Fall, Jean Gilbert, Emmerich Kálmán, and Ralph Benatzky. He was born in Vienna and died in Italy where he committed suicide after his arrest by the Gestapo.
His career can be divided into two parts: the years he spent at Venice, from 1650 to 1669, and the years at Vienna, from 1669 until his death. Minato is best remembered for his vast output as a librettist for opera. In total, he wrote over 200 librettos. His career began with Orimonte, written in 1650 for Francesco Cavalli.
Benoît-Joseph Marsollier (also known as Benoît-Joseph Marsollier des Vivetières, (Paris, 1750 – Versailles, 22 April 1817) was a French playwright and librettist. He is particularly noted for his work in opéra comique. In 1780 he also led the first exploration of the Grotte des Demoiselles. His librettos include Nina, L'irato, and Les deux petits savoyards.
Papayanni was born in Larissa, Greece. She studied Greek language and iterature at the Aristotle University of Thessaloniki and for many years she worked as a journalist on TV, radio, newspapers, and magazines. She later started writing books for children and teenagers and translating books into Greek language. She has also written theatrical plays for children and librettos.
Josef Zubaty claims that Dvořák came across the text "in an old Almanach". Scholars such as Michael Beckerman theorize that the allure of a free and already notated libretto was attractive to Dvořák. Librettos written in Czech were few. Scholars note that with this first work, Dvořák was flexing the composing characteristics that would later define his work.
Short biography of Hans Sommer. Retrieved 19 August 2012. He was most successful as a composer for the theatre. Several of his operas used librettos based on fairy tales and were first produced at Brunswick: Der Nachtwächter (1865), Loreley (1891), Rübezahl und der Sackpfeifer von Neisse (1904), Riquet mit dem Schopf (1907) and Der Waldschratt (1912).
Conversely, none of Thomas Corneille's three opera librettos appear in any of the editions of his works or theatre. It is now impossible to know if or how Fontenelle participated in the writing of Psyché, but in view of all of the accounts of Psyché's creation it seems improbable that he should be sole author of the work.
He also co- wrote the libretto for that opera with Suchoň. He also wrote the librettos for two operas by Ján Cikker, Juro Jánošík (1954) and Beg Bajazid (1957). In addition to performing, Hoza worked as dramaturge at the SNT from 1939–1947. He also served as an opera director at the house for several productions between 1958–1962.
26, 40–42 He went on to produce many successful comedies based on Marivaux and other French playwrights and opera librettos. In 1762 he and Arne wrote Love in a Village considered the first English comic opera.Tasch p. 43 His The Maide of the Mill (1765), with music by Samuel Arnold and others, was also very successful.
He found James Fenton to write him a libretto. Fenton had translated Verdi librettos for the English National Opera, but Haroun was his first libretto. He created a number opera, reducing the characters and adding to its political meaning. Wuorinen composed the opera in two acts, including musical quotes and "musical puns", to emphasize Rushdie's wordplay.
Felice Romani Felice Romani (31 January 178828 January 1865) was an Italian poet and scholar of literature and mythology who wrote many librettos for the opera composers Donizetti and Bellini. Romani was considered the finest Italian librettist between Metastasio and Boito.Branca, Emilia (1882). Felice Romani ed i più riputati maestri di musica del suo tempoRoccatagliati, Alessandro (1996).
Among the other noteworthy vaudevilles, librettos, and dramas of this versatile writer are the following: Les noces de diable (1862), Rocambole (1864), La jolie parfumeuse (1874), Espion du roi (1876), Le petit chaperon rouge (1885), Les femmes nerveuses (1888), La rieuse (1894), Le carillon (1897), Un soir d'hiver (1903) and Le jeu de l'amour et de la roulette (1905).
Béni Egressy Béni Egressy (; born Galambos Benjámin; 21 April 1814 – 17 July 1851 in Sajókazinc) was a Hungarian composer, librettist, translator and actor. He created a number of popular melodic compositions, including the one to Mihály Vörösmarty's patriotic poem Szózat. He also authored the librettos of the operas Hunyadi László and Bánk bán by Ferenc Erkel.
As Broadway increasingly became essential to commercial theatrical success, Herbert designed his shows to appeal specifically to New York sensibilities. Although consistently praised for his music, many of Herbert's operettas were criticized by theatre critics for their weak librettos and conventional lyrics.Waters, p. 574 By the mid-20th century, revivals of Herbert's works were relatively rare.
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.
The life of Antigonus is the basis of the story line of the libretto Antigono by Pietro Metastasio, first set to music by Johann Adolph Hasse in 1744. As with most of Metastasio's librettos, Antigono was set by a number of other 18th-century composers, among them the Bohemians Christoph Willibald Gluck in 1756 and Josef Mysliveček in 1780.
Most of what is known about the missing works comes from surviving librettos and other documentation, including Monteverdi's own extensive correspondence. Tim Carter, a leading Monteverdi scholar, suggests that the high rate of loss is explicable because, in Monteverdi's times, "memories were short and large-scale musical works often had limited currency beyond their immediate circumstances".
Other composers for which the two men wrote librettos include André Messager, and Gabriel Pierné. The two men also wrote a French translation of Franz Lehár's The Merry Widow in 1905 which was used throughout France during the first half of the 20th century. Their last opera collaboration was for Alfred Bruneau's 1923 opera Le jardin du paradis. De Flers also wrote the librettos for Reynaldo Hahn's Ciboulette (1923) with playwright Francis de Croisset, and Joseph Szulc's Le petit choc (1923). De Flers and de Caillavet also often worked together on stage plays, producing such comedies as Le Sire de Vergy (1903), Les Sentiers de la vertu (1903), Pâris ou le bon juge (1906), Miquette et sa mère (1906), Primerose (1911), and L’Habit vert (1913) among other works.
Unlike the "American Indianist" attempts to create operas with American Indian themes (see selected list below), with librettos written and music composed by non-Indians, The Sun Dance (1913) was a collaboration in which an Indian woman contributed some of the music, although for years she received no credit. She had studied classical music.Warburton, Thomas, edit (1999). The Sun Bride: A Pueblo Opera.
Octave Lebesgue (5 November 1857, Paris – 24 April 1933, Paris) was a French journalist and writer. He is best known by the pseudonym Georges Montorgueil, though he also wrote as 'Jean Valjean' (after the protagonist of Les Miserables) and 'Caribert'. He also produced librettos for operas and musicals. Beginning his career in Lyon, he later worked in Paris, notably on L'Écho de Paris.
Welisch's parallel career as a librettist began in 1905 when he and Rudolf Bernauer co-wrote the libretto for Leo Fall's first operetta Der Rebell. During his career he wrote or co-wrote over 20 librettos for operettas and musical theatre works as well as two stage comedies. In the 1930s he returned to Vienna where he died at the age of 66.
Hiroko Kishimoto (ed.), Il Fondo musicale Venturi nella Biblioteca comunale di Montecatini Terme: catalogo, Firenze, Giunta Regionale Toscana/Milano, Editrice Bibliografica, 1989. The librettos of his operas are mostly conserved at the Conservatory in Florence, in the Florentine Marucelliana Library, in the International Museum and Music Library in Bologna, in the Giorgio Cini Foundation in Venice and in the Staatsbibliothek in Berlin.
He tutored numerous Czech and Slovak opera directors. Josef Munclinger also wrote books on dramatic art (e.g. Hercova tvář a maska), translated and wrote opera librettos, worked as scenic designer and upgraded the Czech stage directing with technical news like projected scene or sound amplifiers. Having never retired from the stage, Munclinger died in Mariánské Lázně in 1954 at the age of 66.
After Bandinelli's death in 1667 Appolloni was in the service of the Chigi family in Rome and Siena for the rest of his life. He wrote the librettos for a number of operas, the most well-known of which were Antonio Cesti's L'Argia and La Dori, as well as several oratorios and the texts for cantatas by both Cesti and Alessandro Stradella.
Heather Buck appeared in the title role, and Peter Strummer as Rashid. The opera was published by Edition Peters. The libretto appeared as part of a collection of Fenton's librettos, The Love Bomb and Other Musical Pieces by Faber and Faber in 2003. The Boston Modern Orchestra Project produced a concert version of the opera, but with costumes and projections, in 2019.
For two years, Paul Lincke worked at the most famous European vaudeville house, the Folies Bergère in Paris. He then returned with new compositions to the Apollo-Theater where, with huge success in 1899 ' (Mrs Moon) was premiered. That same year, followed ' (In the Realm of Indra), and in 1902 the operetta Lysistrata. The librettos of these were by Heinrich Bolten-Baeckers.
The play was so well received that it was staged for 8 consecutive shows at APA in March 2008 with an all sold-out performances. In 2008, Anthony's first full- blown musical titled "Snow Queen" was staged in May at Kwai Tsing Theater. Anthony wrote and orchestrated the music, with librettos by Chris Shum. The musical was based on an Anderson fairy tale.
From 1962 he was a playreader in the Main Musical Department of Hungarian Radio. He wrote several librettos for Hungarian operas, including Hunyady for Rezső Sugár (1953), Báthory Zsigmond for Horusitzky Zoltán (1960), and Muzsikus Péter for György Ránki (1963). He translated several operas and musicals into Hungarian; the best known is Cats. He wrote scripts for the cartoons Lúdas Matyi and Hófehér.
Mazzolà's librettos are mostly opere buffe and set by the Dresden composers Johann Gottlieb Naumann, Joseph Schuster and Franz Seydelmann. Seydelmann's best Italian opera was Il turco in Italia (1788), described by Constanze Mozart after a performance in Vienna in 1789. Mazzolà's libretto was reworked by Felice Romani for Rossini's Il turco in Italia which also premiered in 1788.Senici, Emanuele (2004).
Zimmerman's involvement in stage productions is difficult to categorize, since she may be billed as director, writer, or producer, but usually takes on several of these roles. She is well known for her revivals of old plays and re-adaptions of classical and pre-classical works, librettos for modern operas, and re-presenting modern film and novels as stage plays.
Ludwig Strecker Jr., also Ludwig Strecker der Jüngere, (13 January 188315 September 1978) was a German music publisher, and an author of opera librettos which he wrote under the pen name Ludwig Andersen. He authored, and published through the Schott publishing house, two of the most successful German contemporary operas of the 1930s, Egk's Die Zaubergeige and Reutter's Doktor Johannes Faust.
Pavlos Carrer Pavlos Carrer (also Paolo Carrer; ; 12 May 1829 – 7 June 1896) was a Greek composer, one of the leaders of the Ionian art music school and the first to create national operas and national songs on Greek plots, Greek librettos and verses, as well as melodies inspired by the folk and the urban popular musical tradition of modern Greece.
None of Monteverdi's music for Andromeda has survived. The libretto was also thought to have been lost, until its rediscovery in 1984. As was customary in Monteverdi's time, the manuscript makes no mention of the composer's name—librettos were often the subject of numerous settings by different composers. The libretto's frontispiece confirms that Andromeda was performed during Mantua's Carnival, 1–3 March 1620.
For London he wrote some musical comedies which brought him to the attention of the wealthy Francis Money-Coutts, 5th Baron Latymer. Money-Coutts commissioned and provided him with librettos for the opera Henry Clifford and for a projected trilogy of Arthurian operas. The first of these, Merlin (1898–1902), was thought to have been lost but has recently been reconstructed and performed.
The leading singers each expected their fair share of arias of varied mood, be they sad, angry, heroic or meditative. The dramaturgy of opera seria largely developed as a response to French criticism of what were often viewed as impure and corrupting librettos. As response, the Rome-based Academy of Arcadia sought to return Italian opera to what they viewed as neoclassical principles, obeying the classical unities of drama, defined by Aristotle, and replacing "immoral" plots, such as Busenello's for L'incoronazione di Poppea, with highly moral narratives that aimed to instruct, as well as entertain. However, the often tragic endings of classical drama were rejected out of a sense of decorum: early writers of opera seria librettos such as Apostolo Zeno felt that virtue should be rewarded and shown triumphant, while the antagonists were to be put on their way to remorse.
Musicologist Julian Budden provides examples of those composers who had crossed the Alps, the most well-known being Rossini and Donizetti (as well as Vincenzo Bellini who, before he died in 1835, was planning a French grand opera.) However, Verdi had given some consideration of the idea of adapting one of the librettos written by Temistocle Solera in earlier years, librettos which music historian David Kimball regards as having something of grand opera in their structure.David Kimbell, in Holden, p. 987: Solera's earlier operas for Verdi begin with Oberto and include Nabucco, as well as I Lombardi. After conducting the premiere of I masnadieri in London and within a week of Verdi's arrival in Paris on 27 July 1847, he received his first commission from the company, agreeing to adapt I Lombardi to a new French libretto.
Abu Shadi wrote poetry, as well as essays on social reform, Islam, politics, and the arts. In addition to Apollo, he published the magazine Adabi ("My Literature") in Alexandria starting from 1939. He wrote articles of literary criticism, and wrote lyric qasidas, stories, opera librettos and plays in verse. Anthologies of his poetry include: Dewdrops at Dawn (1910), Rays and Shadows (1931), and Visions of Spring (1933).
Born in Lucca, he spent most of his career in Austria where he wrote the librettos for entertainments and operas at the courts of Archduke Ferdinand Charles in Innsbruck and Emperor Leopold I in Vienna.Catalano, Alessandro (2002). "L'arrivo di Francesco Sbarra in Europa centrale e la mediazione del cardinale Ernst Adalbert von Harrach" in Brigitte Marschall (ed.) Maske und Kothurn, Vol. 48, pp. 203-213.
Chorley also wrote, with far less success, novels, stories, drama and verse, and various librettos. His works of fiction included Sketches of a Seaport Town (1834), a collection of stories, essays, and novellas related to Liverpool. The next year, he wrote Conti the Discarded. Neither of these achieved success. His plays, Old Love and New Fortune (1850) and Duchess Eleanour (1854), did not gain a following.
This style was typified in La Donna di garbo, the first Italian comedy of its kind. After 1748, Goldoni collaborated with the composer Baldassare Galuppi, making significant contributions to the new form of 'opera buffa'. Galuppi composed the score for more than twenty of Goldoni's librettos. As with his comedies, Goldoni's opera buffa integrate elements of the Commedia dell'arte with recognisable local and middle-class realities.
John O'Keeffe (24 June 1747 – 4 February 1833) was an Irish actor and dramatist. He wrote a number of farces, amusing dramatic pieces and librettos for pasticcio operas, many of which had great success. Among these are Tony Lumpkin in Town (1778), Love in a Camp (1786), and Omai (1785), an account of the voyages of the Tahitian explorer Omai, and Wild Oats (1791).
The legacy of Princess Francesca Ursula Radziwill is a valuable historical and literary document. It consists of sixteen comedies and tragedies. The writer even tried her skills in opera librettos. Her plays staging carried out at various Radziwills estates, but after Michael Casimir's death in 1762, his wife work became theatrical relic and aroused the interest of only a narrow circle in Radziwill family.
One of Gilbert's illustrations for "Gentle Alice Brown" The Bab Ballads is a collection of light verses by W. S. Gilbert, illustrated with his own comic drawings. The book takes its title from Gilbert's childhood nickname. He later began to sign his illustrations "Bab". Gilbert wrote the "ballads" collected in the book before he became famous for his comic opera librettos with Arthur Sullivan.
Starer became an American citizen in 1957. Robert Starer taught at the Juilliard School, Brooklyn College and the Graduate Center of the City University of New York where he became a distinguished professor in 1986. He was married, had one child, Daniel, and resided in Woodstock, NY until his death. He lived with writer Gail Godwin for some thirty years; the two collaborated on several librettos.
Giacomo Badoaro (1602–1654) was a Venetian nobleman and amateur poet. He is most famous for writing the libretto for Claudio Monteverdi's opera Il ritorno d'Ulisse in patria (1640). He also provided librettos for the operas Ulisse errante by Francesco Sacrati (1644) and Elena rapita da Teseo (1653) by Jacopo Melani. He was a member of the Venetian intellectual circle, the Accademia degli Incogniti.
Adami also wrote librettos for other composers including Riccardo Zandonai's La via della finestra (1919); and Franco Vittadini's Anima allegra (1921) and Nazareth (1925). He was a music critic for La sera (Milan) and for the review La comedia from 1931 to 1934. Adami acted as publicist with the house of Ricordi to the end of his life. He died in Milan aged 67.
Charles Wakefield Cadman Charles Wakefield Cadman (December 24, 1881 – December 30, 1946) was an American composer. For 40 years he worked closely with Nelle Richmond Eberhart, who wrote most of the texts to his songs, including Four American Indian Songs, as well as the librettos for his five operas, two of which were based on Indian themes. He composed in a wide variety of genres.
The city is the site of the Niccolò Paganini Music Conservatory. Alessandro Stradella, a composer of the middle baroque, lived in Genoa and was assassinated in 1682. Felice Romani was a poet who wrote many librettos for the opera composers like Gaetano Donizetti and Vincenzo Bellini. Giovanni Ruffini was another poet known for writing the libretto of the opera Don Pasquale for its composer.
Pirkko Helena Saisio (born 16 April 1949) is a Finnish author, actress and director. She has also written under the pen names Jukka Larsson and Eva Wein. Saisio has a broad literary output, dealing with many kinds of texts from film screenplays all the way to librettos for the ballet. Her novel Betoniyö (1981) was adapted into a feature film Concrete Night in 2013 by Pirjo Honkasalo.
After finishing his studies, he worked in the Ministry of Education in Budapest, in the department of art. His friend Ferenc Martos (1875–1938), a distinguished Hungarian librettist, worked in the same department and wrote all the librettos for his operettas. The music of Jenő Huszka is considered fresh, sweet and romantic. It is inspired by Hungarian folk music and the waltzes of Vienna.
Stefano Benedetto Pallavicino (21 March 1672 – 16 April 1742) was an Italian poet and opera librettist. He was the son of the composer Carlo Pallavicino (1630?-1688). (Their surname Pallavicino is sometimes spelt Pallavicini.) Pallavicino was born in Padua. He worked at the courts of Dresden and Düsseldorf as a poet, secretary and librettist, and produced almost twenty opera librettos during his lengthy career.
Title page of Abimelech libretto Abimelech is an oratorio in three acts written by Christopher Smart and put to music by Samuel Arnold. It was first performed in the Haymarket Theatre in 1768. A heavily revised version of the oratorio ran at Covent Garden in 1772. Abimelech was the second of two oratorio librettos written by Smart, the first being Hannah written in 1764.
John Gassner in his review of this book said that Mr. Valency brought to his work "a lifetime of study and experience as well as a viewpoint both Olympian and engaged."New York Times, Maurice Valency 93 theatrical master dies, by Mel Gussow, 29 September 1996 Valency also wrote television plays, adaptations of librettos, novels, and academic works on Chekhov, Strindberg, Ibsen and Shaw.
Haavikko started his career as a poet, but he published in almost every genre of literature. His drama has seldom been played on traditional theatre scenes. Television series Rauta-aika illustrated freely the Finnish National epic Kalevala. Operas Ratsumies (English title: The Horseman) and Kuningas lähtee Ranskaan (English title: The King goes forth to France) were composed by Aulis Sallinen to librettos by Haavikko.
Crémieux was born in Paris to a Jewish family - he was related to the lawyer Adolphe Crémieux . He studied law and then worked in the civil service. His first play, Fiesque (1852) was a historical drama, but before long he started to write comedies and then, in collaboration, operetta and opéra comique librettos. His collaborations with Halévy were often written under the joint pseudonym Paul d'Arcy.
The opera was a hit, and Hales would write four more plays/librettos in the coming years. In 1777 he wrote a short fiction entitled Le roman de mon oncle. In 1778, he worked with Gréty on Le jugement de Midas, which was based on Midas by the Irish playwright Kane O'Hara (1762). The same year, the two produced Les fausses apparences as a comic opera.
Willner was born and died in Vienna. He began composing mostly music for the piano before making a career writing librettos for ballets, operas and operettas. One of his early operettas was Johann Strauss II’s Die Göttin der Vernunft, a commitment that Strauss regretted. Strauss was forced to complete the commission only by the threat of a lawsuit and declined to attend a performance.
Knudsen and Madetoja's ways parted in 1937. Plans to stage Okon Fuko in Dortmund had failed, but Knudsen presented two new librettos for Madetoja to compose: an opera based on a theme by E. T. A. Hoffmann, and a ballet that was originally to be composed by Carl Nielsen who had died suddenly. In the end, Okon Fuko was performed only thrice in Finland and never abroad.
Born in Moscow to a lawyer, Krylov studied at the Moscow Engineering College where he became friends with César Cui. He started out as a lyricist and co-authored several romances with Cui, and later, in 1857—1859 wrote the librettos for his operas Prisoner of the Caucasus, William Ratcliff and The Mandarin's Son.Leontyeva, L.V.Виктор Александрович Крылов in Russian Writers. The Biobibliographical Dictionary // Русские писатели.
Theobald Rehbaum (17 August 1835 – 2 March 1918) was a German violinist, librettist and composer, especially of operas. Born in Berlin, Rehbaum grew up there and sang as a boy in the Royal . He studied violin and composition with Friedrich Kiel, and composition also with Hubertus Rios. Rehbaum composed several operas and choral works, but was more successful as a librettist, writing librettos for Bernhard Scholz.
Ed. Ricordi 1883, musica di Francesco Paolo Frontini Enrico Golisciani (25 December 1848 – 6 February 1919) was an Italian author, born in Naples. He is best known for his opera librettos, but also published a slim volume of verses for music, entitled Pagine d'Album (Milano, Ricordi, 1885); many more of his poems intended to be set to music were published in the Gazzetta Musicale di Milano.
The DHI Rome has bosth a History Library and a Music History Library. The first specializes in Italian and German history as well as the binational relations, including approximately 171,000 volumes and 667 current journals. The Music History Library has 57,000 media units, including monographs, music and sound carriers, and 440 journals. It comprises a collection of 1,500 rare Librettos (numbers as of 2012).
Théophile Marion Dumersan Théophile Marion Dumersan (4 January 1780, Plou, CherAccording to the catalogue note for the Bibliothèque nationale de France and Dumersan Legion d'honneur file in French Archives Nationales. – 13 April 1849, Paris) was a French writer of plays, vaudevilles, poetry, novels, chanson collections, librettos, and novels, as well as a numismatist and curator attached to the Cabinet des médailles et antiques of the Bibliothèque royale.
7 Bendall was Arthur Sullivan's friend, confidant, and (from 1894 to Sullivan's death in 1900) his secretary.Young, p. 154; and Ainger, pp. 368 and 376 After the end of Sullivan's long collaboration with Gilbert, Bendall introduced the composer to Basil Hood, who wrote the librettos for Sullivan's last two operas, The Rose of Persia (1899) and The Emerald Isle (produced in 1901 after the composer's death).
With the exception of some years spent at Ossmannstedt, where in later life he bought an estate, Weimar remained Wieland's home until his death. Turning his attention to dramatic poetry, he wrote opera librettos such as Wahl des Hercules ("Choice of Hercules") and Alceste by Anton Schweitzer. In 1773, he founded Der teutsche Merkur, which under his editorship (1773–1789) became the most influential literary review in Germany.
Viktor Petrovich Burenin (, March 6 [February 22, o.s.], 1841 in Moscow, Russian Empire - August 15, 1926 in Leningrad, Soviet Union) was a Russian literary and theatre critic, publicist, novelist, dramatist, translator and satirical poet notorious for his confrontational articles and satirical poems, mostly targeting leftist writers. He was the author of several popular plays (some co-authored by Alexey Suvorin), novels and opera librettos (Tchaikovsky's Mazepa; Cui's Angelo).
William Plomer William Charles Franklyn Plomer (10 December 1903 – 20 September 1973) was a South African and British author, known as a novelist, poet and literary editor. He also wrote a series of librettos for Benjamin Britten. He wrote some of his poetry under the pseudonym Robert Pagan. Born of British parents in South Africa, he moved to England in 1929 after spending a few years in Japan.
The same year, he premiered his opera, Keolanthe. He then moved to Paris, presenting Le Puits d'amour (1843) in early 1843, followed by his opera based on Les quatre fils Aymon (1844) for the Opéra- Comique (also popular in German-speaking countries for many years as Die vier Haimonskinder) and L'étoile de Seville (1845) for the Opéra. Their librettos were written by Eugène Scribe and others.Burton, in Sadie (ed.) (1998), p.
In the early years of his career, Noverre felt all types, nationalities, and conditions of men were fit for depiction in dance, but at the close of his career he recanted and wrote that only nobly born heroes and heroines (mostly of antiquity) were appropriate for the dignity of stage dancing. Late in life he took a dislike to Les Fêtes and omitted it from his published librettos.
Peñaflorida was the author of many works in his lifetime. They include Los aldeanos críticos (1758), Ensayo de la Sociedad Bascongada de amigos del país (1766), and Gabon- Sariac (1762) a religious epic dealing with the life of Louise de La Vallière (although some attribute this one to Manuel Larramendi). He also wrote the music and librettos of two bilingual (Spanish-Basque) comic operas, El borracho burlado (1764) and Comedia famosa.
Nadar (1850s) Jean-Nicolas-Gustave Van Nieuwen-Huysen (known as Gustave Vaëz) (6 December 1812 – 12 March 1862) was a Belgian playwright, librettist and translator of opera librettos. Born in Brussels, he studied law and earned a doctorate at the State University of Leuven. Since he had no desire to work as a lawyer, he devoted himself to a career as a playwright. He published a large number of plays.
Rayner Taylor, Alexander Reinagle and Benjamin Carr were the leading figures in the city's musical life around the turn of the 18th century. These men had emigrated from England and were active as performers, composers, conductors, teachers and concert managers. Susannah Haswell Rowson was an important female composer active in the city. She wrote the librettos for two of Reinagle's compositions, and was a successful poet, guitarist, singer, playwright and actress.
