68 Sentences With "operatic music" | Random Sentence Generator

But Mr. Trump's audience may have still had his campaign's anxious, operatic music ringing in their ears.

In a particularly funny scene, operatic music swells as the animal-suited artists helicopter away with a suitcase of philosophical, diagrammatic pamphlets that they intend to sell as high art.

This is also healthy, because somebody with a lighter voice who is ideally suited for Bach, whose voice has a transparent quality, should not force his voice to sing operatic music.

Set to grand, operatic music, we watch crows fly out of men's chests and tanks roll across mountains; a giraffe becomes a tomb which becomes a communist sculpture; a landscape erodes in the rain.

Richard Sidney Hickox (5 March 1948 – 23 November 2008) was an English conductor of choral, orchestral and operatic music.

"Popera" performances, such as those by the Three Tenors, have reached larger audiences and brought in greater profits than typical for operatic music.

This particularly refers to anthological compositions of Croatian concertante and operatic music, some of which he revitalised and put on the stage in his own arrangement (some of the works of Lisinski, Zajc and Krežma, for example).

The 2001 IBLA Awards at Lincoln Center's Alice Tully Hall were in memory of Lucia Evangelista, beloved wife of Jerome Hines, who was in her own right a great and noted soprano in the international community of operatic music.

These interests have been devoted recently to operatic music, after his discovery that Gigli and Pertile were family friends. He has met such stars of lyric as Valdengo, Taddei, Panerai, Di Stefano, Bergonzi, Prandelli, Olivero, Stella, Cerquetti and Maliponte, and is presently working on a book devoted to Puccini.

In 1921, Porte wrote that it contains music that is "remarkably fresh, melodious and thoroughly individual in character and outlook. The vocal and instrumental writing is done with consummate skill."Porte, p. 107 Burton praises Much Ado About Nothing, judging it to contain some of Stanford's best operatic music.

Julian Edwards in 1896Julian Edwards (December 11, 1855 - September 5, 1910) was an Anglo-American composer of light operatic music who composed many successful Broadway shows in the Progressive Era. He attempted to introduce new levels of musical sophistication to the genre. Some of his songs achieved popularity at the time.

He also recorded operatic music, not only the usual chestnuts of the French baritone, but items by Lully and other early composers, as well as J. S. Bach, Mozart, Beethoven and Wagner. He participated in the Berlioz La damnation de Faust complete recording (1934) and extended scenes from Pelléas et Mélisande (1927).

The Lady and the Fool is a comic ballet, created by choreographer John Cranko with lesser-known operatic music by Giuseppe Verdi arranged by Sir Charles Mackerras. The story concerns the love of a poor clown for a society beauty, who finally rejects her wealthy suitors and chooses a life with the clown.

Derham hosted the Classical BRIT Awards ceremony four times from 2001 to 2004. In August 2008 she appeared in the BBC Two talent programme Maestro, where she learnt to conduct orchestral, choral and operatic music; and, in 2010, in the factual entertainment programme First Love, where she returned to the violin playing of her youth.

Giuseppe Martucci. Giuseppe Martucci (; Capua, 6 January 1856Naples, 1 June 1909) was an Italian composer, conductor, pianist and teacher. As a composer and teacher he was influential in reviving Italian interest in non-operatic music. As a conductor he helped to introduce Wagner's operas to Italy and also gave important early concerts of English music there.

Richard Mohr (June 13, 1919 in Springfield, Ohio - November 23, 2002 in West Milford, New Jersey) was one of RCA Victor’s most prominent producers of classical and operatic music recordings from 1943 through 1977. His producing credits included Martin, Douglas. "Richard Mohr, 83, Impresario Of Radio Opera Intermissions", The New York Times, January 9, 2003. Accessed March 1, 2008.

In Scotland collectors included the Reverend James Duncan (1848–1917) and Gavin Greig (1856–1914), who collected over 1,000 songs, mainly from Aberdeenshire.K. Mathieson, Celtic Music (Backbeat Books, 2001), , p. 55. In the late nineteenth century the revival would begin to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland.

The French royal family and courtiers "disported themselves in masques, ballets, allegorical dances, recitals, and opera and comedy", and a national musical printing house was established. In the Baroque-era, noted composers included Jean-Baptiste Lully, Jean-Philippe Rameau, and François Couperin. The Conservatoire de Musique de Paris was founded in 1795. By 1870, Paris had become an important centre for symphony, ballet and operatic music.

Getaria, Spain Josefa "Pepita" Embil was born on February 28, 1918 in Getaria in the province of Gipuzkoa in the Basque Country of Spain. Her father, Arturo Embil y Lazcano, was a church organist and a lover of zarzuelas. He also liked to play piano reductions of operatic music for enjoyment. He and his wife, Germana Echániz Ostolaza, had five children: Francisco, Sebastián, Josefa (Pepita), Agustina, and Angel María.

The album's cover photo was taken at a performance in Rosemont, Illinois on 24 January 1982, by photographer Paul Natkin. The operatic music which opens Tribute, as well as all of Osbourne's live shows of that era, is "O Fortuna" from the Carmina Burana scenic cantata by Carl Orff. This introductory music was omitted from the 1995 remaster, with opening track "I Don't Know" subsequently being shortened to 4:43.