He wrote also film scripts and librettos for operettas. In 1927 he became president of the Austrian P.E.N. club as successor of Arthur Schnitzler. Author Felix Salten wearing a traditional Austrian hunting outfit with a Janker jacket, hat and Gamsbart The most famous work of Salten, who himself was an avid hunter, is Bambi (1923). It was translated into English in 1928 and became a Book-of-the-Month Club success.
Heinz Hentschke (born February 20, 1895 in Berlin, Germany - died July 3, 1970 in Berlin) was an actor, director and librettist of German-language operettas. Hentschke started out as a theatrical actor working mainly in Berlin, Bremen, and Hamburg. He was the director of the Lessing Theatre in Berlin from 1934 to 1944. During this time, he wrote the librettos for 14 grand operettas, among which were Maske in Blau.
The first L series Libretto (The L1) was released on 18 May 2001 (in Japan only) and the last (The L5) just 11 Months later on 24 April 2002. Production of all Librettos ceased from 2002 until the release of the Libretto U100 in 2005. It was a further five years before the Libretto returned again in 2010 with the limited-edition dual touch screen tablet W100 model.
The music of Arnold Schoenberg (and atonal music along with it), Gustav Mahler, Felix Mendelssohn and many others was banned because the composers were Jewish or of Jewish origin.Levi 1994. Paul Hindemith fled to Switzerland in 1938, rather than fit his music into Nazi ideology. Some operas of Georg Friedrich Händel were either banned outright for themes sympathetic to Jews and Judaism or had new librettos written for them.
Rosendorfer penned numerous novels and short stories, as well as plays, TV scripts, historical research, and treatises and guides on music. Some of his works belong in the genre of fantasy; even in his works of realism and history, he often used elements of satire and the grotesque. He was a painter and composer, and combined his passion for literature and music in several librettos for the opera.
Beginning in 1900, he directed musicals at Broadway theatres. He was artistic director of the 5,200-seat New York Hippodrome from 1908 to 1923. He composed the scores, wrote the librettos for, and directed the Broadway productions The Tourists, Fascinating Flora (which he also produced), Jack o' Lantern, Happy Days, Good Times, Tip Top and Better Times. The New York Times praised his book for the musical Miss Billions in 1919.
George I of Great Britain The Oper am Gänsemarkt was a theatre in Hamburg, Germany, built in 1678 after plans of Girolamo Sartorio at the Gänsemarkt square. It was the first public opera house to be established in Germany: not a court opera, as in many other towns. Everybody could buy a ticket, like in Venice. Most works were in the German language or translated librettos (from Italian).
Burgess produced numerous other novels, including the Enderby quartet, and Earthly Powers. He wrote librettos and screenplays, including the 1977 TV mini-series Jesus of Nazareth. He worked as a literary critic for several publications, including The Observer and The Guardian, and wrote studies of classic writers, notably James Joyce. A versatile linguist, Burgess lectured in phonetics, and translated Cyrano de Bergerac, Oedipus Rex, and the opera Carmen, among others.
Honolka was a music critic for the Stuttgarter Nachrichten and editor of the Feuilleton section from 1949 to 1963. He also worked as a musicologist and translated several librettos of operas to German, especially those by Czech composers. He tried to revive forgotten works by notable composers by using new, more dramatic texts, for example Weber's Euryanthe and Schubert's Alfonso und Estrella. He also translated songs and choral music.
In addition, Havis has written librettos for three operas produced in the early 21st century. He has also written young adult novels and a popular book on cult films. Since 2001, he has edited and published three anthologies of plays, selected to express the changing political landscape in the United States in the era of terrorism. He is a professor of playwriting at the University of California, San Diego.
Ilves has also written many plays, including several librettos for the Estonian National Opera. He has won the Estonian National Broadcast’s radio contest “Battle of Poetry”. Ilves is a member of Estonian Writers' Union, Estonian Authors' Society and formerly Young Authors' Association in Tartu (1996–2009). He has contributed his writings and drawings to many journals and newspapers including children's journal Täheke and the only Võro language newspaper Uma Leht.
Shows would first be played on Broadway, sometimes for just one day at the Ambassador Theatre so they could be advertised as "direct from Broadway", then sent on the road. The Shuberts arranged shows on a production line system. Sigmund Romberg composed or arranged the music; Harold R. Atteridge wrote the lyrics and librettos; Huffman directed the shows; Watson Barr designed the sets; and Allan K. Foster choreographed the dance numbers.
Poole, The Bridge, pp. 65-66. There he continued to demonstrate an interest in journalism and fiction writing, working on the staff of the school's daily newspaper, The Prince — before finding straight journalism tedious.Poole, The Bridge, pg. 56. He moved from nuts-and-bolts journalism to the arts, contributing material to the campus literary magazine, The Lit, and penning two librettos for the illustrious Princeton Triangle Club, although both were rejected.
Modest chose to dedicate his entire life to literature and music. He wrote plays, translated sonnets by Shakespeare into Russian and wrote librettos for operas by his brother Pyotr, as well as for other composers such as Eduard Nápravník, Arseny Koreshchenko, Anton Arensky and Sergei Rachmaninoff. Being the nearest friend of his brother, he became his first biographer, and also the founder of the Tchaikovsky Museum in Klin.
The Biblioteca Livia Simoni, the museum's library, is situated at the II floor of the Museum. It was formed in 1952 with 40,000 volumes donated by author and Corriere della Sera critic Renato Simoni; it is named in honour of his mother. Today it holds some 140,000 works related to theatre history, opera and ballet including librettos, periodicals and the correspondence of musicians, actors and dancers, as well as books.
Aristide Hignard Jean-Louis Aristide Hignard (20 May 1822 – 20 March 1898) was a French composer of light opera notable as a friend of Jules Verne, also from Nantes and six years Hignard's junior, some of whose librettos and verse he set to music.Patrick Barbier, "Hignard et Verne: Les Mélodies de l'amitié", in Voyage autour de Jules Verne (Académie de Bretagne et des Pays de la Loire, 2000).
From 1723 until his death in 1750 Bach was employed as in Leipzig: the bulk of his around 20 extant secular cantatas originated in this period.Terry 1933, p. 97 Bach's earliest known secular cantata on a libretto by Picander dates from 1725. Bach wrote or re-staged at least 36 secular cantatas in the last 25 years of his life, and around half of these were on librettos by Picander.
Alfred Duru (27 November 1829 – 28 December 1889Acte n° 2968, registre des décès de 1889 pour le 17e arrondissement, on the Archives numérisées de la Ville de Paris website.) was a 19th-century French playwright and operetta librettist who collaborated on more than 40 librettos for the leading French composers of operetta:Alfred Duru. In: The New Grove Dictionary of Opera. Macmillan, London & New York, 1997. Hervé, Offenbach, Lecocq and Audran.
He turned down the post of court poet in Vienna, and began instead a career as opera librettist. He wrote two librettos for the composer Simon Mayr, which resulted in his appointment as the librettist for La Scala. Romani became the most highly regarded of all Italian librettists of his age, producing nearly one hundred. In spite of his interest in French literature, he refused to work in Paris.
He trained as a pilot in the U.S. Army Air Corps in Utah and then waited in New York for the call to arms which could put a stop to his dreams of stardom. While waiting, he wrote librettos for Broadway shows. In this book, Sheldon reveals that he was subject to frequent mood swings and often felt inappropriate emotions for his circumstances. At age 17, he seriously considered suicide.
Appleton's Cyclopaedia of American Biography, Vol. 4, pg 445, Digitized by Google Besides being an accomplished architect and designer, Jacob Wrey Mould was an avid pianist and organist, and employed his talent for language in translating numerous foreign opera librettos into English.James Stevens Curl (2006) A Dictionary of Architecture and Landscape Architecture, Oxford University Press, Oxford Reference Online. He is interred at Green-Wood Cemetery in Brooklyn, New York.
They had three children: David Farquhar (1904 – ), John Percival Farquhar (1912 – 2013 ) and Colin Farquhar (1913 – ). From 1920 until 1961, Marion Jones Farquhar lived in Greenwich Village, where she was well known as a violinist and voice coach. She also translated opera librettos and for a short time was head of the New York Chamber Opera. In 1961 she moved back to Los Angeles, where she lived until her death.
During this time (1950s) he actively promoted new dance movements in Mexico, including the production of posters, wardrobes and librettos. His art students included Rodolfo Nieto, Pedro Coronel, Carlos Olachea and Juan Soriano. He was also an important fine arts researcher and writer, publishing articles books and essays on the topic as well as poetry. Two books, Aurea Mesura and Técnica de la expression plástica, were published by UNAM.
Großes Sängerlexikon, Erganzungsband (I). Francke A skilled comic actor, he performed leading basso buffo roles in many Italian opera houses as well as in Lisbon, London, Madrid and New York. Rosich created the roles of Taddeo in Gioachino Rossini's L'italiana in Algeri and Buralicchio in Rossini's L'equivoco stravagante and also wrote the librettos for two operas by Manuel García: L'amante astuto and La figlia dell' aria.Cranmer, David (1991).
He transferred to CBC Television in 1950, serving as its first chief producer. He was among the pioneers of Canadian television in the 1950s, and was the creator of the CBC National News, later known as The National. Moore selected the program's first regular newsreader, Larry Henderson. Moore is well known for his contributions to drama, having created more than 100 plays, documentaries, musicals, and librettos for stage, radio and television.
Hazman Ozel (time is running out), music by Gidi Koren, was released in 2009 by NMC on a live performance DVD by The Brothers and The Sisters. She collaborated with composers on texts and librettos. Here Comes Messiah!, a monodrama for soprano and chamber orchestra by Matti Kovler, libretto by Janice Silverman Rebibo and Matti Kovler, was premiered at Carnegie Hall with soprano, Tehila Nini Goldstein, on May 9, 2009.
By November 1965 The Librettos were starting to gain wider popularity. They made several appearances on TV pop shows including Sing Sing Sing (hosted by Johnny O'Keefe), Saturday Date, Ten on the Town and TV Tonight, took over a residency at Suzie Wong's, recently vacated by legendary Sydney band The Missing Links and then began getting regular work at the popular Sydney CBD venue The Bowl, run by Brisbane-based pop impresario Ivan Dayman. Later in the year The Librettos featured in a package tour of artists from Dayman's Sunshine booking company and record label, backing fellow New Zealander Jim McNaught, and Australian singers Marcie Jones, Peter Doyle (later a member of Virgil Brothers and The New Seekers) and Graeme Chapman, and they headlined an extended tour of rural New South Wales and Victoria. They returned to New Zealand over the Christmas period, to undertake a small tour, which played to packed houses, and they were acknowledged as being New Zealand's best group in 1965.
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.
In 1885, she married Teofan Vasylevsky, a Ukrainian historian and patriot. Because Ukrainian nationalist was suppressed within the Russian empire, the couple often found themselves under police surveillance and, in 1905, Vasylevska's writings were confiscated. Her first poems and short stories were published in journals in Ukraine. She also wrote poems and fairy tales for children and the librettos for a number of children's operettas; the scores were written by Mykola Lysenko.
George Vere Hobart (1867 – 1926) was a Canadian-American humorist who authored more than 50 musical comedy librettos and plays as well as novels and songs. At the time of his death, Hobart was "one of America's most popular humorists and playwrights". Hobart gained initial national fame for the "Dinkelspiel" letters, a weekly satirical column written in a German-American dialect. The Library of Congress includes several of his songs in the National Jukebox.
Henri Caïn in 1882 In his office (1899) Henri Cain (11 October 1857 – 21 November 1937) was a French dramatist, opera and ballet librettist. He wrote over forty librettos from 1893 to his death, for many of the most prominent composers of the Parisian Belle Epoque.Qui êtes-vous? - Annuaire des contemporains, Paris 1924 Cain was born in Paris, the son of the sculptor Auguste Cain and brother of the painter Georges Cain.
Gilbert and his wife, Lucy, in 1867 Foggerty's Fairy and Other Tales is an 1890 book by W. S. Gilbert, collecting several of the short stories and essays he wrote in his early career as a magazine writer (before 1874). A number of them were later adapted as plays or opera librettos. Copyright problems dogged the book. It was pulled from market shortly after its publication, and is long out of print.
Le roi et le fermier is a 1762 opéra-comique ei 3 acts by Pierre-Alexandre Monsigny to a libretto by Michel-Jean Sedaine.Otto Jahn - 2013 Life of Mozart: - Volume 2 -p12 1108064833 Sedaine was so interested in Monsigny that he intrusted all his operatic librettos to him? 9 A wider sphere was opened to him with the three-act opera, “ Le Roi et le Fermier,” which was the commencement of the most brilliant success. ...
Ernst Welisch (27 February 1875 – 26 March 1941) was an Austrian playwright and theatre director. He is primarily known for the numerous operetta librettos that he wrote for composers such as Leo Fall, Jean Gilbert, Emmerich Kálmán, and Ralph Benatzky. Welisch was born in Vienna, but spent most of his career in Berlin. In the 1930s he returned to Vienna where he died shortly before the premiere of his last work, Venedig in Wien.
He was also a member of the Académie Royale de Belgique. His compositions include 7 operas, 3 symphonic poems, concertos for piano and violin, a Te Deum and choral works.The History of Music by Waldo S. Pratt Most of his operas used librettos of his own writing. His best known work today is "Freyhir", an hour-long choral tone poem written in 1883 on the theme of deforestation around Ardennes where the composer grew up.
The librettists for the opera of Hamlet, Michel Carré and Jules Barbier, were experienced: they had already provided librettos for Thomas' Mignon and also for Gounod's Faust.Forbes, Elizabeth, "Hamlet" in Hamlet CD Booklet (1993), p. 21. They chose Dumas' version of the play as the basis for their libretto. This was the version with which French audiences of the day were most familiar, and the one against which the opera would be compared and judged.
In 2008 Ondřej Macek presented his reconstruction of Vivaldi's Argippo, which he had based on extant librettos, on the Vivaldi arias in the Regensburg pasticcio score—which he had recovered two years earlier—, and on other music the Venetian composer had written around 1730.David Randall (4 May 2008). Vivaldi's long-lost opera returns to Prague after 278 years: After hunting the missing manuscript down in a German archive, Czech conductor revives 'Argippo'. The Independent.
In Mexico, adult comics go by a number of names, like "sensacionales" or "ghetto librettos." They are published in huge numbers as roughly square-shaped digests, about 96 pages long, in a realistic but uncomplicated "house" style. Most are sold cheaply at newsstands, either new or second-hand. Sensacionales are known for their lurid subject matter, with stories and images that can get very gory or pornographic – or even a combination of the two.
He also dealt with new arrangement of librettos. Among others, he wrote new versions for Die Fledermaus by Johann Strauss and Donizeti's Don Pasquale for performances at the house. Jerger created the role of the Man in Schönberg's Die glückliche Hand at the Theater an der Wien in 1924. On 1 July 1933, he appeared in the leading role of Mandryka in the premiere of Arabella by Richard Strauss at the Semperoper in Dresden.
Saint Foix, a one-act opera, was given at Munich in 1894 and Der Meermann at Weimar in 1896; Der Vetter aus Bremen (1865), Augustin (1898) and Münchhausen (1896–8) were not performed. His incidental music to Hans von Wolzogen's Das Schloss der Herzen (1891) was first performed in 1897 in Berlin, in concert form. He placed great importance on the literary quality of his librettos, and corresponded with numerous librettists and composers.
Forzano was born in Borgo San Lorenzo, in the province of Florence. He studied medicine before embarking on a brief career as an operatic baritone. He then began studying law and, after finishing his diploma, became a freelance journalist, contributing regularly to several of Italy's major newspapers. In 1914 he met and befriended Puccini who asked him to write the librettos for his Il trittico, a collection of three one-act operas.
Very little is known about his early life. Probably born in Ferrara, he became presbyter ("canonico") at the Congregazione di S Giorgio d'Alga in Venice, and author of sacred poems as well as secular texts for librettos. One of his madrigals, Sí ch'io vorrei morire, was set to music by Claudio Monteverdi in his Fourth Book of Madrigals. Filippo Bonaffino also set some of his work to music in book of madrigals.
Māra Zālīte (born February 18, 1952) is a well-known Latvian writer and cultural worker. Zālīte’s literary works include poetry, essays, plays, drama, prose and librettos. They often deal with historical problems and have symbolic meanings that correspond with mythology and Latvian culture and people. The author’s works have been translated in many languages including Russian, English, German, Swedish, Estonian, and French. Zālīte’s first literary works were published in the early 1970s.
Bridge of Dreams: the Mary Griggs Burke collection of Japanese art. (2000) p. 210. The first confirmed collaboration with Hon'ami Kōetsu (1558–1637) is in the Sagabon (Saga Books), an ambitious project started around 1606 by Suminokura Soan (1571–1632) to publish elaborate editions of classical Japanese book and Noh librettos. Sōtatsu created the designs for the covers and paper of many of the books, while Kōetsu was the calligrapher of some of the texts.
He moved to Vienna, where he was music consultant of the Wiener ' from 1908 to 1919. Together with Richard Specht he was also editor of the journal Der Merker, which was founded in 1909. From 1909 to 1914 Batka taught music history at the University of Music and Performing Arts Vienna. He wrote music-historical and music-aesthetic writings and librettos and translated musical and literary texts from Czech, Polish, Italian and French into German.
At the height of Martial Law, Lumbera had taken on other creative projects. He began writing librettos for musical theater. Initially, the Philippine Educational Theater Association (PETA) requested him to create a musical based on Carlos Bulosan’s America Is in the Heart. Eventually, Lumbera created several highly acclaimed musical dramas such as Tales of the Manuvu; Rama, Hari; Nasa Puso ang Amerika; Bayani; Noli me Tangere: The Musical; and Hibik at Himagsik Nina Victoria Laktaw.
Count Feodor Petrovich Tolstoy (1783–1873), sympathetically mentioned by Pushkin in Eugene Onegin, was one of the most fashionable Russian drawers and painters of the 1820s. Although he prepared fine illustrations for Bogdanovich's Dushenka, his genuine vocation was wax modeling and design of medals. As he gradually went blind he had to give up drawing and started writing ballets and librettos for operas. He was appointed Vice-President of the Academy of Arts in 1828.
A last complicating factor is that she, herself, is in love with another man. The Gondoliers was Gilbert and Sullivan's last great success. In this opera, Gilbert returns to the satire of class distinctions figuring in many of his earlier librettos. The libretto also reflects Gilbert's fascination with the "Stock Company Act", highlighting the absurd convergence of natural persons and legal entities, which plays an even larger part in the next opera, Utopia Limited.
The texts were published and it is assumed that Johann Sebastian Bach obtained a copy.Alfred Dürr, Richard D. P. Jones, The Cantatas of J. S. Bach: with their librettos in German-English (2006), p. 16 While working at Weimar, Bach set words by Lehms for his first two solo cantatas. He avoided the poet's larger-scale work, going on to use the more intimate texts for another eight of his surviving cantatas.
Ashbrook 1982, pp. 38–39 Writer John Stewart Allitt observes that, by 1827/28, three important elements in Donizetti's professional and personal life came together: Firstly, he met and began to work with the librettist Domenico Gilardoni, who wrote eleven librettos for him, beginning with Otto mesi in due ore in 1827 and continuing until 1833. Gilardoni shared with the composer a very good sense of what would work on stage.Allitt 1991, pp.
His work ran in Noi pagini literare, Flacăra, Cugetul românesc, Adevărul literar și artistic, Gândirea, Rampa, Viața literară, Revista Fundațiilor Regale and Mișcarea literară magazines; his humorous output was published in Papagalul and Gluma. He translated Waldemar Bonsels, Edvard Robert Gummerus and Georg Trakl, as well as opera librettos. A gifted orator, he had an erudite, captivating and persuasive style, imbued with a caustic pathos. He held frequent conferences, his speeches subsequently appearing in brochures.
Marco D'Arienzo (Naples, 24 April 181124 April 1877) was an Italian opera librettist. D'Arienzo was a professional state officialAntolini, 1986 and, at the same time, a writer and librettist. From 1834 to 1837 he worked as a journalist for the Neapolitan newspaper L'OmnibusMartorana, 1865 and was also author of Neapolitan songs, many of which were set to music by Saverio Mercadante. His comic librettos have been described as "witty and well presented" in spite of their involved plots.
Gassmann was born in Brüx, Bohemia, and was most likely trained by Johann Woborschil, the local chorus master. His father was a goldsmith who may well have opposed his son's choice of a musical career. From 1757 until 1762, he wrote an opera every year for the carnival season in Venice, and was also appointed choirmaster in the girls’ conservatory in Venice in 1757. Many of the librettos he set were by the renowned Venetian playwright Carlo Goldoni.
By special permission of the emperor in 1866 he played at the Odéon in Emile Augier's Contagion. His golden jubilee at the Théâtre Français was celebrated in 1894, and he made his final appearance the year after. Got was a fine representative of the grand style of French acting, and was much admired in England as well as in Paris. He wrote two librettos for operas by Edmond Membrée (1820-1892), François Villon (1857) and L'Esclave (1874).
Berdi Kerbabayev started his creative work in 1923. Since that period he had published more than 30 literary works of various genres: several plays, librettos, poems, literary scenarios and some prose works. At the same time he translated the works of Alexander Pushkin, Mikhail Lermontov, Nikolai Gogol, Leo Tolstoy into the Turkmen language. In the poems "Girls’ World" (1927), "Enslaved" (1928), "To the New Life" (1930), the author described the hard lot of the Turkmen woman in the past.
Mary Garden, at the 1905 premiere of Chérubin He was a lawyer by profession, but de Croisset gradually devoted more and more time to the theatre, "until play writing became his vocation." His opera librettos include Massenet's Chérubin (1905), based on his play of the same name, and Reynaldo Hahn's Ciboulette (1923). In 1919, de Croisset came to the United States to study film for the French government. By 1927, his name was attached to more than fifty plays.
His Erifile was set by several composers. De Gamerra is also said to have been the first translator of Mozart's Die Zauberflöte into Italian. His librettos are in the grand, orderly tradition of Metastasio, but incorporate progressive elements with enhanced use of chorus, ballet, and elaborate scenery. In 1793, aided by his reputation as a protégé of Metastasio, he was appointed as court librettist in Vienna, and he took to combining comic and serious features to please Viennese taste.
Bez graduated from secondary school and later drama school in Erfurt where he had been a boyhood friend of Jürgen Degenhardt. He and Degenhardt would later collaborate on numerous librettos for musical theatre and operetta. When collaborating, Bez and Degenhardt sometimes wrote under the pseudonyms Alfred Berg (Bez) and Hans Hardt (Degenhardt). Between 1952 and 1966, Bez worked as the resident dramatist at theatres in Heiligenstadt, Nordhausen, Erfurt, and Eisleben and at the Metropol-Theater in Berlin.
Thulani Davis (born 1949) is an American playwright, journalist, librettist, novelist, poet, and screenwriter. She is a graduate of Barnard College and attended graduate school at both the University of Pennsylvania and Columbia University. In 1992, Davis received a Grammy Award for her album notes on Aretha Franklin's Queen Of Soul – The Atlantic Recordings, becoming the first female recipient of this award. She has collaborated with her cousin, composer Anthony Davis, writing the librettos to two operas.
It was basically a succession of dances with one moment of drama at its end. He had no experience writing ballet scenarios so he called upon Vernoy de St. Georges, a man who had written many ballet librettos. St. Georges liked Gautier's basic idea of the frail young girl and the Wilis. He wrote the story of Giselle as it is known today in three days, and sent it to Léon Pillet, the director of the Paris Opéra.
Most of his plays and operas were staged at the Hermitage Theatre in St Petersburg. Among his other works are poems and translations including works by Voltaire and Corneille. Writing his plays and opera librettos, Knyaznin often borrowed some ideas from Voltaire, Metastasio, Molière and Carlo Goldoni developing them and putting in different context. He imitated these models so extensively that Alexander Pushkin later referred to him as "Knyazhnin the Borrower" (or "derivative Knyazhnin" — «переимчивый Княжнин», see details).
Acquisitions by Nuitter included an important collection of theatre books by Joseph de Filippi and around 900 opera librettos from a former director of the théâtre, Nestor Roqueplan. His influence on the expansion of the archive was impressive. In 1861, there were 350 volumes; by the end of 1862 there were 1,076, and in 1882 the collection had grown to 7,807. He ensured that their importance was taken into account when the Palais Garnier opened in 1875.
Opera was also performed by the students at the conservatory established by The Philharmonic Society of Bucharest. By the early 19th century, works by native Romanian composers began to be performed, although usually with librettos in German (or occasionally Hungarian). The notion of a Romanian national opera tradition emerged in the mid-19th century with the appearance of operas on Romanian subjects, often based on historical events, with Romanian-language librettos.Grout, Donald Jay and Williams, Hermine Weigel (2013).
The house received international attention, presenting Busoni's Doktor Faust staged by Willy Decker, and a cycle of Mozart's operas on librettos by da Ponte, staged by John Dew, among others. From 2001 to 2003 he was general director of the Deutsche Oper Berlin. Zimmermann directed the series musica viva of contemporary music, run by the broadcaster Bayerischer Rundfunk from 1997 to 2011. He invited notable composers and ensembles to concerts in Munich, many of which were recorded.
Otakar Hostinský. Otakar Hostinský (2 January 1847, Martiněves (near Litoměřice) – 19 January 1910, Prague) was a Czech historian, musicologist, and professor of musical aesthetics. He is known primarily for his support of composer Bedřich Smetana and his contributions to Czech aesthetic theory, which influenced many cultural figures in early twentieth-century Prague, including Zdeněk Nejedlý, Otakar Zich, and Vladimír Helfert. He also wrote the opera librettos to Zdeněk Fibich's masterpiece, The Bride of Messina, and Josef Rozkošný's Cinderella.
Komrij wrote librettos to two operas: Symposium by Peter Schat (1994), and Melodias Estranhas by Antonio Chagas Rosa (2000). He supplied lyrics to two collaborative ventures with the Dutch vocal ensemble Camerata Trajectina. The first was in reconstructing song texts to Dutch songs by Jacob Obrecht (2005). The second was in lyrics for the chamber choral cycle De Seven Zonden van Jeroen Bosch (The Seven Sins of Hieronymus Bosch) set to largely anonymous 16th Century tunes (2009).
Max Ferner was a German playwright, born Maximilian Sommer on April 18, 1881. He died in Munich at the age of 59 on October 9, 1940. Ferner teamed up with his friend Max Neal to write librettos for two operettas for the Austrian composer Karl Michael Ziehrer which were performed in September 1913 and again in February 1916. Ferner also wrote and co-wrote with Neal a series of plays, many of which were later converted to movies.
Raimondo Mei (1743-after 1810) was an Italian composer who was maestro di cappella at Pavia.Giuseppe Sarti. Musicista faentino Page 64 He composed several operas including an Ipermestra and an Ifigenia in Aulide to the librettos of Metastasio.Bollettino della società pavese di storia patria 1903 - Volume 3 - Page 94 \- Ifigenia in Aulide, dramma per musica da rappresentarsi nel Nuovo Teatro delli quattro Signori associati Cavalieri e Patrizi della Regia Città di Pavia nel Carnevale dell'anno 1786 ecc.
Opera came to Russia in the 18th century. At first there were Italian language operas presented by Italian opera troupes. Later some foreign composers serving to the Russian Imperial Court began writing Russian-language operas, while some Russian composers were involved into writing of the operas in Italian and French. And only at the beginning of the 1770s were the first modest attempts of the composers of Russian origin to compose operas to the Russian librettos made.
Johann Sebastian Bach had been a in Köthen since 1717. During his employment by Prince Leopold there, which lasted until 1723, he composed mostly secular music. The vocal music he composed in Köthen nearly exclusively consisted of secular cantatas on librettos by Christian Friedrich Hunold, who published such texts under the pen name Menantes. Bach's secular cantatas of this period are often congratulatory serenatas for occasions such as New Year and the birthday of the Prince.
He wrote and translated hundreds of librettos and other lyrics for children, choirs, and soloists. In 1999, he received the Golden Medal of the Slovenian Public Fund of Cultural Activities for his work. He was also a judge, a secretary of the Supreme Court of Slovenia, and involved in the legal and organisational arrangements in the field of culture in the 1980s and during Slovenian secession from Yugoslavia. Later, he collaborated as an expert with the Slovenian Constitutional Court.
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.
Retrieved 29 August 2014 . From 1799 to 1817, Anello was one of the "house librettists" at La Scala. His opera librettos include those for Rossini's L'italiana in Algeri, Paer's I fuorusciti di Firenze, Usiglio's La secchia rapita, and Pavesi's Ser Marcantonio which later formed the basis for Donizetti's Don Pasquale. He largely abandoned his literary career to return to the legal profession in 1817 when he was appointed professor of procedura giudiziaria (judicial procedure) at the University of Pavia.
Critical opinion has differed about this period of Hood's career. The Times, in its obituary notice, wrote, "He spent more ability in adapting librettos for the late George Edwardes than the quality of the work demanded … under these conditions he scarcely fulfilled his promise as a wit and poet.Obituary, The Times, 8 August 1917, p. 9 By contrast, in the view of the Encyclopedia of Popular Music, "adapting German and Viennese operettas … is where he found his métier.
To make ends meet he turned to translations and writing librettos. Things changed when Nekrasov became the head of Otechestvennye Zapiski. Ostrovsky was warmly welcomed in and debuted there in November 1868 with Enough Stupidity in Every Wise Man (На всякого мудреца довольно простоты). Taking cues from his 'worst enemy' operetta which came from France to conquer Petersburg and drive Ostrovsky's plays from theatre repertoires, he wrote "Ivan-tsarevich", an ironic fairytale, its Russian folklore plot mixed with modern parody and farce.
Librettos of romances sung for Gramophone by A.D.Vyaltseva. Saint Petersburg, 1902 In all, she recorded about a hundred tracks, of which at least 55 have survived. Her records were sold for 6 rubles each (a large sum considering the average teacher's monthly salary at the time was 35 rubles). Touring continuously, two or three times a year the singer regularly returned to the capital to perform at the Gentry assembly (Blagorodnoye sobranye), receiving up to 20 thousand rubles per show.
18th-century Italian operas in serious style are almost always set in a distant or legendary past and are built around historical, pseudo-historical, or mythological characters. Metastasio's L'Olimpiade is highly exceptional in being named for an event, not a character, in this case a celebration of the Olympic Games in ancient Greece. Metastasio's librettos are ordinarily love intrigues that resolve into marriage. Seemingly insoluble dilemmas that keep lovers from marrying throughout the drama find solutions just before the end.
Don Giovanni's standard techniques of trying to seduce lower-class women with promises of marriage and upper-class women by appearing to them disguised as their lovers are carefully respected. Almost nothing is known about the reception of Denzio's highly innovative operatic production. One of the surviving copies of the librettos does record a mildly positive reaction to the opera, but the best measure of its success is the revival of the libretto with new music in Brno four years after its premiere.
Of Jewish descent,Siegbert Salomon Prawer, Between Two Worlds: The Jewish Presence in German and Austrian Film, 1910-1933, Berghahn Books (2007), p. 189 Neubach was a veteran of World War I, after which he worked as a master of ceremonies in Austria, Switzerland and Germany. He wrote lyrics for songs and over 2,000 hits, including I've lost my heart in Heidelberg (1925) and In Heaven There Is No Beer (1956). Successful operetta librettos include Gentleman Jack (Music: Carita by Horst).
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 addition to their work on opera librettos, Royer and Vaëz co-wrote many plays, ranging from serious drama to comédie en vaudeville, several of which premiered at the Théâtre de l'Odéon. During this period, Royer had also achieved a minor reputation as an orientalist, partly though his novels and travel writing which were widely read at the time, but also through his biography of Mahmud II and his articles on Mahmud's legislative reforms for the legal journal, Gazette des tribunaux.
Jarmila Kröschlová (19 March 1893 – 9 January 1983) was one of the most important representatives of modern dance in Czechoslovakia. She was one of the leading European expressionist dancers and as a choreographer had wide influence on other dancers, through her teaching and theoretical writings on dance. Working with the Czech avant-garde theater, producing librettos and as a professor in the Theatre Faculty of the Academy of Performing Arts in Prague, she advanced modern dance and pantomime with her theories of movement.
Pascal Bastia was one of the first composers to not orchestrate his own scores, the American way: Ma Femme was orchestrated by André Sablon (elder brother of John), Un joli Monsieur by Mac Curthy, Dix-neuf ans by Jef de Murel and Michel Emer. On the other hand, he wrote most librettos and lyrics for his operettas. A singer-songwriter, his song were interpreted by the greatest: Jean Sablon, Joséphine Baker, Luc Barney. He also was the author of music and film scripts.
Schiebeler wrote several librettos for operas and oratorios, such as Basilio und Quiteria based on an episode from Cervantes' Don Quixote. He was a student, age 18, when he selected the scene of the hero and his squire taking part in the wedding of Camacho. Based on his extensive studies of Spanish literature, he was able to work from the original Spanish text. His libretto is subtitled "Singgedicht für das Theater" ("dramatic libretto for the theater") and has detailed directions for a performance.
The main musical numbers from the 1711 libretto are listed, together with changes and replacements from the two major revisions of 1717 and 1731. Minor changes, transpositions, and alterations to recitative sections are not shown. New numbers introduced in 1717 and 1731 are listed separately. Other arias not listed may have been sung in Rinaldo during the years 1711–17, but in the absence of contemporary evidence from scores or librettos the extent of such changes cannot be accurately ascertained.
He also wrote several original plays and translated, adapted, modified and adjusted to Polish realities many French, German, English and Italian plays. All told, he authored more than eighty tragedies, comedies, dramas and opera librettos. Bogusławski was a proponent of classical French principles initially, but later shifted his focus to moralizing German dramas that he saw as being closer to life. He directed the plays of Jean Racine, Molière, Voltaire, Pierre Beaumarchais, Denis Diderot, Friedrich Schiller and Gotthold Ephraim Lessing.
Moronobu provided the illustrations, and sometimes text, for at least twenty-two ukiyo-zōshi novels and librettos for puppet theatre between 1703 and 1711. These included a modernized illustrated version of the 11th-century Tale of Genji in eighteen volumes, whose translation was by Masanobu. After 1711 Masanobu's output of book illustrations shriveled as he turned his attention to albums of prints, usually about a dozen per set, on a variety of themes—most outstanding of which were the comic albums.
The BNP's Music Collection is one of the most important in Portugal, and is especially useful for historical and musicological research. It contains more than 50,000 items ranging from the 12th to the 20th centuries, most of which were produced in Portugal. In addition to printed and manuscript scores, it offers books and periodicals on musical subjects, librettos, programmes, posters, photographs, a variety of personal and institutional archives and other material linked to the production of music and musical recordings.
In the 19th century, there were also many operas with librettos inspired by Montenegro and its culture, like the famous "Balkan Empress".Balkan Empress Other prominent 19th-century composers include Aleksa Ivanović and Dragan Milošević, who graduated from Prague music schools. In the beginning of the 20th century, when music schools were first introduced, and culture started developing faster, Montenegrin music started flourishing. There have been a number of notable classical music composers from Montenegro, especially during the 20th century.
Lei Lei (雷蕾) is a Chinese classical composer. She is best known for her music for TV dramas such as Plainclothes Policeman, Aspiration, and The Yellow Storm. She has written two Chinese-language western-style operas to librettos by Zou Jingzhi: Xi Shi (opera) (2009) based on the story of Xi Shi and The Chinese Orphan (2011) based on the story The Orphan of Zhao.FT.com - The Chinese Orphan, review by Ken Smith The premieres of both were at Beijing's NCPA.
During the 1980s, Zālīte turned to playwriting, composing librettos for musicals and writing rock operas. Her works have used music by many eminent Latvian artists such as Raimonds Pauls and Jānis Lūsēns. The writer has earned many literary prizes and national awards, including the Order of the Three Stars, and is considered as one of the greatest Latvian social figures. Her first prose work – the autobiographical novel “Five fingers” (2013), earned wide recognition from both readers and members of the writing community.
In 1948, Dario Soria established the Cetra-Soria label to press and distribute opera recordings from the Italian Cetra label in the United States. Taking advantage of what was available in Italy, the label distributed rarely performed operas in America for the first time. At Soria's insistence, Cetra- Soria releases included both complete Italian librettos and English translations, setting the standard to which fans of recorded opera are now accustomed.Steve Smith, "Dorle Jarmel Soria Remembered as Angel Co-Founder," Billboard vol.
Later the libretto and score were legally separated, and Willner revised the libretto for Franz Lehár as Der Graf von Luxemburg. Willner's first big success was his libretto for Leo Fall’s Die Dollarprinzessin and Willner soon became a much sought-after operetta librettist. He wrote several successful librettos for Lehár operettas, particularly in collaboration with . The two also collaborated on highly successful adaptations of music by Schubert, such as Das Dreimäderlhaus, and by Johann Strauss father and son, such as Walzer aus Wien.
But these mathematical foundations are not the only aspect of the work of Tom Johnson. His approach is multi-disciplinary, and his obsession with integrating text and visual images can produce a theatrical atmosphere close to performance art. The librettos for his operas, which he almost always writes himself, describe what takes place in the music in an objective manner, somewhat reminiscent of Pirandello. For example, in The Four-Note Opera, the chorus proclaims “There are three choruses in this opera.
He appeared in such films as War Paint (1953), The Steel Cage (1954), Ten Seconds to Hell (1959), and Under Ten Flags (1960). He returned to the University of Minnesota and earned his doctorate degree in 1966. He taught at the University of Minnesota from the mid-1960s through the late 1990s. He wrote the play Do Not Pass Go, which was produced off-Broadway, and wrote the librettos for two operas by Dominick Argento, The Voyage of Edgar Allan Poe and Valentino.
Christoph Klimke (born 22 November 1959) is a German writer. His work spans multiple genres—novels, plays, librettos for operas and ballets, poetry, and essays on film and literature. He has written several works on the Italian director and writer Pier Paolo Pasolini, including Wir sind alle in Gefahr, for which Klimke won the 1995 Ernst Barlach Prize. His novella Der Test oder: Chronik einer veruntreuten Seele was one of the key works in German AIDS literature of the 1990s.
Portrait of Gioachino Rossini by Vincenzo Camuccini, Museo Teatrale alla Scala in Milan Stabat Mater is a work by Gioachino Rossini based on the traditional structure of the Stabat Mater sequence for chorus and soloists. Initially he used his own librettos and compositions for a portion of the work and, eventually, the remainder by Giovanni Tadolini, who composed six additional movements. Rossini presented the completed work to Varela as his own. It was composed late in his career after retiring from the composition of opera.
In his countersuit, Verdi claimed damages and, in the document which he prepared called "Defense of Maestro Cavalier Giuseppe Verdi" and in which he gave instructions to his lawyer, he laid what he regarded as the absurdity of some of the requirements.Philips-Matz, p. 376 These included the substitution of one word of the opening chorus' "Die!" for "He sleeps". In addition, it has been noted that he instructed a copyist to "place the two librettos (Vendetta and Adelia)in parallel columns"Gossett and Narici, p.
London: Omnibus Press keyboards) and Australian drummer Craig Collinge (formerly of Manfred Mann Ch III, the Librettos, Procession and Third World War). The members of this group were told that Fleetwood would join them after the tour had started, to validate the use of the name, and claimed that he had been involved in planning it. Davis and others stated that Fleetwood had committed himself to the project and had given instructions to hire musicians and rehearse the band.Brunning, B (1998): Fleetwood Mac – The First 30 Years.
For his translations of the French language lyrics and poetry, particularly that of Jacques Brel, Charles Aznavour and Georges Brassens, Młynarski was awarded the French Legion of Honour (Ordre national de la Légion d'honneur). He is the recipient of several Polish State orders, including the Order of the White Eagle. In the 1970s, Wojciech Młynarski authored numerous operas and musicals, including "Henryk VI na łowach", "Cień" and "Awantura w Recco". He also translated the librettos of the musicals Cabaret, Chicago and Jesus Christ Superstar into Polish.
Giovanni de Gamerra (26 December 1742 - 29 August 1803) was an Italian cleric, a playwright, and a poet. He is best known as a prolific librettist. Gamerra was born in Livorno, and worked from 1771 at the Teatro Regio Ducale in Milan – an important centre for opera at the time. Operas based on his librettos include Sarti's Medonte, re di Epiro and Josef Mysliveček's Il Medonte, Paisiello's Pirro, several operas by Antonio Salieri and Mozart's Lucio Silla (though this libretto was modified by Metastasio).
Le Guin in 2009 Ursula K. Le Guin (1929–2018) was an American author of speculative fiction, realistic fiction, non-fiction, screenplays, librettos, essays, poetry, speeches, translations, literary critiques, chapbooks, and children's fiction. She was primarily known for her works of speculative fiction. These include works set in the fictional world of Earthsea, stories in the Hainish Cycle, and standalone novels and short stories. Though frequently referred to as an author of science fiction, critics have described her work as being difficult to classify.
Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, and lyrics or librettos. Historically, the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albumsCross, Alan (15 July 2012) Life After the Album Is Going to Get Weird. alancross.
When Corelli died in 1713, he left his estate, which included some valuable pictures, to the Cardinal, who distributed the sizable funds among Corelli's relations and erected a princely tomb for the musician in the Pantheon. Other protégés of the cardinal were Alessandro Scarlatti, Antonio Vivaldi and Antonio Caldara. As his father Antonio Ottoboni also did, Pietro Ottoboni wrote texts of cantatas and librettos for oratorios, such as for Scarlatti's La Giuditta of 1693. When opera was banned in Rome, performances withdrew to Ottoboni's Cancelleria.
Originally, narratives appeared in a verse form (ballads, romances and the epic poem Krst pri Savici (1836) by France Prešeren), but were replaced by prose; the last prolific narrative poet was Anton Aškerc (Balade in romance, 1890; Zlatorog: Narodna pravljica izpod Triglava (1904). Ivan Rob (Deseti brat, 1938) and Feri Lainšček (Sprehajališča za vračanje, 2010; Engl. translation Passages of Return, 2012) composed novels in verse. Librettos for singspiels Tičnik (1866) by Benjamin Ipavec and Gorenjski slavček (1870) by Luiza Pesjak and Anton Foerster belong to narratives, too.
James Billings (born 1932, Springfield, Missouri) is an American operatic baritone, librettist, and opera director. He began his career in the late 1950s in Boston and later became a member of the New York City Opera where he performed regularly from the early 1970s through the 1990s. A specialist in the comprimario repertoire, he has portrayed more than 175 opera roles on stage during his long career. Billings has also written librettos for numerous operas for children and since the mid-1990s has directed several opera productions.
The great opera houses in Naples and Milan were built: the Teatro di San Carlo and La Scala, respectively. It is the age, as well, of the rise to prominence of the Neapolitan—and then Italian—Comic opera. Important, too, is the restoring of balance between text and music in opera, largely through the librettos of Pietro Trapassi, called Metastasio. Important Italian composers in this century are: Domenico Scarlatti, Benedetto Marcello, Giovanni Battista Pergolesi, Niccolò Piccinni, Giovanni Paisiello, Luigi Boccherini, Domenico Cimarosa, and Luigi Cherubini.
Ton Koopman 2000).Ton Koopman & The Amsterdam Baroque Orchestra: Markus Passion (1731) at . Reconstruction of chorale movements of lost church music is helped by the fact that hundreds of Bach's four-part chorales survive, including separate chorales such as BWV 253–438 and 1122–1126, which are most likely nearly exclusively chorale settings from otherwise lost larger vocal works. With some educated guesswork Bach scholars such as and Klaus Häfner have coupled extant chorale settings with hymn verses in librettos of otherwise lost works.
Lunel was born in Aix-en-Provence, France, to a family that belonged to a Jewish subculture that had roots in the area for at least five centuries. After coming of age in the region, Lunel taught law and philosophy in Monaco. Lunel wrote extensively about the Jews of Provence. He was a childhood friend of the composer Darius Milhaud, and wrote the librettos of Milhaud's operas Esther de Carpentras ("Esther of Carpentras," 1938, based on Shuadit folklore) and Les malheurs d'Orphée ("The Misfortunes of Orpheus," 1924).
Le donne letterate composed by Antonio Salieri (1750–1825), is an Italian opera in three acts, stylistically it is an opera buffa and is very similar to the mid-18th century librettos of Carlo Goldoni. The libretto by Giovanni Gastone Boccherini, dancer, poet and stage manager, brother of the composer Luigi Boccherini, was based on Molière's Les Femmes Savantes (The Learned Ladies). This opera was the first of Salieri's to be publicly performed, as well as his first collaboration with Boccherini. This was Salieri's second complete opera.
Hawaii Tribune-Herald, pg. 12, January 10, 1979 Five books of his poetry have been published. In collaboration with composer Jerré Tanner he wrote librettos for seven operas, three of which are of notable historic interest (The Garland of Kāne-first opera based on Hawaiian culture; The Singing Snails-first Hawaiian opera for youth;Ben Hyams, Honolulu, Honolulu, Hawaii; pg. 119, December 1980 The Kona Coffee Cantata- first recorded Hawaiian operaThe Kona Coffee Cantata; Albany Records TROY313), three choral symphonies, song cycles, concert arias and art songs.
Marco Scacchi and Virgilio Puccitelli were the opera's impresarios. The appearance of the opera in Lithuania is quite early, especially considering the fact that Italian opera phenomena was formed at about 1600 and first opera staged in Paris was just before 1650. In the 17th century in Palace of the Grand Dukes of Lithuania, three Italian operas were staged – all by palace composer Marco Scacchi, to librettos by Virgilio Puccitelli - Il ratto d’Elena (The Elena Kidnapping) (1636), L'Andromeda (Andromeda) (1644), Circe Delusa (Disillusioned Circe) (1648).
BBC News (1 April 2011) He has worked as a librettist for Sir Peter Maxwell Davies on The Doctor of Myddfai, Mr Emmet Takes a Walk and Kommilitonen!, and has translated opera librettos into English from Russian, Czech, German, and Italian.Clements (21 January 2002); Christiansen (22 March 2011); White (14 July 1996) He wrote the libretto for and directed Elena Langer's opera Figaro Gets a Divorce, which was premiered at the Welsh National Opera in February 2016."Figaro Gets a Divorce", Welsh National Opera website.
Despite initial stage success, a massive cut of the first version, of some 100 pages of orchestral score, led to the published version; a set of adventures in America in acts 3 and 4 having been considered too long. The final version of 1923 contained three acts, omitting the American content altogether, although containing much of its music. One of Luigi Illica's first librettos, it had a difficult gestation due to difficulties with the composer. Illica withdrew his name from the project after the first performance.
Critics observed that Mackenzie's operatic and choral music was generally ill-served by his librettists: "Much of his best work ... is neglected, partly because unlike his contemporaries, Parry and Stanford, Mackenzie went for the texts of his larger vocal works to such librettists as Joseph Bennett and Hueffer, instead of to the vital things of English poetry and literature." "[He] was content with librettos written by hacks according to the current operatic conventions.""Alexander Mackenzie: A Neglected Generation", The Times, 15 August 1947, p.
Six years after this Piccinni was invited by Queen Marie Antoinette to Paris. He became the first Italian after Jean-Baptiste Lully to write operas for the Academie Royale de Musique, as the opera was called. He collaborated with the poet and dramatist Marmontel on several projects designed to advance the cause of the operatic reform. Marmontel's first librettos took as their foundation texts Philippe Quinault had written for Lully, Roland 1778, and Atys, 1779, then the subsequent efforts, starting with Didon, were original texts.
According to historian Ellen Rosand, the academy, in keeping with its name, usually operated behind the scenes. Members often wrote in a secret language and frequently published their works anonymously. The Accademia degli Incogniti was particularly active in the promotion of musical theater in Venice from the 1630s onward, founding its own theater, the Teatro Novissimo, which flourished briefly between 1641 and 1645. In their librettos for musical dramas, the iconoclastic intellectuals of the academy set a tone which was "[often] shockingly frank and frequently amoral".
Then, in July 1852, by way of an announcement in a theatrical journal, Verdi received news of Cammarano's death earlier that month. This was both a professional and a personal blow. The composer learned that Cammarano had completed Manrico's third-act aria, "Di quella pira" just eight days before his death, but now he turned to De Sanctis to find him another librettist. Leone Emanuele Bardare was a young poet from Naples who was beginning his career; eventually he wrote more than 15 librettos before 1880.
Later that year he went to Venice, where he began work as the secretary of Francesco Boldieri, a nobleman who handled the property of the Knights Hospitallers of St. John of Jerusalem. His fame began to grow, as both playwright and librettist, and his output of plays, tragedies, comedies, and librettos was almost all for theatres and opera houses in Venice. His works were set to music by some of the most famous composers of the day, including Francesco Cavalli, Antonio Cesti, Barbara Strozzi, and Francesco Lucio. He died in Venice.
Although the dances of the ballerina Preobrajenska were a great success, the first performance was not. The editor-publisher of the Saint Petersburg Gazette, Sergei Khudekov, himself a ballet expert and noted for co-authoring the librettos for several ballets staged at the Mariinsky,Wiley, Roland John. "Three Historians of The Imperial Russian Ballet", Dance Research Journal, Volume 13, Number 1, Autumn 1980, p. 9 was one of several critics who complained that the Ivanov/Gerdt choreography was of poor quality, and that the libretto was extremely slight.
His production comprises numerous collections of poetry and prose – essays, short narrative-reflexive prose, aphorisms, fragments, diary annotations and philosophical meditations –, as well as three librettos for opera. He has translated classic texts from Aeschylus and Seneca, and a variety of authors, including John Ashbery, Samuel Beckett, Wallace Stevens, Henri Michaux, and Tomas Venclova. His works have been translated into many languages, including Russian, Italian, English, French Spanish, Swedish and Japanese. His book Ashes for breakfast: Selected poems, translated by Michael Hoffmann, was shortlisted for the Griffin Poetry Prize in 2006.
Zeller had a fine soprano voice, and sang in the Vienna Boys' Choir before studying and composition in the University of Vienna. He worked as a civil servant at the Imperial Ministry of Education while composing choral works and a number of operettas, the best-known of which is Der Vogelhändler. All of his librettos were written (or co-written) by , often together with . Legal troubles, including a perjury conviction, ended Zeller's career at the ministry and led to prison and public disgrace in the mid-1890s (although his prison sentence was later repealed).
She consoled herself with what Servadio describes as "a new pleasure in shopping"; for Rossini, Paris offered continual gourmet delights, as his increasingly rotund shape began to reflect. The first of the four operas Rossini wrote to French librettos were Le siège de Corinthe (1826) and Moïse et Pharaon (1827). Both were substantial reworkings of pieces written for Naples: Maometto II and Mosè in Egitto. Rossini took great care before beginning work on the first, learning to speak French and familiarising himself with traditional French operatic ways of declaiming the language.