Examples of this are to be found, for instance, in the operas and oratorios of George Frideric Handel. The greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute and the lead in Don Giovanni.. This work is the main reference for the history section of this article.

In the summertime, the Kraków Opera also used the open-air stage at the Kraków Barbican. The visual significance of the location enriched the impact of operatic music not only for the regular patrons, but also for the numerous tourists. World famous soloists have visited the Kraków Opera's stage, including singers from the Metropolitan Opera in New York City and La Scala in Milan. A number of noted Polish singers also performed there.

Charlie Chan at the Opera is considered by many to be the best Warner Oland Charlie Chan film, probably due to the presence of Boris Karloff as the principal suspect, as well as faux operatic music composed by Oscar Levant. This is the 13th film starring Oland as Chan; it was directed by H. Bruce Humberstone for 20th Century-Fox in 1936. Oland and Demarest also appeared in The Jazz Singer (1927).

A diverse palette of music is used in each Circa production, with Lifschitz citing his passion for operatic music as a staple in the company's body of work. To date, the company has performed with both pre-recorded and live music, featuring the score of Mozart, Monteverdi and Shostakovitch, while concurrently collaborating with new artists on other creations. During his tenure at Circa, Lifschitz has overseen more than 30 new works for Circa.

By the late nineteenth century, there was in effect a national school of orchestral and operatic music in Scotland, with major composers including Alexander Mackenzie, William Wallace, Learmont Drysdale and Hamish MacCunn. Major performers included the pianist Frederic Lamond, and singers Mary Garden and Joseph Hislop. After World War I, Robin Orr and Cedric Thorpe Davie were influenced by modernism and Scottish musical cadences. Erik Chisholm founded the Scottish Ballet Society and helped create several ballets.

The couplets from the life of old Tbilisi are represented by the actors B. Abashia and N. Gotsiridze. The rich collections of the records are preserved at the archive. It contains the masterpieces of the Italian operatic music from the end of the 19th century to the beginning of the 20th century. There are the phonographic records of Georgian folk music performed by M. Tarkhnisvili, S. Kavsadze, K. Pachkoria, Dz. Lolua and other ethnographical ensembles and chorus groups.

In Scotland collectors included the Reverend James Duncan and Gavin Greig. Major performers included James Scott Skinner. This revival began to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland, with composers such as included Alexander Mackenzie, William Wallace, Learmont Drysdale, Hamish MacCunn and John McEwen. After World War II traditional music in Scotland was marginalised, but remained a living tradition.

In March 2019, by decree of the Mejlis of Turkmenistan the Turkmen National Conservatory was named after Maya Kuliyeva.Туркменской национальной консерватории присвоено имя народной артистки СССР, Героя Туркменистана Маи Кулиевой In October 2019, the Museum of Maya Kuliyeva was opened on the territory of the Turkmen National Conservatory.В Туркменской национальной консерватории открыт музей Маи Кулиевой On the occasion of the centennial of her birth, a concert of operatic music was held in the Magtymguly Theater in Ashgabat.

He also conducted the premieres of some other of Havergal Brian's symphonies, and he was a Vice-President of the Havergal Brian Society. Myer Fredman orchestrated and arranged instrumental and operatic music by J. S. Bach, John Dowland, Mozart, Donizetti, Tchaikovsky, Puccini and Elgar. He was the first person to write extensively of the role of the conductor in the operas of Mozart. The Italian Government awarded Myer Fredman the medal Per Servizio della Musica e Cultura Italiana.

"Roosters" is the second half of a two-part episode, continuing the story which began in "Owls". "Roosters" develops plot elements introduced both in "Owls" and in the earlier instalment "The Hand of St. Sebastian", and would later be followed up by the season's two-part finale. The episode also features the use of operatic music, a decision praised by the show's composer Mark Snow. The episode featured guest appearances by Kristen Cloke, Philip Baker Hall and R. G. Armstrong.

By the late nineteenth century, there was in effect a national school of orchestral and operatic music in Scotland, with major composers including Alexander Mackenzie, William Wallace, Learmont Drysdale and Hamish MacCunn. Major performers included the pianist Frederic Lamond, and singers Mary Garden and Joseph Hislop.C. Harvie, No Gods and Precious Few Heroes: Twentieth-century Scotland (Edinburgh: Edinburgh University Press, 1998), , pp. 136–8. After World War I, Robin Orr and Cedric Thorpe Davie were influenced by modernism and Scottish musical cadences.

Other composers, such as Tomás Bretón and Ruperto Chapí, wrote smaller zarzuelas known as género chico which were farces in one-act. These farcical operas often contained social or political satire and usually contained less music and more spoken dialogue than other forms of zarzuela. The género chico reached its height of popularity in the 1880s and 1890s with composer Federico Chueca. In the 20th century the zarzuela evolved with popular taste, though the mixture of spoken play and operatic music in roughly equal proportions remained.