Mitchell was for some years poetry editor of the New Statesman, and was the first to publish an interview with the Beatles.Rotterdam International Poetry Festival His work for the Royal Shakespeare Company included Peter Brook's US and the English version of Peter Weiss's Marat/Sade. Ever inspired by the example of his own favourite poet and precursor William Blake, about whom he wrote the acclaimed Tyger for the National Theatre, his often angry output swirled from anarchistic anti-war satire, through love poetry to, increasingly, stories and poems for children. He also wrote librettos.
458 a run of half that length was reckoned a success in the Parisian theatres of the time. "Edmond Audran" , Opérette – Théâtre Musical, Académie Nationale de l'Opérette (in French). Retrieved 13 April 2019 The writers Alfred Duru and Henri Chivot were established authors of librettos for comic operas, having collaborated with Lecocq, Léon Vasseur, Edmond Audran and, in 1868, Offenbach (L'île de Tulipatan). To follow Madame Favart the three wrote La fille du tambour-major for the Folies-Dramatiques and its company, which starred Parisian favourites including Juliette Simon-Girard, Caroline Girard and Simon-Max.
171–74 In the years between the 1711 premiere and the 1717 revival, Handel made various adjustments to the score and the vocal parts, often to accommodate the requirements of new singers. Details of these changes are difficult to establish since the performing librettos and scores for these years no longer exist. For 1717, more significant revisions were made; the role of Eustazio was merged with that of Goffredo, and Argante's part was rewritten to accommodate an alto voice. Thus in this revival all the principal parts were sung in high voice ranges.
Germania is an operatic dramma lirico consisting of a prologue, two acts, an intermezzo and an epilogue by Alberto Franchetti to an Italian libretto by Luigi Illica. The opera premiered on 11 March 1902 at the Teatro alla Scala in Milan.Maehder, Jürgen: "Germania", Grove Music Online ed. L. Macy (Retrieved February 12, 2010), Illica, known for penning the librettos for some of Giacomo Puccini's best loved operas, originally gave the libretto for Tosca to Franchetti after the latter had obtained the rights to the Victorien Sardou play on which it was based.
Isolated as he was from his operatic base of Venice, Denzio was forced to become a theatrical jack-of-all-trades. He sang himself in the company's productions and also served as its poet. He wrote several full-length librettos, the most significant of which was La pravità castigata (1730), the earliest opera based on the Don Juan tale to use the original setting and characters. After returning briefly to Venice in 1735, Denzio tried again to mount opera companies in northern Europe, including in Brussels and Augsburg.
Since being founded in 2009 OperaUpClose has produced twenty-five operas: six world premieres of contemporary operas and nineteen classic operas in newly commissioned chamber orchestrations and English librettos. Their production of La Bohème won the 2011 Olivier Award for Best Opera Production and the WhatsOnStage.com Award for Best Off-West End production; and our world premiere of The Blank Canvas won the 2015 Off West End Award for Best Opera. Between 2010 and 2015 OperaUpClose was the resident company at The King's Head Theatre in IslingtonMortimer, p.
In Hamburg he obtained employment as a violinist at the Oper am Gänsemarkt, the city's famous opera house. Here, he learned the rudiments of opera composition, mainly under the influences of Reinhard Keiser, the theatre's music director, and Johann Mattheson, its leading vocalist. The Gänsemarkt was largely dedicated to Keiser's compositions; his temporary absence in 1704 gave Handel his chance, and in quick succession he wrote Almira and Nero using librettos by Friedrich Christian Feustking. Almira was successful, Nero less so and was never performed after its initial run of three performances.
The music satisfied neither the pro- nor anti-Wagner lobby: Chabrier commented, "The wagnérien calls me a reactionary and the bourgeois considers me a wagnérien".Huebner, p. 279 The opera has been revived from time to time, but has not gained a regular place in the international repertory. Arnold and Nichols write that some of Chabrier's best music went into his comic opera Le Roi malgré lui (Opéra-Comique, 1887), "but unfortunately the work is saddled with one of the most complex and incomprehensible librettos of all time".
Other stars included Charlotte Greenwood, Marilyn Miller, Ed Wynn, De Wolf Hopper, Charles Winninger, Fred Astaire and his sister Adele, Marie Dressler and Fred Allen. Among the famous songs first sung in the series were "Pretty Baby" (1916) and "I'm Forever Blowing Bubbles" (1918). A planned revival of the series in the 1940s did not make it out of tryouts. Most of the librettos for the series were written by Harold R. Atteridge, the Shuberts' in‐house librettist, who created over forty musicals for them (many starring Al Jolson).
She translated the libretto of Don Giovanni for Jonathan Miller in 1985. Her librettos include Bliss, for Brett Dean and The Silver Tassie, for which she was joint winner, with composer Mark-Anthony Turnage, of the Outstanding Achievement in Opera Laurence Olivier Award in 2001. She made a "highly acclaimed translation" of Puccini's Madama Butterfly for David Freeman's production at the Royal Albert Hall in 2011. Holden prepared the "deft" narration for a concert performance of the opera Der Freischütz presented by the London Symphony Orchestra at the Barbican Centre, London, in April 2012.
Giovanni Emanuele Bidera (or Bideri) (4 October 1784 – 8 April 1858) was an Italian writer of Albanian and Greek extraction. He is primarily known as the librettist of Gaetano Donizetti's operas Gemma di Vergy and Marino Faliero, but he also wrote many other librettos for lesser known composers as well as plays, essays, books about Naples, and a treatise on acting. Bidera was born in the small Sicilian town of Palazzo Adriano and spent most of his career in Naples. In 1850 he retired to Palermo where he died at the age of 73.
During his various peregrinations with the theatre troupe, which also included multiple sojourns in Naples, he met Giacoma Schultz, a Sicilan woman of Swiss origin. They married in 1812 and over the next 20 years had five children. Bidera and his young family settled in Naples in the late 1820s where he published a treatise on acting and found a congenial atmosphere in a musical circle called I Trascendentali. Several of his plays had also been published in Naples and Felice Romani encouraged him to try his hand at writing librettos.
Mottino returned to Milan with his wife, soprano Adele Cesarini (born 1829), and continued to perform briefly in Italy. In 1880, he retired from the stage, and that year he founded a literary magazine, L'Utopista, and ran it until 1887, both editing and contributing articles and poetry. He also wrote the librettos for Giovanni Consolini's Il conte di Salto (1894) and Cesare Rossi's I fuggitivi (1896), among others, as well as plays, poetry and novels. He was, for several decades, a teacher of elocution and acting in Milan.
Hans Müller(-Einigen) (born 25 October 1882 in Brünn, Austria-Hungary; died 8 March 1950 in Einigen) was a German language writer, author of screenplays and director. As his proper name, Hans Müller, was quite common, he added the name of the Swiss village of Einigen to it. He is known for The White Horse Inn (Im weißen Rößl, 1930), written together with Robert Gilbert and Erik Charell, set to music by Ralph Benatzky. Earlier works were the librettos for Erich Wolfgang Korngold operas Violanta (1916) and Das Wunder der Heliane (1927).
In 1994 Bentley was asked by the Danish composer Poul Ruders to write the libretto for his opera The Handmaid's Tale based on Margaret Atwood's novel, which won a Cannes Classical Award and Reumert Prize. In A Handmaid's Diary, Bentley tells the story of the opera from the first phone call to the first night (directed by Phyllida Lloyd). Ruders' and Bentley's second opera was Kafka's Trial. Librettos for three other composers followed: Ana Sokolovic's The Midnight Court, Dominique Le Gendre's Bird of Night and James Rolfe's Inês.
While teaching the opera singers at the Academy, he aimed to gradually develop the National Theater's musical repertoire from vaudevilles to musical comedies and finally to opera. In 1885, he founded the first opera company in the Kingdom of Romania. It disbanded in 1902 when the government cut its financial support. Stephănescu is noted for having used works by many poets as librettos or texts for his compositions — among them, the locals Vasile Alecsandri, Mihai Eminescu, Traian Demetrescu, Alexandru Vlahuţă and the foreigners Victor Hugo and Alfred de Musset.
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).
His opera librettos were set by the composers Agostino Steffani, Antonio Lotti, Giovanni Alberto Ristori and the German master of Italian opera seria, Johann Adolf Hasse among others. His first libretto was, Antiope (1689). He also wrote the text for the comic opera Calandro by Giovanni Alberto Ristori, which was first staged in 1726 at the castle of Pilnitz near Dresden, and then in Moscow in 1731 when it was the first opera ever performed in Russia. He later composed the libretto for the five-act opera seria Alfonso (1738) by Johann Adolf Hasse.
The main challenge for all was achieving variety, a break from the pattern of recitativo secco and aria da capo. The mutable moods of Metastasio's librettos helped, as did innovations made by the composer, such as stromento recitative or cutting a ritornello. During this period the choice of keys to reflect certain emotions became standardized: D minor became the choice key for a composer's typical "rage" aria, while D major for pomp and bravura, G minor for pastoral effect and E flat for pathetic effect, became the usual options.
The son of Honoré-Nicolas-Marie Duveyrier, Mélesville initially had success at the bar and as a magistrate. He left the legal profession in 1814 to dedicate himself to the theatre, though he had first gained praise in that area in 1811 for his comedy l'Oncle rival. Out of consideration for his father's position, he wrote under the pseudonym Mélesville, by which he is still known. He wrote in all genres - dramas, melodramas, comedies, vaudevilles, opera librettos - and is the sole or collaborative author of more than 340 plays.
The son of a shipowner, Hignard was born in Nantes and studied at the Paris Conservatory with Fromental Halévy and won the Second Grand Prix de Rome in 1850 with the cantata Emma et Eginhard. His first comic opera Le Visionnaire was published in 1851. During the 1850s Hignard composed four comic operas, for which his childhood friend Jules Verne provided the librettos. In 1861, the operetta Les Musiciens de l'orchestre was performed, which Hignard had composed together with Léo Delibes and Jules Erlanger (and probably also Jacques Offenbach).
In the 19th century, selected members of the diplomatic corps were admitted to the theatre as well. Although the building was used to entertain the imperial family until the Russian Revolution, it came to be viewed as a rare monument to Catherine's personal tastes and affections. The empress brought out several comedies specifically to be staged in this theatre, which also saw the premieres of Domenico Cimarosa's operas composed to her own librettos. As for the costumes, they were chosen from a 15,000-dress personal wardrobe of the late Empress Elizabeth.
Jadwiga Szamotulska (28 May 1911 – 14 November 1981) was a Polish pianist, pedagogue, translator of art-song lyrics and librettos, university instructor at the Academy of Music in Kraków (then called Państwowa Wyższa Szkoła Muzyczna) in Kraków, performing artist with the National Philharmonic in Warsaw (Filharmonia Narodowa) in Warsaw, and voice coach for the soloists of the Grand Theatre, Warsaw (Teatr Wielki). Szamotulska recorded for many years with violinist Wanda Wiłkomirska for the Polskie Nagrania record label, notably the music of Poland's leading classical composers Henryk Wieniawski, Karol Szymanowski and Grażyna Bacewicz.
Chroniclers of the musical theater have been around for years, collecting pictorial surveys, librettos and scores, and recording the careers of various theatrical celebrities. Nothing in the American musical theater has been more inaccessible, however, than the record of its dance traditions, and there are many to recount. For the most part, dance movement itself was either the last to be mentioned by critics or ignored altogether, resulting in dance numbers in musicals going unrecorded. The only way to preserve dance movements from generation to generation was by demonstration, imitation, practice, and personal supervision.
He wrote several cycles of compositions for piano and organ, as well as instrumental concerts, symphonies, ouvertures and cantatas. He wrote many operas, often using his own librettos, such as The Revenge of Catullus based on the work of Vrchlický (1917), Alladina and Palomid (based on the work of Maeterlinck, 1925), Ňura (1932), How the Death came in the World (1936), Jiří from Kunštát and Poděbrady (based on the work of Alois Jirásek, 1941), Cradle (composed on the work of Jirásek, 1951), Eupyros (1960). He also wrote texts and articles primarily about Janáček.
They included Apolloni, Queen Christina (patron of the Teatro Tordinona in Rome), Filippo Acciaiuoli (the Tordinona's impresario), Giuliano Capranica whose family ran the Teatro Capranica, and Alessandro Capizucchi. The express purpose of the Sfaccendati was to produce operas to be performed at the Chigi palazzo in Ariccia on the outskirts of Rome. Apolloni and Acciaiuoli co-authored the librettos for two operas which were performed there, Il Tirinto and L'Adalinda. However the high cost of producing operas so far from the center of Rome made L'Adalinda the last of these "country house operas".
Henri Chivot made his debut in the theatre with a vaudeville in one act for the Théâtre des Folies-Dramatiques, Sous un hangar. With the success he obtained, he continued to write comedies and dramas, mainly in collaboration with his friend Alfred Duru. His plays were presented at the Théâtre des Variétés, the Théâtre du Palais-Royal or at the Folies-Dramatiques. From 1865, he became a librettist and in collaboration, particularly with Alfred Duru, he wrote many librettos for operettas or opéra comiques for composers famous in the second half of the 19th century.
Da Ponte's librettos for L'arbore di Diana and Così fan tutte were the only ones of his not taken from an existing plot. The opera's premiere on 1 October 1787 marked a visit to Vienna of the niece of Holy Roman Emperor Joseph II, the Archduchess Maria Teresa, who was on her way to Dresden to marry Prince Anton Clemens of Saxony in person (they had been married by proxy in Florence the month before).Holden, p.95 The work was enormously successful in its day, but Martín's operas have since fallen from the repertoire.
La Nitteti is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was composed to a libretto by the Italian poet Metastasio that was first performed in 1756, one of the newer (and less popular) of the Metastasian librettos in Mysliveček's day. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. This opera contains more substitutions of original aria texts than any other Mysliveček setting of a Metastasian libretto.
Delvalle's plays explore historical and folkloric themes. He wrote a trilogy of plays dealing with events during the Paraguayan War, multiple plays exploring Paraguayan mythology and Guaraní folklore, and several librettos for musical comedies and zarzuelas. The situation of Paraguayan tenant farmers is a recurring theme in his work. His novel Un viento negro (A Black Wind), for which he won the 2013 Paraguayan National Prize for Literature, explores the terror of life under the repressive Stroessner dictatorship, which ruled Paraguay for thirty-five years (from 1954 to 1989).
Gli dei a Tebe (The gods in Thebes) is an opera in three acts by Ermanno Wolf- Ferrari on a libretto by ,Mario Ghisalberti, openmlol.it performed for the first time at the Opernhaus in Hannover on 4 June 1943. The first performance used the translation of the libretto in German (Der Kuckuck in Theben) by Franz Rau. Ghisalberti had in turn derived the libretto from a work by the publisher Ludwig Strecker, who wrote librettos under the pseudonym Ludwig Andersen..David Mason Greene, Greene's Biographical Encyclopedia of Composers, 0385142781 (1985) p.
Corsaro directed the world premieres of two of Floyd's later operas, Of Mice and Men (1970) and Flower and Hawk (1972). He made his Metropolitan Opera debut in 1984, with Handel's Rinaldo, starring Marilyn Horne and Samuel Ramey. Corsaro wrote several librettos for operas, including Heloise and Abelard by Stephen Paulus and Frau Margot by Thomas Pasatieri whose opera, The Seagull, he directed at its premiere. As an actor, Corsaro appeared as Hector Jonas opposite Joanne Woodward in the 1968 film Rachel, Rachel, directed by her husband, Paul Newman.
SuAndi has written two librettos: Mary Seacole had a West End opening and toured Britain in 2000, and The Calling was performed by the BBC Philharmonic in 2005. Since 2001 she has coordinated the regional celebration of Black History Month in the North West. Strength of our Mothers (2019) was a series of interviews with 23 white women in interracial relationships with African and Afro-Caribbean men.Strength of our Mothers Her poems "Intergenerational Trauma" and "Aroma of memory" are included in the 2019 anthology New Daughters of Africa, edited by Margaret Busby.
Adolf Čech (11 December 184127 December 1903) was a Czech conductor, who premiered a number of significant works by Antonín Dvořák (the 2nd, 5th and 6th symphonies, more than any other conductor; other important orchestral works, four operas, the Stabat Mater), Bedřich Smetana (Má vlast, five operas), Zdeněk Fibich (two operas) and other Czech composers. He also led the first performances outside Russia of two operas by Pyotr Ilyich Tchaikovsky and the Czech premieres of seven operettas by Jacques Offenbach. He was also a bass singer and a translator of opera librettos.
The opera was first published in 1763, but without recitative or librettos. A copy of the full score, which is partly in the composer’s hand, also survives and is in the collection of the library at the Royal College of Music. Most of the music displays a simple and lyrical nature with the exception of the music for Rosetta. Rosetta, a role written for Arne's lover Charlotte Brent, requires a gifted coloratura soprano, particularly for the aria "The traveller benighted" which has several challenging passages containing wide vocal leaps, fast runs, and trills.
Stefano Barandoni, Paola Raffaelli, L'archivio musicale della chiesa conventuale dei Cavalieri di Santo Stefano di Pisa. Storia e catalogo, Lucca, LIM, 1994, documenti 38-52. Of his, at the least, seven theatrical operas documented, we have the librettos of five (conserved for the most part at the Cini Foundation of Venice, but also at the National Libraries in Florence, Rome and Cosenza, as well as in the Conservatory in Naples), and only musical fragments (single arias) of two, present in Uppsala (at Universitetsbibliotek «Carolina Rediviva») and at Berkeley (Jean Gray Hargrove Music Library).
A plaque commemorating Cemal Reşit Rey at Yasemin Apartment Building, Serencebey Yokuşu 26, Beşiktaş, Istanbul, where the composer lived for the last 19 years of his life. Cemal Reşit Rey (; 25 October 1904 – 7 October 1985) was a Turkish composer, pianist, script writer and conductor. He was well known for a string of successful and popular Turkish-language operettas for which his brother Ekrem Reşit Rey (1900–1959) wrote the librettos. He was born on 25 October 1904 in Jerusalem and died on 7 October 1985 in Istanbul.
Merelli was born in Bergamo and studied composition there with Simon Mayr. (Gaetano Donizetti was in the same class as Merelli.) He moved to Milan around 1812 and worked there as a theatrical agent, at the same time writing a number of librettos for Mayr, Donizetti, Nicola Vaccai and other composers.Rosselli 1992, pp. 340–341. He set up his own agency in 1826 and managed seasons in Varese, Como and Cremona between 1830 and 1835, and was joint lessee (with Carlo Balochino) of the Theater am Kärntnertor in Vienna from 1836 to 1848.
Lamb (2001) Like The Merry Widow, Der Graf von Luxemburg deals with the themes of how the promise of wealth affects love and marriage, and the contrast between the gaiety of Parisian society and Slavic seriousness.Eckstein (2006) The libretto was written by Alfred Maria Willner, Robert Bodanzky and Leo Stein. Stein had previously worked with Lehár on his 1904 Der Göttergatte, and Bodanzky had co-authored the librettos for both Peter und Paul reisen ins Schlaraffenland and Mitislaw der Moderne. The libretto for Der Graf von Luxemburg was not completely new.
Demetrio is an eighteenth-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was the composer's first setting of a libretto by the Italian poet Metastasio that was first performed in 1731, one of the most popular of the Metastasian librettos in Mysliveček's day. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the 1773 performance of Mysliveček's opera are not attributable.
" Theater historian Gerald Bordman wrote that Balanchine gave Savo "one of the evenings most delightful moments with the forlorn little comedian pursuing an Amazonian ballerina...yet the best dancing of the evening came...in Don Weissmuller's show-stopping tap routines...the book revealed that Lerner had a lot to learn about writing librettos."Bordman, Gerald Martin. "Chapter: Act Five" American musical theatre: a chronicle (3 ed.), Oxford University Press US, 2001, , p. 594 The musical was "a negligible wartime musical about aviators quarantined in a boarding school for girls with the expected results.
The verdicts established that the transaction costs for a systematic collection of performing right fees could be covered by amounts claimed at a level which was related to the indemnity decided on by the Parisian courts of justice. Hence, on 18 March 1850 Ernest Bourget, Victor Parizot and Paul Henrion, aided by the publisher Jules Colombier, started a mutual collecting society which later became known as La Société des Auteurs, Compositeurs et Éditeurs de Musique (SACEM). Ernest Bourget is the author or co-author of several librettos for Jacques Offenbach.
Demetrio is an eighteenth-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was the composer's second setting of a libretto by the Italian poet Metastasio that was first performed in 1731, one of the most popular of the Metastasian librettos in Mysliveček's day. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste. The cuts and changes in the text made for the 1779 performance of Mysliveček's opera are not attributable.
Although Cimarosa wrote a considerable quantity of instrumental and church music, he was, and remains, best known for his operas. He was famous for his facility as a composer, although he frequently reused material, as was usual in his day, and employed assistants for routine tasks such as composing recitatives.Osborne, p. 170 In the article on Cimarosa in Grove's Dictionary of Music and Musicians (2001), Jennifer E. Johnson and Gordana Lazarevich write that he rose above the mediocrity of some the librettos he set and produced music "suffused with lightness, elegance and finesse".
Among the best of his works are a play about Kaspar Hauser (1838) with Auguste Anicet-Bourgeois; Les Bohémiens de Paris (1842) with Eugène Grangé; with Julien de Mallian the play Marie-Jeanne, ou la femme du peuple (1845), in which Marie Dorval obtained a great success; a drama based on Uncle Tom's Cabin (1853) with Dumanoir; and The Two Orphans (1875), perhaps his best piece, with Eugène Cormon. The story was adapted in 1921 by D.W. Griffith as the film Orphans of the Storm. He wrote the libretto for Gounod's Le tribut de Zamora (1881); with Louis Gallet and Édouard Blau he composed the libretto to Massenet's Le Cid (1885); and, again in collaboration with Cormon, the librettos of Auber's operas, Le premier jour de bonheur (1868) and Rêve d'amour (1869). Other opera librettos include La rose de Terone (1840), Si j'étais roi (1852), Le muletier de Tolède (1854) (on which Michael Balfe's The Rose of Castille (1857) was based), and À Clichy (1854) by Adolphe Adam, Massenet's early Don César de Bazan (1872) and Hervé's La nuit aux soufflets (1884) He prepared for the stage Balzac's posthumous comedy Mercadet ou le faiseur, presented at the Théâtre du Gymnase in 1851.
It has some Wagnerian influence, with several orchestral and choral interludes, and two long preludes. Money-Coutts as the librettist, under the spell of Richard Wagner, produced prose that prompted one critic, reviewing the staged premiere in 2003, to observe: > Money-Coutts's text would take pride of place in any collection of the > world's worst opera librettos: it is couched in an achingly archaic Olde > Englishe and relentlessly rhymed. It must be hard to sing lines like "When > flow'rets of the marigold and daisy are enfolden, and wingless glowmoth > stars of love englimmer all the glades" with anything approaching a straight > face.
Thrice (1862.1865, 1867) guest in Mystki was the Tekla half- brother, also Arrigo Boito, one of the leading European composers of opera librettos and authors of the second half of the nineteenth and early twentieth centuries. After Charles's death (November 11, 1870), thanks to the efforts of his wife Tekla in 1877 a new mansion was built in the French Renaissance style, designed by the architect Stanislaw Hebanowski. After Tekla Karśnicka death in 1885 passed Mystki into the hands of Karłowskis family who farmed here until 1939. After the war, the property belonged to the State Farms.
Major developments of poetry during the Yuan dynasty (1271–1368) included the development of types of poetry written to fixed-tone patterns, such as for the Yuan opera librettos. After the Song Dynasty, the set rhythms of the ci came to be reflected in the set-rhythm pieces of Chinese Sanqu poetry (散曲), a freer form based on new popular songs and dramatic arias, that developed and lasted into the Ming dynasty (1368-1644). Examples can be seen in the work of playwrights Ma Zhiyuan 馬致遠 (c. 1270–1330) and Guan Hanqing 關漢卿 (c. 1300).
Lonsdale in 1908 Frederick Lonsdale (5 February 1881 – 4 April 1954) was a British playwright known for his librettos to several successful musicals early in the 20th century, including King of Cadonia (1908), The Balkan Princess (1910), Betty (1915), The Maid of the Mountains (1917), Monsieur Beaucaire (1919) and Madame Pompadour (1923). He also wrote comedy plays, including The Last of Mrs. Cheyney (1925) and On Approval (1927) and the murder melodrama But for the Grace of God (1946). Some of his plays and musicals were made into films, and he also wrote a few screenplays.
In a succession of relationships with Marina Tsvetaeva, Lyudmila Erarskaya, Olga Tsuberbiller, Maria Maksakova and Nina Vedeneyeva, her muses propelled her to publish five collections of poetry and write several librettos for opera, before her disease claimed her life in 1933. Barred from publication of her poetry after 1928, Parnok's works were mostly forgotten until after the Soviet period. Increased scholarship since that time, resulted in the publication of her collected works for the first time in 1979. While scholars have focused on her early influential relationship with Tsvetaeva, her best works are now recognized as those written from 1928.
CFP Carré, Fabrice Fabrice Carré or Carré-Labrousse, real name Jules Fabrice, (9 July 1855 in the 6th arrondissement of Paris – 1921) was a 19th-century French playwright, and librettist. The dramatist Fabrice Labrousse (1806-1876) was his grandson. After studying law, he worked as a journalist before turning to the theater. He was the author, alone or in collaboration, especially with Paul Ferrier, of many comédies en vaudeville and operetta librettos, the best known being Joséphine vendue par ses sœurs (1886), music by Victor Roger, L'Enlèvement de la Toledad (1894) and Monsieur Lohengrin (1896), music by Edmond Audran.
At that point, he attempted a career in theater. He composed some ballets, but his attempts to write a comic opera were opposed by the producers, who forced him to instead debut with a dramma, Iginia d'Asti, first seen in Pisa in 1838 but was immediately jeered at in Bologna few months later (see also the section Librettos).Claudio Sartori, Casamorata, Luigi Ferdinando (sub voce), in Enciclopedia dello spettacolo, edited by Silvio d'Amico, executive editor Sandro d'Amico, editor of "music theatre" section Fedele d'Amico, vol. III: Car-Daf, Roma, Le Maschere, 1954, new edition Roma, Unedi, 1975, p. 155.
This information was translated from the corresponding article in the French Wikipédia (version 23 avril 2011 à 19:27). Visitors are also able to see shelves of books and scores, which are protected by grilles. These materials include fifteen thousand scores and thirty thousand librettos and are accessible to the public on days when the museum is not open for tours. The museum's collections are too extensive to be displayed all at one time, as they consist of approximately 8,500 objects, including 2,500 models of sets, 500 set design drawings, and 3,000 pieces of costume jewelry.
Philippe Gille (date unknown) Philippe Emile François Gille (10 December 1831 – 19 March 1901) was a French dramatist and opera librettist, who was born and died in Paris.Georges Moreau, Revue universelle : recueil documentaire universel et illustré, , Paris, Larousse, 1901, p.430. He wrote over twenty librettos between 1857 and 1893, the most famous of which are Massenet's Manon and Delibes' Lakmé. Although Gille studied law and was a clerk for a time at the Préfecture de la Seine, he became secretary of the Théâtre Lyrique then from 1869 an art and music critic for Le Figaro.
During the 1930s, Cälil also translated to the Tatar language writings of poets of the USSR peoples, such as Shota Rustaveli, Taras Shevchenko, Pushkin, Nekrasov, Mayakovsky and Lebedev-Kumach. In the late 1930s, he tended to write epic poems, such as The Director and the Sun (1935), Cihan (1935–1938), and The Postman (1938). As a playwright of the Tatar State Opera, he wrote four librettos for Tatar operas, one of which is Altınçäç (Golden Hair Maiden) of Näcip Cihanov. In 1939 and 1940, he served as the chairman of the Tatar ASSR Union of Writers.
Alasdair Middleton is a leading British opera librettist and playwright with librettos commissioned by the Royal Opera House, Opera North and the Berlin Philharmonic among others. He is responsible for a series of important operatic collaborations with the British composer Jonathan Dove including The Enchanted Pig and The Adventures of Pinocchio. He has also worked extensively with the choreographer Will Tuckett both as librettist and co-director, and has written several works with Matthew King including the award-winning community opera On London Fields. Middleton’s plays include Aeschylean Nasty, Shame on you Charlotte, Casta Diva and Einmal.
The opera was revived in Siena in spring of 1767 and Prague in carnival of 1768. A notation on a copy of the score in Paris indicates that it was revived at the San Carlo in 1769, however no librettos survive to confirm this. Il Bellerofonte features many arias with elaborate vocal virtuosity of the type favored by Italian audiences of the 1760s. The ones most widely admired were "Splende così talora" from Act I, scene 2; "Giusti Dei" from Act I, scene 3; "Ch’io mai capace" from Act II, scene 5; and "Palesar vorrei col pianto" from Act II, scene 11.
Upon completion of his music studies in Milan, Strepponi was appointed maestro di cappella at Monza Cathedral on the recommendation of his former teacher Vincenzo Federici. For the next few years he travelled between Lodi, Monza, Milan, and Turin, while his wife and children remained in Lodi. Three more of his operas were produced, two of which had librettos by Felice Romani with whom he would form a close friendship. Both were members of the Carbonari, a secret revolutionary society founded in the early 19th-century which played an active role in opposing Austrian rule of northern Italy.
"He first settled in Padua, where he founded L’Euganeo, then in Milan, where he founded L’Italia" and collaborated with various newspapers. Colautti founded the Corriere del Mattino in Naples (1885), then became its director and remained there for fifteen years, after which he undertook the direction of the Corriere di Napoli. In the many years spent in Naples, he wrote hundreds of articles, but also poems, novels and plays, gaining an excellent literary reputation. Some of his operatic librettos were set to music (Adriana Lecouvreur by Cilea, Fedora by Umberto Giordano and Doña Flor by Niccolò van Westerhout).
The bulk of Buxtehude's oeuvre consists of vocal music, which covers a wide variety of styles, and organ works, which concentrate mostly on chorale settings and large-scale sectional forms. Chamber music constitutes a minor part of the surviving output, although the only chamber works Buxtehude published during his lifetime were fourteen chamber sonatas. Unfortunately, many of Buxtehude's compositions have been lost. The librettos for his oratorios, for example, survive; but none of the scores do, which is particularly unfortunate, because his German oratorios seem to be the model for later works by Johann Sebastian Bach and Georg Philipp Telemann.
She settled in Frankfurt am Main in 1955. In 1949 her short novel Ans Ende der Welt (To the end of the world), which she had written while still in Amsterdam, was published by an East Berlin publishing company. After that, she wrote librettos for works by Hans Werner Henze (Boulevard Solitude, 1951) and Wolfgang Fortner (Die Witwe von Ephesus, 1952), and worked on a novel, "Antigone," which remained unpublished. To earn a living Weil also wrote articles for the theater periodical Das neue Forum (Darmstadt), and translated books from English for the Limes publishing house in Wiesbaden.
He was the son of a gentleman in the household of Louis XIV and was himself a valet de chambre du roi. He followed Anne- Jules, 2nd duc de Noailles to Spain as his secretary. His talents gained him a pension from Madame de Maintenon, and a commission from her for Vancy and Jean Racine to compose sacred poems, edifying stories and religious tragedies for the maison de Saint-Cyr (Absalon, Jonalhas, Débora). Vancy also wrote opera librettos modelled on Racine, the best known of which were Céphale et Procris and Iphigénie en Tauride (the latter with additions by Antoine Danchet).
His first operetta was Die Kätzchen, first produced in Lemberg in 1890 and in Vienna in 1892. His other works included Husarenblut (1894, Vienna), Rhodope (1900, Vienna and Berlin), Madame Sherry (1902, Berlin – his biggest success) and The Merveilleuses (1906, London). As music director of musical director of the Carltheater in Vienna from the late 1890s to 1906, he imported several British works to Vienna, adapting both librettos and scores. He also contributed interpolated numbers to several musical comedies Felix later went to the US where Madame Sherry met with success, in 1912, and composed several more shows.
Buste in Ghent Karel Miry (14 August 1823 Ghent - 3 October 1889 Ghent) was a Belgian composer. He was one of the first Belgian composers to write operas to librettos in Dutch and is known as the composer of the music for De Vlaamse Leeuw, the national anthem of Flanders, for which Hippoliet van Peene wrote the lyrics. Karel Miry studied the violin with Jean Andries and harmony and composition with Martin Joseph Mengal at the Royal Conservatory of Ghent. He completed these studies at the Royal Conservatory of Brussels, where he was a student of François-Auguste Gevaert.
Robert Alfred Simon (1897 in New York City - 27 April 1981 in New York City) was an American writer, translator, and music critic for The New Yorker from its first issue in 1925 until 1948. A graduate of Columbia University, in addition to his original fiction he wrote opera and musical comedy librettos for several composers. In 1927 he penned a widely praised English translation of Gounod's Faust for Vladimir Rosing's American Opera Company. His writing varied in subject from social criticism (Our Little Girl) to detective fiction (The Weekend Mystery) to the satire of artists and musicians (Sweet & Low).
Instead, Euridice, his second opera is most-often heralded as the history-making work. The new form of opera also borrowed, especially for the librettos, from an existing pastoral poetic form called intermedio; it was mainly the musical style that was new. The instrumentation for an opera from the Camerata composers (Caccini and Peri) was written for a handful of gambas, lutes, and harpsichord or organ for continuo. Other composers quickly began to incorporate the ideas of the Camerata into their music, and by the first decade of the seventeenth century the new "music drama" was being widely composed, performed and disseminated.
But its libretto is so drenched in Nazisms that it will in future at best be heard only in concert or on ... A commission for Berlin by Werner Reinhart the libretto was heavily weighted with the Nazi ideology of the librettist Bunte, putting the composer in conflict with his own Swiss nationalist feelings. Theater Bern staged a reworking of the music to a new libretto by Francesco Micieli on Eichendorff's novel in 2018.Wie befreit man eine Oper vom Gedankengut der Nazis? Othmar Schoecks späte Eichendorff-Oper "Das Schloss Dürande", uraufgeführt 1943 in Berlin, hatte wegen ihres politisch fragwürdigen Librettos nie eine Chance.
The museum is situated in a traditional Caucasian-style building and consists of two floors. Comprising some 1,400 exhibits, the museum's collection includes installations, collages, assemblages, drawings, dolls and hats. The museum also showcases unpublished screenplays, librettos and various artworks which Parajanov created while in prison. Among the other exponates of museum are two re-created memorial rooms, original posters, festival prizes, signed letters by Federico Fellini, Lilya Brik, Andrey Tarkovsky, Mikhail Vartanov, and Yuri Nikulin, gifts by famous visitors Tonino Guerra, Vladimir Putin and Roman Balayan, who is the author of "A Night at Paradganov's Museum" film.
See also: She translated librettos of operas, such as Handel's Giulio Cesare for its first performance at the theatre in 1962. She lived at Marszałkowska 35 street in Warsaw, and died on 14 November 1981. Szamotulska is buried at the Powązki Cemetery (Stare Powązki) in Warsaw. Her recordings include a 1957 collection of classical music for children, with violinist Wanda Wiłkomirska, presenting Giovanni Battista Viotti's Violin Concerto No. 23 in G major, Jean-Baptiste Accolay's Concerto in A minor, Pyotr Ilyich Tchaikovsky's Old French Song, Op. 39/16, and Wieniawski's Chanson polonaise, Op. 12/2, among others.
Edelstein's career as a composer has been characterised by breaking new ground. He directs many chamber groups of improvisation in music, frequently exploring the interplay between music and theatre, and has attained several national and international awards for his chamber and electronic productions. He is known for his technical mastery of composition, his original methods of composition and direction of improvisation, and his librettos. As a young leading Argentine composer, he was left with a strong impression from many of the principal composers that he met, such as Pierre Boulez, Mauricio Kagel, György Ligeti, Krzysztof Penderecki, Mario Davidovsky, and John Chowning.
The year 1858 saw Falconer translate Victor Hugo's Ruy Blas, which was performed at the Princess Theatre in late 1858. During that same year, he began a profitable collaboration with Michael William Balfe by writing the libretto for his much- loved opera The Rose of Castille. He was later to write librettos for several of Balfe's most successful productions, including Satanella, which was produced at Covent Garden on 20 December 1858, and the popular song Killarney, which remained a concert hall favourite well into the 20th century. Falconer, who was said to have had boundless energy, also turned his attention to theatre managing.
Barnabé Farmian Durosoy, There are more than half a dozen variants of his name: Durosoi, Durozoy, Du Rosoi, Du Rozoy, Du Rozoi, Du Rosoy, De Rosoy, De Rozoy, De Rosoi. (1745 – 25 August 1792, Paris) was an 18th-century French journalist and man of letters, both a playwright, poet, novelist, historian and essayist. Founder and editor of a royalist newspaper in 1789, he was the first journalist to die guillotined under the reign of Terror. Author of history books, literary criticism and political philosophy, he also published poems, songs, epistles, tales in verse, fables and, above all, many plays and ballets and librettos.
445 He then moved to Berlin in the service of the emperor Frederick II of Prussia, on the recommendation of the Grand Duke of Tuscany, with the task of composing and adapting stage works for its theater. He also became a court counselor. At the court in Berlin he was the author of librettos, plays and some historical and literary works such as the Histoire de la littérature d'Italie, an abridged French translation of Tiraboschi, and a history of the Saxon emperors, published in German.Natali Giulio, Storia letteraria d’Italia, I, Milan, Casa Editrice Vallardi, 1973, pp.
Le Guin signing a book in 2013 Le Guin's career as a professional writer spanned nearly sixty years, from 1959 to 2018. During this period, she wrote more than twenty novels, more than a hundred short stories, more than a dozen volumes of poetry, five translations, and thirteen children's books. Her writing encompassed speculative fiction, realistic fiction, non-fiction, screenplays, librettos, essays, poetry, speeches, translations, literary critiques, chapbooks, and children's fiction. Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961.
Two of his librettos for the Paris Opera were highly successful: his adaptation of Calzabigi for Gluck's Orphée et Euridice (1774) and Jean- Frédéric Edelmann's Ariane dans l'isle de Naxos (1782). Moline also collaborated with Gluck on his 1775 revision of L'arbre enchanté, a one-act opéra comique, which had premiered in Vienna at the Schönbrunn Palace in 1759.Brown 1992, p. 162. During the French Revolution he served as a secretary-clerk to the National Convention and wrote several patriotic theatrical pieces, including his most famous work of this type, La Réunion du six août.
In his most known drama Teuta, which functioned as the first national drama of the Croats, he advocates the idea about Illyrian origin of all South Slavs. He also wrote short stories, feuilletons, literary critics, librettos for Vatroslav Lisinski opera's Ljubav i zloba and Porin and for his dramas Dramatička pokušenja I. (1834) and Dramatička pokušenja II. (1844). In his texts he tried to join the tradition of the old Croatian literature with tendentions in European drama. He mostly used historical subjects to express his patriotic aspirations and to speak out about the current social situation in society.
Gilbert vowed never to write another serious drama again, although eventually he did. Historian Jane Stedman speculates that the failure of this play (produced soon after The Yeomen of the Guard, which increased Arthur Sullivan's desire to turn to more serious operas), and Gilbert's subsequent aversion at this time to writing serious drama, may have hurt Gilbert's partnership with Sullivan, since Gilbert declined to write any more serious librettos for Sullivan.Stedman, pp. 252–58. However, this conclusion is dubious, since Gilbert and Sullivan soon collaborated on the comic and lively (and very successful) The Gondoliers (1889).
Ezio is an eighteenth-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was the composer's first setting of a libretto by the Italian poet Metastasio that was first performed with music by Pietro Auletta in 1728, one of the most popular of the Metastasian librettos in Mysliveček's day. The story is based on incidents from the lives of the 5th-century Roman emperor Valentinian III and his general Aetius. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste.
Ezio is an eighteenth-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was the composer's second setting of a libretto by the Italian poet Metastasio that was first performed in 1728, one of the most popular of the Metastasian librettos in Mysliveček's day. The story is based on incidents from the lives of the 5th-century Roman emperor Valentinian III and his general Aetius. For a performance in the 1770s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste.
Together, they also produced underground art and literature almanac Дело #1, and several underground satirical rock opera librettos, novels and short stories. Together with Valery Petropavlovsky, he formed garage avant-garde ensemble Путь толстых ("The way of the fat ones") which practiced home-studio recordings of “concrete” and conceptual music and parodic audio plays. On April 1, 1978, together with his parents and fox-terrier Lada, he left Latvia for the USA. After a mandatory stay of a few months in Austrian and Italian refugee camps, he and his family arrived in New York City on June 6, 1978.
Always writing with a co-author, Najac provided librettos for several opéras comiques and opéras bouffes: La Momie de Roscoco, with Eugène Ortolan, music by Émile Jonas, (Bouffes-Parisiens, 1857);Lamb, Andrew. "Jonas, Emile",Grove Music Online, Oxford University Press 2002. Retrieved 27 August 2020 Les Noces de Fernande, with Victorien Sardou, music by Louis Deffès, (Opéra-Comique, 1878); Wagstaff, John. "Deffès, Pierre-Louis", Grove Music Online, Oxford University Press 2002. Retrieved 27 August 2020 La Bonne Aventure, with Henri Bocage, music by Émile Jonas, (Théâtre de la Renaissance, 1882); Le Premier baiser, with Raoul Toché, music by Jonas (Nouveautés 1883).
Musicologist and Donizetti scholar William Ashbrook provides a quotation from a review in the Nuovo osservatore veneziano of 17 November in which the reviewer notes some of these performance issues which faced the composer, but he adds: "one cannot but recognize a regular handling and expressive quality in his style. For these the public wanted to salute Signor Donizetti on stage at the end of the opera."quoted in Ashbrook 1982, p. 16 For Donizetti, the result was a further commission and, using another of Merelli's librettos, this became the one-act, Una follia which was presented a month later.
37: Weinstock further asks the question as to why Donizetti spread "his energy and talent so thinly over so many compositions and continued to set librettos by Tottola and Giovanni Schmidt while conscious of their abysmal quality." Essentially, his answer is that the composer needed the money for his various commitments to his family, which included a younger brother and his parents. In addition to the revision, he committed to write another new opera for the Rome's Teatro Valle which would also be set to a libretto written by Ferretti. Donizetti finally returned to Naples by late March.
This is partly a consequence of Borodin's failure to complete a libretto before beginning composition of the music—the same problem that plagued his colleague Mussorgsky in the composition of Khovanshchina.Abraham and Lloyd-Jones (1986: p. 69). Both composers wrote their librettos piece by piece while composing the music, both lost sight of the overall narrative thread of their operas, and both wound up with pages and pages of music that needed to be sacrificed to assemble a cohesive whole. Also, both died before finishing their operas, leaving the task of completion, editing, and orchestration in both cases to Rimsky-Korsakov.
Returning to Halle after over two years in Silesia, he composed the operas Valeria, instigated by Johann Theile, for Naumburg, and Rosen und Dornen der Liebe for Gera. In 1713 he composed two further operas on his own librettos, Artemisia and Orion, both premiered in Naumburg.Narcissus at Late in 1713 he travelled to Italy, where he met composers like Johann David Heinichen and Antonio Vivaldi in Venice, Francesco Gasparini in Florence and Antonio Bononcini in Rome. Returning after more than a year, he spent some time in Innsbruck, and travelled over Linz to Prague where he worked for nearly three years (1715–17).
It is not known which cantatas Bach may have performed on the first, second and third Sundays after Trinity in the last 20 years of his life. Freue dich, erlöste Schar, BWV 30 was first performed on the Feast of the Nativity of St. John the Baptist, . It was a parody of the secular cantata BWV 30a, premiered in 1737. Picander probably wrote the librettos, as well for the original composition as for the parody.BDW and at Bach Digital website Durch die herzliche Barmherzigkeit is a cantata for St. John's Day composed by Johann Gottlieb Goldberg for which Bach helped copy out performance parts around 1745–46.
Sylvain Ballot de Sauvot (1703 – Decembre 1760) was an 18th-century French lawyer at Parlement de Paris and man of letters amateur, belonging to the entourage of Jean-Philippe Rameau (Sylvain Ballot, his brother, was Rameau's notary). He reworked the librettos of Pygmalion, acte de ballet set in music by Rameau, and that of the comédie lyrique Platée for the revival at Académie royale de musique 9 February 1749, after the première had taken place in Versailles, four years before.Le magazine de l'opéra baroque During the Querelle des Bouffons, he defended Rameau, whom he greatly admired, and fought a duel in 1753 with the castrato Gaetano Caffarelli.
All five operas had librettos by Maritza Núñez. In December 2012 Nilo Velarde's opera "Akas Kas", with libretto by Celeste Viale and commissioned by Perú's Culture Ministry, was premiered in Peru's Grand National Theater by Peru's National Orchestra, National Ballet, National Folklore Ensamble, National Chorus and National Children Chorus. In October 2013 Nilo Velarde's Opera "La Ciudad Bajo el Mar", with libretto by Maritza Núñez, was premiered in Perú's Grand National Theatre by the National Children Chorus. In December 2015 Jimmy Lopez's "Bel Canto", with libretto by Nilo Cruz and commissioned by the Lyric Opera of Chicago, was premiered in Ardis Krainik Theatre of the Civic Opera House, Chicago.
Prince Alexander Alexandrovich Shakhovskoy (, 5 May 1777, Smolensk Governorate, Russian Empire, – 3 February 1846, Moscow, Russian Empire) was a Russian playwright, writer, poet, librettist, pedagogue, critic, memoirist and administrator (the head, in 1802–1826, of the Imperial Theatres); arguably the most influential figure in the Russian theatre in the early 19th century. Shakhovskoy, who debuted in 1795 with the comedy Zhenskaya shutka (Ladies' Joke) and enjoyed his first success with Novy Stern (The New Stern, 1805), wrote more than a hundred comedies and vaudevilles, as well as opera librettos and divertissements. Aristophanes (Аристофан, 1825) is considered to be his most accomplished work.Gosenpud, А. А. Comedieas and Poems.
His most famous work is Iphigénie en Tauride, his first libretto, set by Gluck after the composer had initially rejected it. Gluck collaborated with Guillard to heavily recast the libretto, not only to suit Gluck's artistic preferences, but also to accommodate pre-existing music that Gluck borrowed, both from himself and from other composers, when composing the opera. Guillard's librettos were often adaptations of previously written works, rather than the products of original invention. He used a wide range of subjects as a starting point, basing his libretto for Sacchini's final opera, Arvire et Évélina, on an English dramatic poem and also using the works of Pierre Corneille on two occasions.
Together with his lifelong friend (and sometime lover) W. H. Auden, Kallman wrote the libretto for Stravinsky's The Rake's Progress (1951). They also collaborated on two librettos for Hans Werner Henze, Elegy for Young Lovers (1961) and The Bassarids (1966), and on the libretto of Love's Labour's Lost (based on Shakespeare's play) for Nicolas Nabokov (1973). Additionally, they wrote the libretto "Delia, or, A Masque of Night" (1953), intended for Stravinsky but never set to music. They were commissioned to write the lyrics for Man of La Mancha, but Kallman did no work on the project, and the producers decided against using Auden's contributions.
In 1996 the Glyndebourne opera company produced the first of Plaice's librettos, the children's opera Misper, written with the composer John Lunn. There were further collaborations with Lunn for the youth opera, Zoë in 2000 (made into a film for Channel 4 later that same year, directed by Theresa Griffith) and Tangier Tattoo in 2005, both produced at Glyndebourne. These operas were all directed by Stephen Langridge with whom Plaice has enjoyed a long working relationship. Richard Morrison of The Times (London) wrote that the creative team 'virtually redefined the genre with their splendidly feisty Misper at Glyndebourne.... Zoe by the same team is a giant leap forward again'.
Later some foreign composers serving to the Russian Imperial Court began to write Russian-language operas, while some Russian composers were involved into writing of the operas in Italian and French. Only at the beginning of the 1770s the first modest attempts of the composers of Russian origin to compose operas to the Russian librettos were made. The 19th century was the golden age of Russian opera, with such prominent composers as Mikhail Glinka, Alexander Dargomyzhsky, Modest Mussorgsky, Pyotr Tchaikovsky, Alexander Borodin and Nikolai Rimsky-Korsakov. Their traditions were carried on to the 20th century by Igor Stravinsky, Sergei Rachmaninoff, Sergei Prokofiev and Dmitri Shostakovich.
While there he collaborated with composer Giovanni Legrenzi in revising his opera Zenobia e Radamisto in 1667. In 1669 he left Venice to take up a post in Vienna as court poet to the Emperor Leopold I. At Vienna he wrote over 170 librettos, averaging around 5 a year, in genres as diverse as opera seria and festa teatrale. In addition to his duties as a writer of secular works, Minato was also a prolific producer of sacred texts, often described as oratorios. He largely provided these texts for performances given to mark special occasions - birthdays in the royal family, for example, or possibly Lenten celebrations or court weddings.
All but one of the 12 identify Badoaro as the author, while the other gives no name. Only two refer to Monteverdi as the composer, though this is not significant—composers' names were rarely given on printed librettos. The texts are all generally the same in each case, and all differ from the one surviving copy of Monteverdi's musical score, which has three acts instead of five, a different prologue, a different ending, and many scenes and passages either omitted or rearranged. Some of the libretto copies locate the opera's first performance at Teatro San Cassiano, although Teatro SS Giovanni e Paolo is now generally accepted as the opening venue.
His creative output also included comedies, opera librettos, and even music set to them. His operas Regeneration (Перерождение, 1777), and Saint-Petersburg's Trade StallsSometime translated as The Marketplace in St Petersburg or St Petersburg Bazaar; the full title: "As you live, so you will be judged, or Saint-Petersburg's Trade Stalls (Как поживёшь, так и прослывёшь' или Санкт Петербургский Гостный Двор") (Санкт Петербургский Гостный Двор) had considerable success. The second one, a scathing satire to the government officials and their thievish behaviour, is one of the first examples of Russian comic opera. It was staged on December 26, 1779 at the Knipper Theatre in St Petersburg and was repeated 16 times.
These hopes were dashed, however: he could neither get his old librettos accepted nor find suitable new ones despite support from friends and influential members of the aristocracy, and moved on to Vienna in 1801. Once there, like Beethoven and the young Schubert, he studied with Antonio Salieri and Johann Georg Albrechtsberger. Both were renowned teachers, and Albrechtsberger was also an important theorist and acknowledged authority on counterpoint and fugal theory. Reicha called on Haydn, whom he had met several times in Bonn and Hamburg during the 1790s, and renewed his friendship with Beethoven, whom he had not seen since 1792, when the latter moved from Bonn to Vienna.
This was probably performed in 1726, but the libretto also exists in an earlier version, Schwingt freudig euch empor, BMV 36c, presumably also by Picander. In 1726 Bach set further librettos by Picander: a secular cantata, Verjaget, zerstreuet, zerrüttet, ihr Sterne, BWV 249b and a church cantata for Michaelmas, Es erhub sich ein Streit, BWV 19. For that sacred work Picander had published a libretto in 1725, but the text used by Bach for his 1726 cantata is an extensively reworked version of the 1725 print. Early 1727 the composer and the librettist appear to have collaborated on further cantatas, and possibly the St Matthew Passion.
Only from the second installment, with cantata texts for occasions from St. Michael's Day (29 September) to the end of the year a few settings by Bach are extant, the oldest of these a setting for Trinity XXI (17 October 1728). Bach's setting of the first cantata of the second installment was only premiered in 1729. In total, for the complete cycle of 70 cantata librettos, nine settings by Bach are known, and only six of these fully extant. In Lent 1729 at the latest Bach and Picander were collaborating on the St Matthew Passion libretto, which for some movements derived from Picander's 1725 Erbauliche Gedanken publication.
St. Peter's Church in Loudun The libretto, written by the composer, is based on Erich Fried's German translation of John Whiting's dramatization of Aldous Huxley's essay The Devils of Loudun. The employment of existing literature as the basis for the librettos was not exclusive to The Devils of Loudun; instead, it became the invariant among Penderecki's four operas; namely Paradise Lost, Ubu Rex, and Die schwarze Maske.Thomas, "Penderecki, Krzysztof," New Grove Dictionary of Opera. The libretto is written in German (although both Polish and English adaptations exist) and it is fashioned into a series of thirty two scenes, which proceed, from one to another, quasi cinematically.
Handel's final Hamburg operas, Florindo and Daphne, based on librettos by Heinrich Hinsch and originally conceived as a giant single entity, were not produced at the Gänsemarkt before Handel left Hamburg for Italy in 1706. No music that can be definitively traced to Nero has been identified, although Handel scholars have speculated that some of it may have been used in later works, particularly Agrippina which has a related storyline and some of the same characters. Fragments of music from Florindo and Daphne have been preserved, although without the vocal parts, and some of these elements have been incorporated into an orchestral suite first recorded in 2012.
He authored the librettos for John Eaton's The Tempest, after Shakespeare, and Bright Sheng's The Song of Majnun, based on the ancient Persian story. As a scholar, Porter notably discovered excised portions of Verdi's Don Carlos in the library of the Paris Opera, which led to the restoration of the original version of the work. Porter was a consultant for a 1996 production at the Théâtre du Châtelet that used the critical edition which incorporated his scholarship. In 2003, Porter was honored with the publication of a festschrift, Words on Music: Essays in Honor of Andrew Porter on the Occasion of His 75th Birthday.
Ivany has written four original adaptations of opera librettos including La bohème, Don Giovanni, Le nozze di Figaro and Così fan tutte. His production of Figaro's Wedding garnered 7 Dora Mavor Moore Award nominations including Outstanding Production, Outstanding Direction, and a win for Dora Mavor Moore Award for Outstanding New Musical/Opera in 2014. In 2015 his production of Uncle John received three Dora Mavor Moore Award nominations. In 2018 he was inducted into the Faculty of Music Alumni Wall of Fame at his Alma Mater, Western University In 2018 his co-production of Orphée⁺ received 9 Dora Mavor Moore Award nominations and won 5 awards including Outstanding Production.
His collections of poetry won him membership of the Swedish Academy in 1971, while his song lyrics brought him widespread public recognition. During the 1970s he worked tirelessly as a poet and as a song-contest lyricist, including writing for the 1973 Swedish Eurovision Song Contest entry selection round (Melodifestivalen) and for performer Lill-Babs in 1980. He was awarded the Bellman Prize in both 1968 and 1981, the Pilot Prize in 1992, the Litteris et Artibus award in 1993, the Cornelis Vreeswijk scholarship in 1997 and the Swedish Academy's Nordic Prize in 1998. His works include anthologies of poetry, books of song lyrics, children's books, plays, operatic librettos and translations.
Opera critic Alan Rich believes that Poulenc's concerns for the travails of post-World War II France, as it tried to reconcile issues related to the Holocaust, German occupation and the Resistance, was a subtext within the opera. Wallmann worked closely with Poulenc during the composition process and in evolving the structure, as well as later when she re-staged the production in other theatres. The libretto is unusually deep in its psychological study of the contrasting characters of Mother Marie de l'Incarnation and Blanche de la Force. Rodney Milnes describes Bernanos' text as "concise and clear" and that like "all good librettos it suggests far more than it states".
He spent his youth in Buenos Aires; he met the French actress Rejane in 1900, became her secretary and translated and adapted for her several Italian works. In this way, he learned techniques which he used later on, beginning with L'aigrette (comedy in three acts, 1912). His comedies represent the bourgeois drama in an ironic and sentimental way, in which his characters are modelled on the society of the beginning of the century. He founded a theater company in 1921, wrote novels (Il romanzo di scampolo) and two opera librettos, a scampolo with music by Camussi, and another, La ghibellina, with music by Bianchi.
The 1850s and 60s saw the premieres of multiple operas with librettos by Marcello, including four more by Pedrotti, Achille Peri's Giuditta, and Filippo Marchetti's opera Romeo e Giulietta based on Shakespeare's Romeo and Juliet. Unusually for Italian Romeo and Juliet operas, Marcello based the libretto's structure and narrative closely on Shakespeare's play rather than on the source narratives which had inspired the play. In 1865 Marcello's Italian translation of Meyerbeer's L'Africaine was heard throughout Italy and in London's Royal Opera House. In the early 1840s Marcello had become seriously ill and was told that he had hypertrophy of the heart from which he would not recover.
He wrote 21 operas for various Italian theatres. The first, I due gobbi (also known as Confusioni della Somiglianza), premiered in Florence in the spring of 1793. His version of The Marriage of Figaro, titled La pazza giornata, ovvero Il matrimonio di Figaro (The Crazy Day, or The Marriage of Figaro), to a libretto by Gaetano Rossi, premiered in Venice in 1799. Like most theatre composers of the time, Portugal set several librettos that had proven successful for earlier operas, such as Metastasio's Demofoonte (premièred at La Scala, Milan, in 1794) and Artaserse; he set many stories that had been used before, including Serse, Alceste, Adrasto, Semiramide and Sofonisba.
Page in Latin of theatre program dedicated to Algirdas (1687), once performed in Vilnius Lithuanian Grand Dukes' entertainment at the castle, ruler's visits abroad and the honorable guests' arrival meetings etiquette had theatrical elements already since the 14th century (e.g. musicians' chapels of Gediminas and Władysław II Jagiełło). During the period of Sigismund III Vasa's residence in Vilnius (first half of the 17th century), English professional drama actors' troupes played in the royal manor. In 1635, Władysław IV Vasa established a professional opera theatre in the Lower Castle, where dramma per musica genre productions were performed with operas' librettos being written by Italian Virgilio Puccitelli.
Formerly the oldest was thought to be a record of Yuriwaka being narrated in February 1551, a short time after the first European missionary contact with Japan. The "Tale of Yuriwaka" (or "The Minister Yuriwaka") has existed in the form of librettos for performance in the kōwakamai dance since the late Muromachi period (16th century or even earlier), and later adapted for the jōruri puppet play and kabuki theater. The story has also been transmitted in folktale form widely throughout Japan, with a tradition that is particularly strong in the southerly Ōita Prefecture where the tale is set. Variants have also been recited in Oki Island by local priestesses.
The opera's librettists, Apostolo Zeno and Pietro Pariati, had written the librettos for many of Conti's Vienna operas, either individually or jointly. On this occasion they remained quite faithful to the text and basic story recounted Book I of Don Quixote where he travels to the Sierra Morena mountains and has a series of encounters with the wily inhabitants and two pairs of unhappy lovers. Described in the libretto as a tragicomedia per musica (tragicomedy in music), it is essentially a parody of the opera seria genre and its heroic arias.Grout, Donald and Williams, Hermine Weigel (2003). A Short History of Opera, 4th edition, p. 234.
Klimkovich was born into the family of a stoker in the village of Salitranka on November 20, 1899. Finishing a four-year pedagogical institute, he was involved in teaching, subsequently joined the revolutionary communist forces during the collapse of the Russian Empire, fighting in the Red Army during the Russian Civil War. Between 1932 and 1937 he was a member of the organizinatinal committee in charge of the education activities of the Belarusian Writers' Union before being elected as the Belarusian Writers' Union's first-ever chairman in 1934. Aside from a number of important poems, Klimkovich authored the dramatic trilogy Georgy Skaryna and wrote librettos for several operas and a ballet.
Very little is known about Barsanti's background. His father may or may not have been the opera librettist Giovanni Nicolao Barsanti (Il TemistocleSharman, Ian G. : “Francesco Barsanti: A fuller biography and a discussion of his Concerti Grossi (Op 3),” Journal Brio, Vol. 26, No. 1, International Association of Music Librarians (UK/IR), 1989. Sharman refers to an opera entitled "Il Temistocle" which was produced in Lucca in 1678, but states the composer is unknown. He cites the U.S. Library of Congress list of opera librettos printed before 1800. This is obviously not the same work as Johann Christian Bach's Temistocle, composed in London in 1767.) but this has never been proved.
Philidor l'aîné was appointed to a position previously held by his uncle, , in the Cromornes et Trompettes Marines in 1659. He played oboe in the royal musketeers from 1667 to 1677; appears in librettos of Lully's ballets and operas as a player of a variety of wind and percussion instruments from 1670; played drum in the Fifres et Tambours and was a member of the 12 Grands Hautbois du Roi in 1681; was ordinaire de la musique de la chapelle from 1682; and became one of four wind players to join the Petits Violons in 1690. In 1714 he owned 33 instruments, including oboes, flutes, recorders, bassoons, oboe musette, and drums.
In addition to the stories that he published in children's magazines, he also published the books Medvedek Rjavček (The Little Brown Bear, 1929, 1931), Juretovo potovanje (George's Trip, 1939), Letalec Nejček (Bart the Pilot, 1972), and Vid Nikdarsit (Vitus Neverfull, 1976). He also wrote two plays for children, which were staged in Celje: Ušesa carja Kozmijana (Tsar Cosmian's Ears, 1948) and Desetnica Alenčica (Magda the Tenth-Born, 1951). For adults, he wrote the comedy Mokrodolci (The People of Mokri Dol), staged in 1946. He also collaborated with the composer Risto Savin, for whom he wrote librettos for the operas Gosposvetski sen (Maria Saal Dream, 1921) and Matija Gubec (1923).
Ewers also wrote the novel Reiter in deutscher Nacht (Riders in the German Night) published in 1932. Ewers wrote numerous short stories, those in Nachtmahr ("Nightmare") largely concern "pornography, blood sport, torture and execution". Stories translated into English include the often anthologised "The Spider" (1915), a tale of black magic based on the story "The Invisible Eye" by Erckmann-Chatrian; "Blood", about knife fights to the death; and "The Execution of Damiens", a story about the execution of the 18th-century French criminal Robert-François Damiens that achieved some notoriety for its violence. Ewers also published several plays, poems, fairy tales, opera librettos, and critical essays.
His publications throughout his career were diverse: he printed songs of the Philadelphia theater (based on London theater music), opera librettos, original American compositions, political songs, excerpts from Italian opera, and minstrel music. By the 1850s, Blake stopped publishing music, although he continued selling his earlier publications out of his small store at 13 South Fifth Street, which adjoined 23 South Fifth, the residence of his friend and artist Thomas Sully. George E. Blake tombstone in Laurel Hill Cemetery At his death, in his 95th year, Blake was hailed as the oldest publisher in the United States, save and except Lee & Walker, a Philadelphia-based music publisher that had been in existence since 1773. George W. Lee (d.
Rutland Barrington and Courtice Pounds as Giuseppe and Marco in The Gondoliers The Gondoliers (1889) takes place partly in Venice and partly in a kingdom ruled by a pair of gondoliers who attempt to remodel the monarchy in a spirit of "republican equality."The Gondoliers at The Gilbert and Sullivan Archive, accessed 21 July 2007 Gilbert recapitulates a number of his earlier themes, including the satire of class distinctions figuring in many of his earlier librettos. The libretto also reflects Gilbert's fascination with the "Stock Company Act", highlighting the absurd convergence of natural persons and legal entities, which plays an even larger part in the next opera, Utopia Limited. Press accounts were almost entirely favourable.
In 2002 Langer became the first Jerwood Composer in Association at the Almeida Theatre in London, writing the short operas Ariadne (premiered at the Almeida Opera Festival in 2002) and The Girl of Sand (2003), both settings of librettos by poet Glyn Maxwell. Ariadne was further performed at the Tanglewood Festival and the Britten and Strauss Festival in Aldeburgh in 2009, as well as at the Moscow Conservatoire. In 2009 her song cycle Songs at the Well, based on Russian folk texts, was performed at the Carnegie Hall, New York. Her next collaboration with Maxwell, a short dramatic piece called The Present, won the Audience Prize at the Zurich Opera House's New Opera Festival in January 2009.
He is a specialist for works by Gioacchino Rossini, who staged besides Il barbiere di Siviglia also La gazza ladra, La scala di seta and L'italiana in Algeri, among others, especially at the Rossini Opera Festival in Pesaro. At La Fenice in his hometown, he directed Mozart's three operas on librettos by Lorenzo da Ponte, conducted by Antonello Manacorda, and Gounod's Roméo et Juliette. He staged some rarely performed operas by Ramón Carnicer, Michael Daugherty, Nino Rota, Stefano Pavesi and Marco Tutino. In 2012, he made his debut at both the Salzburg Festival, where he directed Puccini's La Bohème, and at the Theater an der Wien, where he directed the same composer's Il trittico.
The Groove was an R&B; pop group formed in Melbourne in early 1967 – all members had some experience in other bands. The original line-up was Geoff Bridgford (ex-Steve & the Board) on drums, Jamie Byrne (Black Pearls, Running Jumping Standing Still) on bass guitar, Tweed Harris (Levi Smith Clefs) on keyboards, Rod Stone (The Librettos, Normie Rowe & The Playboys) on guitar and Peter Williams (Max Merritt & The Meteors) on lead vocals and guitar. They were gathered together by artist manager and booking agent, Garry Spry (The Twilights). The Groove played Stax Soul and 1960s R&B; in the style of Otis Redding, Wilson Pickett, Sam & Dave, Arthur Conley and The Isley Brothers.
Although La princesse jaune is the third opera that Saint-Saëns composed, it was the first of his operas to be mounted on the opera stage. It was also his first collaboration with Louis Gallet, who would go on to write the librettos for several more operas and become a close friend of Saint-Saëns. La princesse jaune was commissioned for the Opéra-Comique by the company's director, Camille du Locle, as compensation for not being able to mount Saint-Saëns's other opera, Le timbre d’argent, as promised due to financial reasons. At the opera's 1872 premiere, it was grouped into a set of one-act operas which included Emile Paladilhe’s Le passant and Georges Bizet’s Djamileh.
The librettists for Le timbre d'argent also notably penned the librettos for Gounod's Faust and Offenbach's Les contes d'Hoffmann, and Saint-Saëns's opera serves as a "significant link" between these two. All three of these operas explore the hero's reliance on a menacing older man imposed by a diabolic pact. The character of Conrad is similar in many ways to that of Hoffman in Offenbach's opera, and the villainous character of Dr. Spiridion correspond well to Offenbach's villains (Lindorf, Coppélius, Dapertutto, and Dr Miracle). While the music of Le timbre d'argent is both "versatile and fluent", the drama at times poses difficulties, especially the mimed part of Fiametta and the somewhat weak revelation of truth at the opera's end.
While in the United States, Dvořák wrote his two most successful orchestral works: the Symphony From the New World, which spread his reputation worldwide, and his Cello Concerto, one of the most highly regarded of all cello concerti. He also wrote his most appreciated piece of chamber music, the American String Quartet, during this time. But shortfalls in payment of his salary, along with increasing recognition in Europe and an onset of homesickness, led him to leave the United States and return to Bohemia in 1895. All of Dvořák's nine operas, except his first, have librettos in Czech and were intended to convey the Czech national spirit, as were some of his choral works.
The Librettos was a New Zealand pop/R&B; group, active from 1960 to 1966. They were one of New Zealand's most popular bands in 1964-65, and after relocating to Sydney they gained recognition in Australia for their polished live performances and their 1966 version of the Paul Revere & The Raiders song "Kicks". Several members of the group went on to other notable bands of the 1960s and 1970s - bassist Brian Peacock co-founded the highly regarded Anglo- Australian "progressive pop" band Procession, Rod Stone joined popular Australian '60s soul group The Groove, and drummer Craig Collinge (the only Australian-born member) later played with Manfred Mann Chapter Three and UK 1970s "proto-punk" band Third World War.
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.
Dean and Knapp write that the theatre's history was "enlivened and envenomed by a maelstrom of controversy, pursued in pamphlets, broadsheets, sermons and prefaces to librettos ... and by financial crises which persisted on and off throughout the sixty years of its existence". A preponderance of biblically inspired works in the earliest years was soon replaced by a range of more secular subjects, often drawn from Roman history and myth, or from recent events such as the 1683 siege of Vienna. Performances tended to be of considerable length, often extending to six hours. The 18-year-old Handel entered this hectic environment in mid-1703, to take up a place in the theatre's orchestra as a ripieno (ensemble) second violin.
After his work at the Teatro San Carlo, he produced the librettos for a number of other operas by now-forgotten composers, but which had performances in Naples, Milan, and Venice. During his time in Naples, he also published Il colera in Napoli, a collection of vignettes from the 1836 cholera epidemic there and Passeggiata per Napoli e contorni, a two-volume description of the city, its surroundings, and the customs of its people. Via Toledo in Palermo where Bidera spent the last years of his life in an apartment at number 76. Suspected of involvement in the 1848 uprisings in Naples, Bidera was required by police order to leave the city.
19–20, 30–31 (note 8), explains that the first printed libretto identified the librettist with the initials "G. F. R.", but later librettos and the Ricordi vocal score (1855) "spell out (Giuseppe) Felice Romani", while another libretto from Reggio Emilia (1816), and several others based on it, give the name Gian Francesco Romanelli, or in some cases Gian Francesco Romani, neither of which is otherwise known. The latter attributions, plus stylistic considerations, led Mario Rinaldi (1965) to assume that Felice Romani was not the librettist, and his arguments were later supported by scholars such as Herbert Weinstock, Celletti, and Carlo Marcello Rietmann. However, Rinaldi's "weak argument" was "conclusively refuted" by Marco Beghelli in 1991.
Still, he agreed to join Bolton in writing the book.Bolton, p. 233 The show was, in the words of the Oxford Encyclopedia of Popular Music, "a smash hit" in New York and in London. Bolton returned to the US during the Second World War to write the librettos for Walk With Music, Hold On to Your Hats, Jackpot (with several contributors) and Follow the Girls (with Eddie Davis). Bolton's screen credits include The Love Parade (1929), Ambassador Bill (1931), Waltzes from Vienna (1934), The Murder Man (1935), Angel (1937), Week- End at the Waldorf (1945), Ziegfeld Follies (1945), Till the Clouds Roll By (1946), Easter Parade (1948) and the German adaptation of his play Adorable Julia (1962).
Conducted until his death by Craig Smith, a number of other well-known conductors have made guest appearances over the years. During his time with Emmanuel Music, Smith conducted hundreds of concerts of Bach's works, as well as the United States premieres of several operas by Handel and the world premieres of works by composer John Harbison. During the 1980s, Smith collaborated frequently with stage director Peter Sellars, including stagings of Mozart's trilogy of operas from librettos by Lorenzo da Ponte; also Handel's Giulio Cesare, several Gilbert and Sullivan operettas, and works by Bach, Weill, and Gershwin. In 1988 Smith was invited to be permanent guest conductor at La Monnaie, a Baroque-era opera house and theater in Brussels.
Retrieved 15 June 2014. His writing credits include an adaptation of Dickens's A Christmas Carol; Opera Senza Rancor, a satire on the world of opera; Puccini’s Passion, a biographical play with music on the life and career of Puccini; a new book and libretto for La Périchole; translation of librettos for Die Fledermaus and The Daughter of the Regiment; and a concert/lecture series for the New-York Historical Society. Capasso's film on the life and career of Enrico Caruso, which he wrote and produced, aired on the A&E; network's Biography series in 1998. Other film credits include his direction of scenes from Nabucco for the feature film The Secret Lives of Dentists.
He kept the format of the chorale cantata cycle until Palm Sunday of 1725, but then repeated an early Easter cantata, Christ lag in Todes Banden, BWV 4, on Easter Sunday, and wrote Bleib bei uns, denn es will Abend werden for Second Day of Easter as the first cantata in that cycle that was not a chorale cantata. The change was possibly due to the loss of a librettist. The prescribed readings for the feast day were from the Acts of the Apostles, the sermon of Peter (), and from the Gospel of Luke, the Road to Emmaus (). Bach used a text by an anonymous poet who had already supplied librettos for his first cycle.
Geneviève de Paris is an 1881 cantata by Alfred Bruneau which won the Prix de RomeAlfred Bates, James Penny Boyd Drama and Opera: The opera - 1909 - Page 119 "Bruneau entered the Paris Conservatoire, studied composition with Massenet, and in 1881 won the Prix de Rome with his cantata Geneviève de Paris. Kérim, Bruneau's first opera, presented in Paris, was only a moderate success, but in 1891 Le Rêve, the libretto by Emil Zola, was well received by the audiences of the Opéra Comique. There followed a series of operas written to librettos by Zola, among ..." The aria "Seigneur ! Est-ce bien moi que vous avez choisie?" was recorded by Veronique Gens in 2017.
Michael William Balfe and Vincent Wallace were the most prominent representatives of mid-19th-century English-language operas. The Celtic Renaissance after 1900 created works such as Muirgheis (1903) by Thomas O'Brien Butler, Connla of the Golden Hair (1903) by William Harvey Pélissier, Eithne (1909) by Robert O'Dwyer, and The Tinker and the Fairy (1910) by Michele Esposito. Muirgheis and Eithne have librettos in Irish, as have a number of 1940s and '50s works by Éamonn Ó Gallchobhair. Most of the Irish operas written since the 1960s have a contemporary international outlook, with important works by Gerard Victory, James Wilson, Raymond Deane, Gerald Barry, and a number of young composers since the turn of the century.
Owen Hall Hall (seated left) with George Edwardes (c) and Sidney Jones Owen Hall (10 April 1853 – 9 April 1907) was the principal pen name of the Irish- born theatre writer, racing correspondent, theatre critic and solicitor, James "Jimmy" Davis, when writing for the stage. After his successive careers in law and journalism, Hall wrote the librettos for a series of extraordinarily successful musical comedies in the 1890s and the first decade of the 1900s, including A Gaiety Girl, An Artist's Model, The Geisha, A Greek Slave and Florodora. Despite his achievements, Hall was constantly in financial distress because of his gambling and extravagant lifestyle; his pseudonym was a pun on "owing all".
" Lovesphere 21 (and subsequent festivals) took place in Greensboro, North Carolina and featured Lawrence "Lipbone" Redding, Mark Engebretson, and guitar virtuoso Eugene Chadbourne. Of Lovesphere 23, critic Lauren Barber wrote, "the 23rd annual Lovesphere (is a) creative-arts performance project devised to usher in the vernal equinox... one of the festival’s core values (is) deep listening." Heidt wrote three librettos for composer Evan Hause's Defenstration Trilogy. Heidt's "engrossing " script for the second opera, Nightingale: The Last Days of James Forrestal "reflects, in accurate historical detail, on the political backstage manoeuvres that led to Forrestal's fall and on the dark side of his death....and can be considered a new chapter of its reception.
He attended school in Prague and Dijon, France. In 1927, together with Werich, he joined the Osvobozené divadlo (Liberated Theater), which had been created two years earlier by members of the avant-garde Devětsil group, Jiří Frejka and Jindřich Honzl. After disagreements led Frejka to leave the group in 1927, Honzl asked Voskovec and Werich, 22-year-old law students who had created a sensation with their Vest Pocket Revue that year, to join the theatre. When Honzl, who had directed their productions, left in 1929, Voskovec and Werich took control of the theatre and changed its name to the Liberated Theatre of Voskovec and Werich, assuming all responsibility for direction, writing, librettos, and other artistic decisions.
In 1733, he composed a comic opera, but his operatic career did not take off. Brunetti earned a living as a singer in Neapolitan churches until he was hired as the Chapel Master for the Duke of Monte Nero, who brought him to Sicily for 6 months, where he composed a serenata for the arrival of Charles of Bourbon in Messina (1735), as well as at least two comic operas on Pietro Trinchera's librettos. For six more months, he taught at the Filipino Oratorio of Genoa, after which he was hired at the Turchini Conservatory as assistant director from 1745 until 1754. At this time, he accepted to succeed Clari, as Chapel Master of the Duomo of Pisa.
An extensive sequence adapting The Lorax was seen in the original script, which involved Jojo meeting the Once-ler after deserting the army, and receiving the last Truffula Tree seed from him, giving him the courage to save Who-ville. Relevant characters included the Lorax himself as well as Bar-ba-loots, Swomee-Swans, and Humming-Fish, who would all appear and disappear as the Once-ler told his story. The sequence faced numerous difficulties due to the show's already lengthy running time, and was ultimately cut entirely after its Boston tryout. As of 2013, MTI has begun offering the sequence as an independent "mini-musical", advertising it on the back of Seussical librettos and scripts.
While the zarzuela tradition flourished in Madrid and other Spanish cities, Catalonia developed its own zarzuela, with librettos in Catalan. The atmosphere, the plots, and the music were quite different from the model that triumphed in Madrid, as the Catalan zarzuela was looking to attract a different public, the bourgeois classes. Catalan zarzuela was turned little by little into what is called, in Catalan, teatre líric català ("Catalan lyric theater"), with a personality of its own, and with modernista lyricists and composers such as Enric Granados or Enric Morera. In the final years of the 19th century, as modernisme emerged, one of the notable modernistas, and one of Felip Pedrell's pupils, Amadeu Vives came onto the Barcelona scene.
Julius Schubring (1839-1914) Johannes Julius Schubring (28 March 1839, Dessau - 5 June 1914) was a German classical scholar, known for his studies on the archaeological topography of Sicily. He was the son of the clergyman Julius Schubring (1806–1889), friend of Felix Mendelssohn, for whom he wrote the librettos of the oratorios St. Paul and Elijah. From 1857 to 1862 he obtained his education at the universities of Erlangen, Bonn and Göttingen, and afterwards spent several years working as a tutor in Sicily. In 1868 he was appointed head teacher at the Katharineum in Lübeck,Nomenclator philologorum by Friedrich August Eckstein where in 1880 he succeeded Johann Friedrich Breier (1813–1880) as director.
Davide Perez (1711 – 30 October 1778) was an Italian opera composer born in Naples of Italian parents, and later resident court composer at Lisbon from 1752.A short history of opera: Volume 1 Donald Jay Grout - 1947: "Davide Perez (1711-1778) was born at Naples of Spanish parents. After a career at Naples, ..."; Dissertation abstracts: The humanities and social sciences University Microfilms - 1967 The Operas of David Perez (Order No. 67-11039) Paul Joseph Jackson, PhD Stanford University, 1967: "In his own lifetime, David Perez (1711-1778) was consistently named with the greatest masters of eighteenth century opera seria." He staged three operas on librettos of Metastasio at Lisbon with huge success in 1753, 1754, and 1755.
The production is based on an original idea by the Venezuelan writer and columnist Moisés Naím and the direction is by Felipe Cano (Lady, la vendedora de rosas, El laberinto de Alicia) and Henry Rivero (film En coma). The librettos are by José Luis González, Juan Andrés Granados and Versalia Cordero. The series is produced by Andrea Marulanda and Luis Eduardo Jiménez as executive producers, series production is scheduled for the summer of 2016. The first advance of the series was revealed on October 25, 2016, showing scenes that marked the life of the Venezuelan president, such as episodes of his childhood in Sabaneta, Barinas state, until the coup attempt he led in 1992.
IPA has widespread use among classical singers during preparation as they are frequently required to sing in a variety of foreign languages, in addition to being taught by vocal coach in order to perfect the diction of their students and to globally improve tone quality and tuning. Opera librettos are authoritatively transcribed in IPA, such as Nico Castel's volumes and Timothy Cheek's book Singing in Czech. Opera singers' ability to read IPA was used by the site Visual Thesaurus, which employed several opera singers "to make recordings for the 150,000 words and phrases in VT's lexical database ... for their vocal stamina, attention to the details of enunciation, and most of all, knowledge of IPA".
Yvonne, princesse de Bourgogne is a 2009 opera by Philippe Boesmans to a libretto by Swiss dramatist and director Luc Bondy based on the anti- conformist play Iwona, księżniczka Burgunda by Witold Gombrowicz.Droit & littérature Koen Lemmens, François Ost, François Jongen -2874550701 2007 " En 1965, Yvonne, princesse de Bourgogne est traduite en français et mise en scène au ... Au printemps 2009, cette pièce sera transformée en opéra à Paris sur une musique de Philippe Boesmans et un livret de Luc Bondy." Yvonne is the fourth in a series of operas with librettos by Luc Bondy, and the first of the four to be written in French not German. The libretto for Boesmans' subsequent French opera, Au monde (2014), was provided by Joël Pommerat.
Meanwhile, Verga had been serving in the Catania National Guard (1860–64), after which he travelled to Florence several times, settling there in 1869. He moved to Milan in 1872, where he developed his new approach, characterized by the use of dialogue to develop character, which resulted in his most significant works. In 1880 his story collection Vita dei campi (Life in the Fields), including "Fantasticheria" ("Daydreaming"), "La lupa" ("The She-wolf"), "Jeli il pastore" ("Jeli the Shepherd"), "Pentolaccia" ("The Plaything"), and Rosso Malpelo, most of which were about rural Sicily, came out. It also included "Cavalleria rusticana" ("Rustic Chivalry"), which he adapted for the theatre and later formed the basis for several opera librettos including Mascagni's Cavalleria rusticana and Gastaldon's Mala Pasqua!.
Farnace is an 18th-century Italian opera in 3 acts by the Czech composer Josef Mysliveček. It was composed to a libretto by the Italian poet Antonio Maria Lucchini that is best known from a setting by Antonio Vivaldi first produced at the Teatro Sant'Angelo in Venice for the carnival operatic season of 1727. For a performance in the 1760s, it would only be expected that a libretto of such age would be abbreviated and altered to suit contemporary operatic taste; this libretto was unusually old, even older than all but one of the librettos by Metastasio that continued by be set in the 1760s. The cuts and changes in the text made for the 1767 performance of Mysliveček's opera are not attributable.
The success of Something Bruin led Sock and Buskin to provide Brownbrokers with the resources and space for an annual production. Road to Bruin and Man about Brown, the 1936 and 1937 productions respectively, parodied both life at Brown and the national politics of the day. In 1943, there was no Brownbrokers show because of World War II, but Brownbrokers returned with Scuttlebutt in 1944, a navy-themed revue. Under the guidance of the Brownbrokers Board, the productions began to transition from themed revues to book musicals in the 1950s and 1960s. Barney n’ Me and Fiddle-De-Dee, the 1956 and 1957 shows, had librettos and lyrics by Alfred Uhry ’58, future Pulitzer Prize, Tony Award and Oscar Award winner.
Although the vast majority of later Mexican operas have Spanish librettos, there have been 20th century works set to English texts, most notably The visitors by Carlos Chávez with a libretto by the American poet Chester Kallman. The first opera by a Mexican-born composer was Manuel de Zumaya's La Parténope, performed in 1711 before a private audience in the Viceroy's Palace in Mexico City. However, the first Mexican composer to have his operas publicly staged was Manuel Arenzana, the maestro de capilla at Puebla Cathedral from 1792 to 1821. He is known to have written at least two works performed during the 1805/1806 season at the Teatro Coliseo in Mexico City – El extrangero and Los dos ribales en amore.
The Piazza San Martino, Lucca in 1742 by Bernardo Bellotto monumento to Luigi Boccherini, Lucca Boccherini was born into a musical family in Lucca, Italy in 1743.The standard modern full-length biography is by Jaime Tortella, Boccherini: un músico italiano en la España ilustrada, 2002; there is no comparable biography in English. He was the third child of Leopoldo Boccherini, a cellist and double-bass player, and the brother of Giovanni Gastone Boccherini, a poet and dancer who wrote librettos for Antonio Salieri and Joseph Haydn. Luigi received his first music lessons at age five by his father, who taught him cello, and then continued his studies at age nine with Abbé Vanucci, music director of a local cathedral, at San Martino.
The Librettos formed in 1960 while its original members were attending Rongotai College in Wellington, and they reportedly chose their name by sticking a pin at random into the page of a dictionary. The original lineup was Roger Simpson (lead vocal), Dave Clark (piano), Rod Stone and Johnny England (guitars), Paul Griffin (bass) and Andy Shackleton (drums), who was later replaced by Gordon Jenkins. They played regularly around Wellington for some time before landing a residency at the city's leading pop venue "Teenarama". They built up a solid following in the city during 1963, and their profile was further boosted by a support slot on the 1964 NZ national tour by British Merseybeat acts Billy J. Kramer & The Dakotas and Cilla Black.
In 1964 they also recorded and released their only LP, Let's Go With The Librettos, which combined popular covers from their set with six Peacock-Stone originals. It includes their cover of the Ventures number "Let's Go", which was the theme for the TV show, and was probably their best-known song in New Zealand, although it was never released as a single. In 1965 they were offered another season with the Let's Go show but turned it down in favour of going to Australia, like many other NZ acts of the time. The band relocated to Sydney in March 1965, but found it hard going - arriving at the peak of the "Beat Boom" in Australia, they found themselves competing with literally hundreds of other similar groups.
Chinese Theatre in Tsarskoe Selo, ca. 1900. He wrote a few librettos for comic operas and was especially celebrated for the text of the one-act opera Anyuta, which was given at the (Chinese Theatre, Tsarskoye Selo, September 6 [OS August 26] 1772). The music was a selection of popular songs specified in the libretto. The story is about a girl called Aniuta, brought up in a peasant household, who turns out to be of noble birth, and the story of her love for a nobleman, Victor, which eventually ends happily with wedding bells. The music hasn’t survived, and the composer is unknown, although it is sometimes attributed to Vasily Pashkevich or even to Yevstigney Fomin, who at that time was just 11 years old.
Vogel was an enthusiast for the operas of Gluck, and his first opera, La toison d'or, is dedicated to the composer as 'législateur de la musique'. In places it appears to be a faithful stylistic imitation of Gluck's two Iphigenia operas, Iphigénie en Tauride and Iphigenie auf Tauris , but with a fuller orchestration and a greater lyricism in the arias. The opera was written in 1781 but was not performed until 5 September 1786 at the Opéra National de Paris. It played for only 12 performances and was met with limited success since it seemed old-fashioned and contained no ballet. Philippe Desriaux, for many years the secretary of Baron von Tschudi, wrote the librettos for both La toison d'or and Vogel’s second opera, Démophon.
One of several comic village operas written to Sabina librettos (The Bartered Bride is the most famous), it has a cast of four characters and is made up of a handful of closed numbers: five solos, two duets, one quartet, an overture and an intermezzo, and three brief ensembles for chorus and soloists. It was the first Czech comic opera to replace spoken dialogue with recitative. Blodek's opera is often considered to be one of the most ‘Czech’ operas after those of Smetana – it was written shortly after the première of The Bartered Bride. Blodek's next opera, Zítek, again to a Sabina libretto (a historical comedy set in the 14th century), was a more ambitious work both in its musical vocabulary and in its operatic form.
Sheren concludes by noting that "one reason for Saquirico's international influence was the portfolios of hand-coloured engravings based on his theatrical and architectural drawings were published and extensively circulated and copied." An example of one of the Raccolta di varie decorazioni volumes is included in the "Sources" below. They were published by Ricordi in Milan from 1818 onward. Another noted aspect of his work was that stage lighting, initially oil and Argand lamps, worked well with "his balance of contrasts and colours", but they helped create the "moods suggested in the librettos of many operas [including] overwhelming panic at the impending destruction of Pompei in Pacini's L'ultimo giorno di Pompei for Naples in 1825" and for La Scala in 1826.
He is an alumnus of HB Studio in New York City. He authored three novels, four opera librettos, twenty short stories, and 85 plays which have been staged throughout the United States from South Coast Repertory in California to the Virginia Museum Theater (VMT) in Richmond, and in Europe and Asia. His plays include The Sorrows of Frederick, Holy Ghosts, Childe Byron, Heathen Valley, and an adaptation of Ernest J. Gaines's novel, A Lesson Before Dying, which has been produced in New York and in numerous regional theaters. Many of his plays were set in Appalachia (Tennessee, Holy Ghosts, Sand Mountain, Gint and Heathen Valley), while others focused on historical subjects (The Sorrows of Frederick, King Philip, 2: Goering at Nuremberg).
He sometimes used the pen names G. Bradu and Glonț ("bullet") or his initials, B. D. Bengescu-Dabija's concerns included the cultivation of the language and the valuing of its folk resources, as well as the reorganization of the theatre for the purposes of national uplift, along the lines begun by Vasile Alecsandri and Bogdan Petriceicu Hasdeu. His literary debut work was the 1870 Amorul unchiului, a vaudeville act adapted from Eugène Sue; Matilda Cugler- Poni appeared in the stage version. He wrote librettos for operetta shows and added comic and dramatic pieces to the repertory; these include Radu III cel Frumos (1875), Cucoana Nastasia Hodoronc (1877) and Pygmalion, regele Feniciei (1886).Aurel Sasu (ed.), Dicționarul biografic al literaturii române, vol.
Das Rheingold (; The Rhinegold), WWV 86A, is the first of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen, (English: The Ring of the Nibelung). It was performed, as a single opera, at the National Theatre Munich on 22 September 1869, and received its first performance as part of the Ring cycle at the Bayreuth Festspielhaus, on 13 August 1876. Wagner wrote the Ring librettos in reverse order, so that Das Rheingold was the last of the texts to be written; it was, however, the first to be set to music. The score was completed in 1854, but Wagner was unwilling to sanction its performance until the whole cycle was complete; he worked intermittently on this music until 1874.
After a career in accounting he turned to poetry and eventually music composition. In 1988 he won in the poetry category in a competition by Cross-Canada Writers' Quarterly (). His poems have been anthologized in The Antigonish Review, Contemporary Verse 2, Cross-Canada Writers' Magazine, DIS-EASE, Fiddlehead, Germination, Grain, Implosion, Matrix, Museletter, Poetry Canada Review, Poetry Toronto, Quarry Magazine, Toronto Life, The Toronto Sun, Waves, and Zymergy and in three anthologies: Garden Varieties, The Dry Wells of India, and More Garden Varieties. He has written two opera librettos for the Canadian Opera Company, including Dulcitius, performed by the COC ensemble in 1988 and a three-act opera Mario and the Magician, with music by Harry Somers performed at the Elgin Theatre, Toronto in 1992.
The first opera ever written in the Americas was La púrpura de la rosa, by Tomás de Torrejón y Velasco, although Partenope, by the Mexican Manuel de Zumaya, was the first opera written from a composer born in Latin America (music now lost). The first Brazilian opera for a libretto in Portuguese was A Noite de São João, by Elias Álvares Lobo. However, Antonio Carlos Gomes is generally regarded as the most outstanding Brazilian composer, having a relative success in Italy with its Brazilian-themed operas with Italian librettos, such as Il Guarany. Opera in Argentina developed in the 20th century after the inauguration of Teatro Colón in Buenos Aires—with the opera Aurora, by Ettore Panizza, being heavily influenced by the Italian tradition, due to immigration.
Leons Briedis (December 16, 1949 – February 1, 2020) was a Latvian poet, a novelist, an essayist, a literary critic and publisher, translator of prose and poetry from Latin, Russian, English, Romance languages (Romanian, Spanish, French, Portuguese, Italian, Catalan, Rhaeto-Romanic), Swahili (of Bantu peoples), Albanian and other languages. He was also an author of several musicals produced on the radio and staged at the biggest theatres in Latvia, script writer (author of several scripts, one short-length film is produced) wrote much for children (poems, prose, plays), author of song texts (in collaboration with the composer Raimonds Pauls texts for appr. 150 songs), translated 10 plays staged at Latvian theatres and rendered in verse opera librettos (e.g., the opera by B. Britten "The Small Chimney-Sweep").
At the time of his commission for L'Arianna, Rinuccini was probably the most experienced and distinguished of all librettists. His writing career stretched back to 1579, when he had written verses for the Florentine court entertainment Maschere d'Amazzoni. He had become widely known through his verse contributions to the celebrated intermedi for Girolamo Bargagli's play La Pellegrina (The Pilgrim Woman), performed in May 1589 at the wedding of Ferdinando I de' Medici and Christina of Lorraine. According to Gagliano, Rinuccini was a primary influence in the emergence of opera as a genre; he adapted the conventions of his contemporary lyric poets to produce the librettos for two of the earliest operas, Dafne and Euridice—the latter set to music by both Peri and Giulio Caccini.
There are five surviving cantatas for the Ratswechsel at Leipzig, and librettos of three more, BWV Anh. I 3, 4 and 193. The other four extant cantatas are Ihr Tore zu Zion, BWV 193, composed for the occasion in 1727 but partly lost, Wir danken dir, Gott, wir danken dir, BWV 29, composed for the occasion in 1731, Gott, man lobet dich in der Stille, BWV 120, adapted from earlier cantatas for wedding and homage probably in 1742, and Lobe den Herrn, meine Seele, BWV 69, adapted from Lobe den Herrn, meine Seele, BWV 69a, for the occasion in 1748. The text was written by an unknown librettist who included psalm verses (from Psalms 147, 85 and 126) and lines from Martin Luther's German Te Deum "Herr Gott, dich loben wir".
Alphonse Royer, (10 September 1803 – 11 April 1875) was a French author, dramatist and theatre manager, most remembered today for having written (with his regular collaborator, Gustave Vaëz) the librettos for Gaetano Donizetti's opera La favorite and Giuseppe Verdi's Jérusalem. From 1853 to 1856, he was the director of the Odéon Theatre and from 1856 to 1862 director of the Paris Opéra, after which he was appointed France's Inspecteur Général des Beaux-Arts (Inspector General for the Fine Arts). In his later years, he wrote a six volume history of the theatre and a history of the Paris Opéra. He also translated the theatrical works of the Italian dramatist Carlo Gozzi, as well those of the Spanish writers, Miguel de Cervantes, Tirso de Molina, and Juan Ruiz de Alarcón.
Gustave Vaëz In the ensuing years, Royer wrote several more novels and plays, contributed articles to a variety of Parisian periodicals, and formed a close friendship and working partnership with the Belgian playwright and poet, Gustave Vaëz. Their first major collaboration was the translation and adaptation of Donizetti's opera, Lucia di Lammermoor for the French stage. The successful premiere of Lucie de Lammermoor, at the Théâtre de la Renaissance in 1839 led to several similar commissions, as well as commissions for original librettos, most notably Donizetti's La favorite (1840), and Verdi's Jérusalem (1847). During the period of the July Monarchy, Royer and Vaëz became a major force in the adaptation of Italian operas for French audiences and had a virtual monopoly of the Italian repertoire at the Académie Royale de Musique.
Yashin, who had met the famous poet Hamza Niyazi several times, was tremendously affected by his writings and violent death; Hamza was the subject of several of Yashin's works. In the years leading up to World War II Yashin wrote librettos for the first national operas in the Uzbek SSR, "Boʻron" and "Ulugʻ kanal". After the brutal honor killing Nurkhon Yuldashkhojayeva, of one of the first Uzbek women to perform on the stage without the veil, Yashin wrote the musical "Nurkhon" detailing her life and death as that of a brave martyr of the women's liberation. Nurkhon's murder was not the only honor-killing of a celebrity of the stage in the Hujum era, with the earlier murder of Tursunoi Saidazmova, the famed "Uzbek nightingale" known for her singing.
Although some of the "Tory Wits" like Pope and John Gay wrote opera librettos (the two combining for Acis and Galatea with Handel), opera was a spectacular form of theater that left too little room for dramatic acting for most of the playwrights. Pope argued in The Dunciad that Handel's operas were "masculine" in comparison to Italian and French opera. While this is a musical commentary, it is also a commentary on the amount of decoration and frippery put on the stage, on the way that Handel's operas concentrated on their stories and music rather than their theatrical effects. It was not merely the fact that such operas drove out original drama, but also that the antics and vogue for the singers took away all else, seemingly, that infuriated English authors.
Friedrich Chrysander The nineteenth century saw the publication by Breitkopf & Härtel of the complete works of Handel for the Händel-Gesellschaft with Friedrich Chrysander as editor. He produced a comprehensive full score in 1875, using all the available sources in London including those in the Royal Collection; Chrysander's volume gave all the variants in the different revivals. Like Handel's other works in the opera seria genre, however, there were no public performances of Giulio Cesare in the 19th century; opera seria had been supplanted by oratorios in the English language with large scale choral writing. By the early nineteenth century operas with librettos by Bussani or music by Handel had become obsolete; the opera Giulio Cesare in Egitto performed in the Teatro Rgentina in Rome in 1821 was by Giovanni Pacini.
A year after the seizure of power by the Nazis in Germany, Jewish librettist Stefan Zweig fled to London, leaving Richard Strauss to look for a new librettist. Originally recommended by Zweig, Joseph Gregor wrote three librettos for Richard Strauss: Friedenstag (1938), Daphne (1938) and Die Liebe der Danae (1944), as well as contributing to the texts of Capriccio (1942) and the posthumous school opera Des Esels Schatten. Never completely convinced by Gregor as a librettist, Strauss rejected his drafts for three other works: Celestina, Semiramis and Die Rache der Aphrodite. After completion of Danae's score, Strauss was planning in 1940, at the suggestion of Heinz Drewes and Hans Joachim Moser, to collaborate with Gregor to rework the libretto of the opera Jessonda (music: Louis Spohr, libretto: Edward Henry Go ).
Initially, her playwriting developed as a continuation of her poetry. She has written a handful of plays and librettos combining strong individual characters with topics of history, myths and national identity, her most popular one being the libretto for the mythic- symbolic rock opera “The Bearslayer” (Lāčplēsis) (1987) which became a symbol of the Third Latvian awakening. At the end of the 20th century, Zālīte’s 6th poetry collection “Apkārtne” (1997) pictured a person aware of his surroundings and the problems he faces – freedom, chaos, hope, loss and depression. In all of the author's literary career her works have been strongly influenced by her childhood which is best depicted in her first prose works – the autobiographical novels “Five fingers” (2013) and “Paradīzes putni”(2018) that talk about occupation and childhood spent in the Soviet Union’s regime.
Verdi about 1850 During this period in Paris, Verdi was to work on and complete the score for Jérusalem. From Paris, he fulfilled the obligation to write and oversee the production of Il corsaro from a libretto by Francesco Maria Piave which took place in Trieste in October 1848. Also, he worked with Salvadore Cammarano on two librettos, one for La battaglia di Legnano (then attend its January 1849 Rome premiere), the other being Luisa Miller which was presented in Naples in December 1849 after Verdi's return to Italy. Many writers, including Baldini and Frank Walker, have speculated on supposed relationships which Verdi, a man then close to (and then in) his thirties, might have had (or did have) with women in the years following his first wife's death.
Schubert blamed the librettist, writing in a letter to Leopold Kupelwieser that the opera written by his brother "has been declared to be unusable, and in consequence, there has been no demand for my music". A concert version was performed in 1835, and a staged version finally played in 1897. Kupelwieser also wrote the libretto for Die Müllerin von Burgos, a "comédie en vaudevilles" by Franz von Suppé, in addition to translating and editing librettos for operas, mostly from French to German for performances in Vienna, including Boieldieu's Les voitures versées, Meyerbeer's Il crociato in Egitto, Rossini's Le siège de Corinthe and Matilde di Shabran, Donizetti's Les martyrs and Maria di Rohan, Michael William Balfe's The Bohemian Girl, and Ferdinand Hérold's Zampa. Kupelwieser died in Rudolfsheim, now part of Vienna.
In 1873 he moved to Milan once again to be Chairman of Counterpoint and Musical Aesthetics at the Conservatory of which he studied in, as well as music critic of the newspapers Il Secolo and editors of Il Teatro Illustrata and La Musica Popolare, all of which owned by Sonzogno. In this, he mainly translated French opera librettos and publishing singing and piano sheet music of multiple opera scores. After gaining substantial fame from his composing and journalism, in 1894 he purchased a holiday home in Rimini but in 1906 or 1907 quit journalism, and in 1914 retired completely and moved to Rimini, where he died on December 8, 1919. The Teatro Vittorio Emanuel II, was renamed Teatro Amintore Galli in his name but was bombed in World War Two.
The "OperaGlass" website of Stanford University shows revised versions as premieres, and The New Grove Dictionary of Opera, does not: their totals are forty-four and thirty-six respectively."Jules-Émile-Frédéric Massenet", OperaGlass, retrieved 5 August 2014 Having honed his personal style as a young man, and sticking broadly with it for the rest of his career, Massenet does not, as some other composers do, lend himself to classification into clearly defined early, middle and late periods. Moreover, his versatility means that there is no plot or locale that can be regarded as typical Massenet. Another respect in which he differed from many opera composers is that he did not work regularly with the same librettists: Grove lists more than thirty writers who provided him with librettos.
After Arthur Sullivan finished collaborating with W. S. Gilbert (The Grand Duke, in 1896, was their last joint work), Richard D'Oyly Carte, the proprietor of the Savoy Theatre, looked for other librettists to provide librettos for Sullivan to set. Hood was introduced to Sullivan by his old collaborator Wilfred Bendall, who was then Sullivan's secretary.Wilson, Fredric Woodbridge. "Hood, Basil", Grove Music Online, accessed 13 June 2010 (requires subscription) Sullivan's several operas written in the 1890s without Gilbert had not been successful,The Chieftain, with F. C. Burnand ran for 97 performances in 1894–95, and The Beauty Stone with Arthur Wing Pinero and J. Comyns Carr ran for 50 performances in 1898: see Rollins and Witts, pp. 15–18 but his new opera with Hood, The Rose of Persia (1899), ran for 213 performances.
Born in Paris, Mérante was a pupil of Lucien Petipa, with whom he figured on the six-member select jury of the first annual competition for the Corps de ballet, held on 13 April 1860. The jury included the director of the new Conservatoire de danse, as well as the former ballerina Marie Taglioni, its guiding spirit. Following Sylvia Mérante choreographed Le Fandango, a ballet-pantomime that premiered November 26, 1877 and had as librettists for the mimed action the team of Henri Meilhac and Ludovic Halévy, who provided librettos to Offenbach and had recently delivered a libretto on a similarly Spanish theme to Georges Bizet—Carmen. His ballet, Les Deux Pigeons, after the fable by La Fontaine, to music by André Messager has been revived with new choreography, as a showpiece for the youngest dancers of the Paris Opera Ballet.
These included "Art and Revolution" (written in Paris in 1849), "The Artwork of the Future" (1849), "Jewishness in Music" (1850) and the book-length "Opera and Drama" (1851). Franz Liszt however offered to premiere Lohengrin in Weimar, where he was Kapellmeister to the court, and the production took place there in 1850. In the wake of this it was proposed to publish the librettos of Wagner's three most recent operas, (all of which had been written, as was normal with Wagner, by the composer himself); Der fliegende Holländer, Tannhäuser, and Lohengrin. However, Wagner was very conscious that his concept of opera had significantly moved on since writing these works, to the extent that they hardly met – and in some aspects fell a long way short of – the standards and principles he had set out in "Opera and Drama".
Henry Buxton Forman was born in Camberwell, south London on 11 July 1842, the third son of George Ellery Forman (born Plymouth in 1800, died London in 1869), a retired Royal Naval surgeon and his Sussex born wife Maria Courthorpe. At the age of ten months his family moved to Teignmouth in Devon and he was educated at a Royal Naval School in New Cross where Edmund Gosse was a contemporary and lifelong acquaintance although not an intimate. Whilst at school he adapted the sobriquet Harry by which he was afterwards known. He returned to London in 1860 and lived with his brothersHis older brother Alfred William Forman, later a published poet was the first person to translate into English the librettos of several Richard Wagner's operas including Der Ring des Nibelungen(1877), Tristan und Isolde (1891), Parsifal (1899), and Tannhäuser (1919).
Franco Faccio was also responsible for two of the three Scapigliatura operas: I profughi fiamminghi (with a libretto by Emilio Praga) and Amleto, set to a text by Boito. It was on the lukewarm premiere of the former in 1863 that Faccio was fêted with a banquet where Boito read his ode All'arte italiana, which famously so offended Giuseppe Verdi that the composer refused to work with him when the publisher Ricordi first suggested a collaboration. The offending lines, Forse già nacque chi sovra l'altare / Rizzerà l'arte, verecondo e puro, / Su quel'altar bruttato come un muro / Di lupanare ("Perhaps the man is already born who, modest and pure, will restore art to its altar stained like a brothel's wall"). In later years, Boito wrote revisions to the libretto of Verdi's opera Simon Boccanegra and the original librettos for Otello and Falstaff.
He served a second term as Covent Garden's house composer during 1797–8 and began collaborating with other composers. In 1802 he wrote the music for Thomas John Dibdin's comic opera, Family Quarrels. From 1803 until his death Reeve also served as co-proprietor, director of music, and shareholder of Sadler's Wells Aquatic Theatre, where he set about 80 librettos, many written by co-proprietor Charles Dibdin the younger. Because of the success at Drury Lane of Reeve's comic opera The Caravan (1803), which featured an on-stage water tank into which Carlos the wonder dog leaped to rescue a drowning child, Sadler's Wells installed an irregularly shaped 8000-gallon tank, three feet deep, beneath the stage. Reeve wrote music for the new specialty, ‘aquadrama’: all-sung musicals featuring pirates, waterfalls, nautical battles, ocean fiends and other watery terrors.
The Théâtre Lyrique (centre right), Paris, where Les pêcheurs de perles received its first performance on 30 September 1863 The premiere, originally planned for 14 September 1863, was postponed to the 30th because of the illness of the soprano lead, Léontine de Maësen. The first-night audience at the Théâtre Lyrique received the work well, and called for Bizet at the conclusion. The writer Louis Gallet, who later would provide several librettos for Bizet, described the composer on this occasion as "a little dazed ... a forest of thick curly hair above a round, still rather childish face, enlivened by the quick brown eyes..."Dean (1965), pp. 50–52 The audience's appreciation was not reflected in the majority of the press reviews, which generally castigated both the work and what they considered Bizet's lack of modesty in appearing on stage.
Romani wrote the librettos for Bellini's Il pirata, La straniera, Zaira, I Capuleti e i Montecchi, La sonnambula, Norma and Beatrice di Tenda, for Rossini's Il turco in Italia and Bianca e Falliero, and Donizetti's Anna Bolena and L'elisir d'amore (which he adapted from Eugène Scribe's Le philtre). He also wrote a libretto (originally for composer Adalbert Gyrowetz) that Verdi used for his early comedy Un giorno di regno. Romani was considered an ideal match for Bellini, who is quoted as having said: "Give me good verses and I will give you good music". Dramatic, even extravagant "situations" expressed in verses "designed to portray the passions in the liveliest manner" was what Bellini was looking for in a libretto, according to a letter to Francesco Florimo, of 4 August 1834, and he found them in Romani.
Wayditch subsequently derived two orchestral suites and his sole piano composition, Reminscences from Opium Dreams, from the thematic material in that opera. But none of these works received public performances either. During the remainder of the decade he composed two additional operas, both somewhat shorter though requiring the same massive orchestration: Suh és Sah (The Caliph's Magician) (1917) and Jézus Heròdes elött (Jesus Before Herod) (1918). Although both of these works were performed after his death, he heard neither during his lifetime. During the 1920s and 1930s, he composed six additional operas, most lasting nearly five hours and all featuring his own librettos, in Hungarian, and a very large orchestra, all without any impetus of an impending production, working in almost complete isolation in an apartment in the Bronx.Walter Ivan Von Wayditch, son of Gabriel Von Wayditch (1888–1969) (2001).
Bach P 124 at Bach Digital website Also Mit Fried und Freud ich fahr dahin, BWV 125, the chorale cantata from 1725, was probably restaged after 1735.BDW at Bach Digital website Ich lasse dich nicht, du segnest mich denn, BWV 157 was a funeral cantata in 1727: later it was transformed into a cantata for Purification, a feast that always fell between Epiphany and Lent.BDW at Bach Digital website For Septuagesima (third Sunday before Lent) 1727 Bach had composed Ich bin vergnügt mit meinem Glücke, BWV 84, a cantata on a libretto that two years later appeared in a very different form in a libretto cycle published by Picander. The 1727 cantata is however rather associated with Bach's third cantata cycle than with his fourth cantata cycle, which were settings of the librettos Picander had published for church services in 1728–29. pp.
Rowe was by this time the most popular solo performer in Australia, so in August 1966 he left to try his luck in the UK. In preparation, he revamped the line-up his backing band "the Playboys". Several members opted to stay in Australia for family reasons, so Rowe replaced them with bassist Brian Peacock and guitarist Rod Stone, both from the ex-New Zealand band The Librettos, which had recently split. Arriving in London ahead of his band, Rowe engaged one Ritchie Yorke as his London agent and began to record with producers Trevor Kennedy and John Carter, using the cream of London's session musicians, including Big Jim Sullivan, Jimmy Page, John Paul Jones, famed drummer Clem Cattini, and vocal group The Breakaways. The sessions produced several strong new recordings including "Ooh La La", "It's Not Easy", "Mary Mary", "Turn on the Love Light" and "Can't Do Without Your Love".
Leaving the BBC in 1971, he joined a commercials production company before going freelance as an Assistant Director for such people as Ridley Scott, Tony Scott, Hugh Hudson, Cliff Owen and Jack Gold. His many film credits as a director include the award-winning Channel 4 series Tom Keating on Painters, Circle Within the Square (which won a prize at the Mesa Festival, Florida) and The Original Three Tenors, a documentary about Caruso, Gigli and Björling presented by Nigel Douglas. His stage credits include Waltzing in the Clouds (Covent Garden Festival) and A Dog's Life, a one-man show with John Leeson ('the voice of K9’), plus the operas The Yeomen of the Guard (for Opera Holland Park), Faust, The Merry Wives of Windsor and Verbum Nobile by Moniuszko. He wrote the librettos for Survival Song (nominated for an Olivier Award) and Biko, both with music by Priti Paintal.
This was especially corroborated by thematic volumes dedicated to Czech music, Franz Schubert, achievements of Polish and English music, and Ludwig van Beethoven. “Music” offered discussions on national style, and critically recorded events in Yugoslav, Slavic, and Western European art music cultures. During the interwar period, Milojević's textbook on the basics of music theory (Basics of musical art I–II, 1922–27; later under a new title The Basic theory of music, thirteen editions, until 1940) was in use for a long time, as well as his handout course package in harmony, assembled from the well known textbook entitled The Study of Harmony (Harmonielehre) by Rudolf Luis and Ludwig Thuille. Milojević translated opera librettos for Eugene Onegin by A. S. Pushkin/P. I. Tchaikovsky (1920), The Tales of Hoffman by Jules Barbie – Мichel Carré/Jacques Offenbach (1921), and Manon by Henry Meilhak – Philippe Jules/Jules Massenet (1924).
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).
Milošević was the Dean of the Faculty of Music from 1960-67. His overall engagement in the music life of Belgrade and Serbia was also fulfilled by his position of the Head of the Radio Belgrade Second Program music section (1950–51), director and conductor of the Serbian National Theatre in Novi Sad (1955–57), and President of the Association of Music Artists of Serbia (1951–53) and Composers’ Association of Serbia (1958–60). Milošević was also active as a music writer (in journals The Sound (Zvuk) and The Music herald (Muzički glasnik in Serbian)) and as a translator – with Mihailo Vukdragović he co-translated K B. Jirak's The Study of musical forms, as well as numerous opera and operetta librettos and songs. Predrag Milošević is recipient of the Yugoslav Order of Labour with the Red Flag, and a music school in his birth town, Knjaževac is named after him.
There were also extremely popular operas by the Belgian/French André Ernest Modeste Grétry that were widely performed, including in Kuskovo and Ostankino theatres, where they were given with participation of the famous serf-soprano Praskovya Zhemchugova at the private opera of Nikolai Sheremetev. Catherine II sent some domestic composers like Berezovsky and Bortniansky abroad to study art of music composition and later they produced some operas in Italian and French. And only at the beginning of the 1770s the first modest attempts of the composers of Russian origin to compose operas to the Russian librettos were made. Among these were successful one-act opera Anyuta (1772) to the text by Mikhail Popov, and opera Melnik – koldun, obmanshchik i svat (The Miller who was a Wizard, a Cheat and a Match- maker) to the text by Alexander Ablesimov with music by Mikhail Sokolovsky (1779).
Heorhiy Ilarionovych Maiboroda, sometimes transcribed in English as Georgiy or Heorhy Maiboroda or Mayboroda (Ukrainian: Георгій Іларіонович Майборода; , in Pelekhivshchyna khutir, Kremenchuk County, Poltava Governorate, Russia - 6 December 1992, in Kiev, Ukraine), was a Ukrainian composer. Maiboroda, whose brother Platon Maiboroda was also a composer (mainly of songs), studied at the Glière College of Music in Kiev, where he studied under Levko Revutsky, graduating in 1941 and teaching there from 1952 to 1958. From 1967 to 1968 he was head of the Composers Union of Ukraine.Grove Music Online His musical career was based in Ukraine, and he set several operas to Ukrainian librettos, including Yaroslav the Wise (1973, published 1975), Arsenal (published 1961), Mylana (published 1960), and Taras Shevchenko (1964, published 1968;Dates given in WorldCat site based on the life of the Ukrainian artist and poet of that name), all of which were produced at the Kiev Opera House.
In 2001 he was appointed Director of the Arts Center of the newly established Bibliotheca Alexandrina in Alexandria, Egypt, and has been since 2002 the conductor of the Bibliotheca Alexandrina String Orchestra. Graduated in composition, under the late composer Gamal Abdel-Rahim, founder of the Composition Department of the Cairo Conservatoire, Academy of Arts, as well as the Wind Department (horn) in 1986. Appointed Demonstrator, Musicology Department, he obtained his master's degree in 1995, and his degree in conducting from the École Normale de Musique de Paris in Paris under Maestro Dominique Rouits in the same year. Mohie El Din has written two operas based on Egyptian contemporary novels, the latest on Naguib Mahfouz's novel Miramar, both with librettos by the renowned Egyptian poet Sayed Heggab, a number of concertos for Arabic and Western instruments, song cycles, sonatas for several solo instruments, and many chamber works for different instrumental combinations.
"Music of the Future" ("") is the title of an essay by Richard Wagner, first published in French translation in 1860 as "La musique de l'avenir" and published in the original German in 1861. It was intended to introduce the librettos of Wagner's operas to a French audience at the time when he was hoping to launch in Paris a production of Tannhäuser, and sets out a number of his desiderata for true opera, including the need for 'endless melody'. Wagner deliberately put the title in quotation marks to distance himself from the term; Zukunftsmusik had already been adopted, both by Wagner's enemies, in the 1850s, often as a deliberate misunderstanding of the ideas set out in Wagner's 1849 essay, The Artwork of the Future, and by his supporters, notably Franz Liszt. Wagner's essay seeks to explain why the term is inadequate, or inappropriate, for his approach.
They always worked closely with the composers and were praised for the way their writing respected the movement and rhythm of the music. In the case of translated librettos, this was made all the more difficult by having to adapt their poetry to a pre-existing score intended to be sung in another language.Everist (2009) pp. 31 and 35 An anonymous critic in L'Illustration wrote of their translation for Rossini's Otello: > By virtue of work and skill, MM. Royer and Vaëz have forced our language, so > cold and so unmalleable, so constrained by consonants, so loaded with > epithets, to enter without too many cuts and bruises into this narrow and > flexible mode of Italian poetry.Quoted in Everist (2009) p. 35 Although their collaboration on the Italian operatic repertoire ended in 1847 with Jérusalem, they later wrote the original libretto for François-Auguste Gevaert's 1853 opéra comique, Georgette ou Le moulin de Fontenoy.
Satellite Collective is a multi-medium exhibitive branch of the artist collective creating dance, literary works of poetry and librettos, musical compositions (Satellite Ensemble), digital art, film, photography, and spoken word. The collaborative process is very much present during the development of new works as artists employ technology to exchange ideas, concepts, and ideas. New dance, music, short film, multimedia, and spoken word projects are created each year by Satellite Collective, and these projects are first previewed through the Satellite Summer Residency at the Dogwood Center for Performing Arts in Fremont, Michigan; premiere performances are held in New York City – a seasonal structure established in earlier years with the Satellite Ballet. Satellite Collective has performed at Brooklyn Academy of Music and in 2014 as well as 2015, Satellite Collective was selected by the BAM/Devos Institute of Arts Management at Kennedy Center for the professional development program of Brooklyn Academy of Music.
Throughout 2006, Gilmour worked with Eugene Skeef and the London Philharmonic Orchestra creating librettos, words and movements for community symphonies such as PECKHAM SPLASH (2006), performed in The Queen Elizabeth Hall, South Bank Centre, London. This project grew out of an ability, which Gilmour and Eugene Skeef shared, to quickly generate music and lyrics from stories that the people of Peckham shared in workshops, a series of stories that formed the basis of the musical work. London Excite: A Symphony of London (2007/8) was developed out of Gilmour and Skeef's experience of doing community work with the orchestra but was always meant to be on a vast scale. Commissioned as the Orchestra's 75th anniversary symphony and the culmination of the Royal Festival Hall's re-opening season: the work used a full orchestra, 160-piece choir and six soloists to tell the story of London, who it is, what it as and who its people are.
Ernst Ludwig I, Duke of Saxe-Meiningen, probably the librettist for BWV 39 The libretto used by Bach for BWV 39 comes the 1704 collection for Meiningen, entitled ; these religious texts have been attributed to Ernst Ludwig I, Duke of Saxe-Meiningen, Johann Ludwig Bach's employer. All the Meiningen cantatas of Johann Ludwig Bach, performed in Leipzig between February and September 1726, had librettos from this collection. They all have a uniform structure in seven verse sections: each cantata starts with a passage from the Old Testament; followed by a recitative on a long verse text; an aria; a central passage from the New Testament; a second aria; a second recitative, often with more than two sentences so that it can end with a chorus; and a final chorale, sometimes with two stanzas. The Old Testament and New Testament passages usually have a common theme, with the former often prefiguring the coming of Christ.
Caterina Gabrielli was the daughter of a cook in the service of prince Gabrielli, in Rome. With the support of the prince, she studied with García and Porpora and at the L'Ospedaletto conservatory in Venice, and as a sign of gratitude she decided to assume her patron's surname as her stage name. Her humble roots were remembered by audiences in her nickname La cochetta ("little cook"), which was actually recorded in the librettos published for her early appearances at the Teatro San Moisè in Venice during the 1754–55 operatic season. In 1747 she sang at the theater of Lucca in Sofonisba by Baldassare Galuppi and in 1750 she appeared in Niccolò Jommelli's Didone. Her first distinguished season of singing was in Venice in 1754–55. She was then hired by the imperial court of Vienna and sang in a series of dramatic works of various types written by Christoph Willibald von Gluck: La danza (1755), Le cinesi (1755), L'innocenza giustificata (1755), and Il re pastore (1756).
From the early 1980s, the fidelity of prerecorded cassettes began to improve dramatically. Whereas Dolby B was already in widespread use in the 1970s, prerecorded cassettes were duplicated onto rather poor quality tape stock at (often) high speed and did not compare in fidelity to high-grade LPs. However, systems such as XDR, along with the adoption of higher-grade tape (such as chromium dioxide, but typically recorded in such a way as to play back at the normal 120 μs position), and the frequent use of Dolby HX Pro, meant that cassettes became a viable high-fidelity option, one that was more portable and required less maintenance than records. In addition, cover art, which had generally previously been restricted to a single image of the LP cover along with a minimum of text, began to be tailored to cassettes as well, with fold- out lyric sheets or librettos and fold-out sleeves becoming commonplace.
On 8 September 1787, Maria Theresa was married to Prince Anthony of Saxony by proxy in Florence;Justin C. Vovk: In Destiny's Hands: Five Tragic Rulers, Children of Maria Theresa (2010) the couple later married in person in Dresden on 18 October 1787. Anthony had previously been married to Maria Carolina of Savoy, who died of smallpox in 1782. Mozart's opera Don Giovanni was originally intended to be performed in honor of Maria Theresa and Anthony Clement for their visit to Prague on 14 October 1787, as they traveled between Dresden and Vienna, and librettos were printed with dedication to them. The premiere could not be arranged in time, however, so the opera The Marriage of Figaro was substituted on the express orders of Maria Theresa's uncle, Holy Roman Emperor Joseph II. The choice of The Marriage of Figaro was considered improper for a new bride by many observers, and the couple left the opera theater early without seeing the entire work performed.
Habbestad studied church music at the Norwegian Academy of Music from 1976 to 1979 and graduated with a diploma from the composition course at the same institution in 1981, having studied with Olav Anton Thommessen, Finn Mortensen and Lasse Thoresen. Habbestad was active as an organist from 1974 to 1987 and, from 2013, is a professor at the Norwegian Academy of Music. Habbestad’s list of works comprises more than 60 works, including orchestra and chamber works, church music, cantatas, works for organ and piano as well as a number of choir works. His work Mostraspelet – a historic play depicting the Christianization of Norway – has seen annual performances in Bømlo since 1983. As a composer, Habbestad debuted with a first prize for his choir work Magnificat in TONO’s 1978 composition competition. Habbestad’s most central works to date includes the oratory Ei natt på jorda and the operas Hans Egedes natt as well as The Maid of Norway, both featuring librettos by Paal-Helge Haugen.
Reconstructions of Bach's vocal music are often based on surviving lyrics, such as librettos, which show similarities with those of extant music, so that the variant text can be combined with the known music. In vocal music, recitatives are often a particularly difficult challenge for reconstruction: when Bach parodied his own vocal music, he reused music of arias, duets and choruses for the new work, but recitatives with different lyrics were less suitable for such transcriptions. For example, when he adapted Vereinigte Zwietracht der wechselnden Saiten, BWV 207, one of his secular cantatas, into Auf, schmetternde Töne der muntern Trompeten, BWV 207a, for a different occasion, he reused the music of all movements except the music of the recitative movements 2, 4 and 6: he composed new music for the recitatives of the later work. An exception appears to have been when he parodied the Michaelmas cantata BWV 248a, recitatives and all, into the sixth part of his Christmas Oratorio: how exactly he proceeded with this adaptation can however not be ascertained while the text of the BWV 248a cantata went lost.
His full name was Philippe-Auguste- Alfred Pittaud. He began his literary career under the pseudonyms Deforges, de Forge or Desforges. In 1861, he was authorized by imperial decree to officially join to his family name that of de Forges,Extrait d'acte de naissance reconstitué n°163789, Préfecture du département de la Seine, 3 mars 1873 (cf. Iconography).Georges d'Heylli, « Pittaud de Forges », Dictionnaire des pseudonymes, Dentu, Paris, 1887, (p. 353), at Gallica. He also used the pen name Paul de Lussan He wrote many vaudevilles in collaboration with Adolphe de Leuven, Emmanuel Théaulon, Jean-François Bayard, Louis-Émile Vanderburch, Clairville, Adrien Robert, as well as librettos of several opéras comiques and operettas for Jacques Offenbach such as L'alcôve, opéra comique in 1 act (1847), Luc et Lucette, opéra comique in 1 act (1854), Paimpol et Périnette, saynète in 1 act (1855), Le 66, operetta in 1 act (1856), Les vivandières de la grande-armée, operetta bouffa in 1 act (1859), Fleurette, oder Trompeter und Näherin (composed as Fleurette c.
Remnants of ancient Rome, by Bonaventura van Overbeek, painter and citizen of Amsterdam, translated and increased with comments and reflections by Paolo Rolli, patrician of Todi, fellow of the Royal Society, Tommaso Edlin, London, 1739 Paolo Rolli was born in Rome, Italy and like Metastasio was trained by Gian Vincenzo Gravina. The earl of Burlington brought him to England, which he commemorates in the dedication of his opera of “Astarte” to his noble patron, who attached him to the court as master of the Tuscan language to the princesses. He was Italian tutor to Caroline of Ansbach and then undertook the same role in London from 1715 to 1744 for her children Frederick, Amelia and CarolineGeorge E. Dorris, Paolo Rolli and the Italian Circle in London, 1715–1744 (Walter de Gruyter GmbH & Co KG, 1967), page 145. During this period, he wrote librettos for numerous Italian operas including Handel's Floridante (1721), Muzio Scevola (1722), Riccardo Primo (1927) and Deidamia (1741) and Nicola Porpora's La festa d'Imeneo (1736) and Orfeo (1736)R.
The second prologue is just a shortened version of the original one. entrées and the opera ran for several dozen performances, reaching its 51st mounting on 14 October when it was restructured in a version with a shortened prologue and four entréesProfessor Anthony writes that, according to "Ballard’s printed editions", the version given at the 51st performance on 14 (and not 10) October 1710 had five entrées, including Les serenades et les jouers (which had been previously suppressed on 5 September). Although it has not been possible to check the 1710 printed libretto, surely Anthony’s statement does not accord with all the other sources cited in this article, and in particular with Ballard’s 1714 'printed edition' of all the librettos of the opera, which reports, regarding the 51st performance, a structure in a prologue and the following four entrées: Les devins as the first entrée, L’Amour saltinbanque (sic, cf. below) as the second, L’Opéra as the third, and Le bal as the fourth (Recueil general des opera..., p. 132).
Bond, Jessie. > Introduction to Jessie Bond's Reminiscences reprinted at The Gilbert and > Sullivan Archive, accessed 7 November 2009 Scene from H.M.S. Pinafore, 1886 Savoy Theatre souvenir programme Nevertheless, an 1867 production of Offenbach's The Grand Duchess of Gerolstein (seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in the 1860s and 1870s, including Les Cloches de Corneville, Madame Favart and others into the 1880s, often adapted by H. B. Farnie and Robert Reece. F. C. Burnand collaborated with several composers, including Arthur Sullivan in Cox and Box, to write several comic operas on English themes in the 1860s and 1870s. In 1875, Richard D'Oyly Carte, one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as a countermeasure to the continental operettas, commissioned Clay's collaborator, W. S. Gilbert, and the promising young composer, Arthur Sullivan, to write a short one-act opera that would serve as an afterpiece to Offenbach's La Périchole.
Sunshine's greatest success was solo singer Normie Rowe, who scored a string of major Australian hits between 1965 and 1968, and his double-A-sided 1965 single "Que Sera Sera" / "Shakin' All Over" became one of the biggest-selling local hits of the 1960s and is still one of the biggest selling Australian singles of all time. The Sunshine roster featured several male solo singers including Normie Rowe, Peter Doyle (who later joined The Virgil Brothers and The New Seekers) and Mike Furber. Its more 'left field' signings included hardcore Brisbane blues-R&B; band The Purple Hearts, highly rated NZ pop/R&B; group The Librettos, Tony Worsley & The Fabulous Blue Jays, Normie Rowe's backing band The Playboys, Marcie Jones & The Cookies, highly rated Sydney teen singer Toni McCann, renowned surf band The Atlantics, Ricky & Tammy, Melbourne's feedback kings Running Jumping Standing Still, NZ folk duo Bill & Boyd, Rev. Black & The Rockin' Vicars, popular Brisbane solo star Jonne Sands and Brisbane pop band Wickedy Wak, whose Sunshine single "Billie's Bikie Boys"—the recording debut of future star Rick Springfield—was produced by Ian "Molly" Meldrum.
They had no children. In Florence on 8 September 1787 (by proxy) and again in Dresden on 18 October 1787 (in person), Anthony entered his second marriage, to the Archduchess Maria Theresia of Austria (Maria Theresia Josephe Charlotte Johanna), daughter of the Grand Duke Leopold I of Tuscany, later Emperor Leopold II. Mozart's opera Don Giovanni was originally intended to be performed in honor of Anthony and his wife for a visit to Prague on 14 October 1787, as they traveled between Dresden and Vienna, and librettos were printed with dedication to them. The premiere could not be arranged in time, however, so the opera The Marriage of Figaro was substituted on the express orders of the bride's uncle, the Emperor Joseph II. The choice of The Marriage of Figaro was considered improper for a new bride by many observers, and the couple left the opera theater early without seeing the entire work performed. Mozart complained bitterly of the intrigues surrounding this incident in a letter to his friend Gottfried von Jacquin that was written in stages between 15 October and 25 October 1787.

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