Harry Banducci was born in 1922 in Bakersfield, California to Italian Americans Fred and Meda (née Chicca) Banducci. He came to San Francisco at age 13 to study under the concertmaster of the San Francisco Symphony. He supported himself as a violinist early in life but always maintained that he began playing a little too late to become a truly world- class great player. He also dabbled in singing operatic music with his deep voice and changed his first name to "Enrico" after his idol Enrico Caruso.

Boyd grew up in Sikeston, Missouri, his father of African American descent, and a European mother. Boyd and his brother were raised solely by their mother, and, subsequently, endured poverty conditions. He discovered operatic music in junior high school when his older brother was doing a school project involving classical music and brought home a CD of the Three Tenors. Boyd was so enthralled by the passion and skill of the famous trio that he started learning to sing in Luciano Pavarotti's and Plácido Domingo's operatic styles.

Operatic music, sung by Irma Dessane, was often performed. The Septette Club, an ensemble of strings and wind, was formed by Dessane in 1857; it gave its first concert that year, continuing until 1871. In 1861 he formed an orchestra of about 60 players recruited from regimental bands, for which he composed two overtures. In 1864 he resigned as organist of Notre-Dame; it is thought this was partly because of a disagreement with Ernest Gagnon about plainsong accompaniment, after the publication of P.-M.

Major performers included James Scott Skinner.J. R. Baxter, "Music, Highland", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), , pp. 434–5. This revival began to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland, with composers such as included Alexander Mackenzie, William Wallace, Learmont Drysdale, Hamish MacCunn and John McEwen.M. Gardiner, Modern Scottish Culture (Edinburgh: Edinburgh University Press, 2005), , pp. 195–6.

Beethoven deployed three trombones in his 5th and 9th Symphonies, importing them from the world of operatic music; the use of three trombones then became the normal orchestral practice in the 19th century and up through the present day, but in Orpheus Stravinsky calls for only two. The tuba is omitted entirely. Also strikingly different from The Rite of Spring is the absence of a percussion section and the use of only one timpanist. There is an important role for the harp in Orpheus.

A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano.

The term originates from the Greek (), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second G below middle C to the G above middle C (G2 to G4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton- noble baritone, and the bass-baritone.

Cuyás' early works consist of some operatic music which was premiered widely in private salons, but it was at the Teatre de la Santa Creu where almost all of his works were produced. His First Symphony, written in 1835, although it is actually an extensive opera overture in a single movement — but it gained him some notice when it was dedicated to the actress Matilde Díez. Of his Second Symphony only a fragment remains. By 1835 several arias and duets had been composed for a drama of Antonio Ribot.

He introduces her to the Nathanmeyers, a Jewish family who loves operatic music and her style of singing. They invite her to sing at their musical evenings, helping her with proper dress. Thea catches an infection and does not fully recover; she needs a break in her familiar desert setting but will not return to her family until she has accomplished something. Fred suggests that she spend the summer on a ranch in Arizona where there are some of the cliff homes of the ancient peoples that Thea has longed to see.

James R. Smith (2004) San Francisco's Lost Landmarks, Linden Publishing Mrs. D. P. Elizabeth Crocker Bowers became the last legitimate star on tour of the California Theatre before its demise in 1888. Eichin, From San Francisco Eastward, 169; Daily Alta California July 1, 1888, 2. Although San Francisco did not host full operas during the mid-1800s, Eichin, From San Francisco Eastward, 171-2 George Martin, Verdi at the Golden Gate, Opera and San Francisco During the Golden Years (Berkeley: University of California Press, 1993), 162, 179, 199 singers presented operatic music on occasion.

The aim for each of the students is to prove that they have what it takes to conduct a piece in the London section of Proms in the Park. The first stage of preparation was a week-long "Baton Camp" for the students in the last week of May. A mentor has been assigned to each student (see below). The mentors are all established professional conductors, and each will work with their respective protégés, helping them to master the disciplines of orchestral, choral and operatic music with Soprano, Rebecca Evans and Tenor, Alfie Boe.

From 1972 to 1997 he conducted ten operas, some of them in several seasons. Five were operas he had not conducted at the Royal Opera House before: Carmen, Parsifal, Die Entführung aus dem Serail, Simon Boccanegra and a celebrated production of La traviata (1994) which propelled Angela Gheorghiu to stardom.Kettle, Martin. "Quickfire revival sees hit-and-miss Gheorghui reprise star role", The Guardian, 10 July 2010 On 14 July 1997 he conducted the last operatic music to be heard in the old house before it closed for more than two years for rebuilding.

Many sources recount his virtuosity as a theorbo player. None of his operatic music survives. Extant works include libretti, an oratorio, and three books of monodies under the title Musiche varie a voce sola (Venice 1633, 1637, 1641). Though the last were composed within a relatively short time span, they reflect the changing style of accompanied monody, from the emergence of recitar cantando (midway between song and speech) to the vocal style that is typical of mid-17th century opera, with a more distinctive melody and a clearer rhythm.

In 1826, on the completion of his musical education under Thomas Attwood, and subsequently under François-Joseph Fétis in Paris, that he took his place as a member of major orchestras of London, such as the Philharmonic and the Ancient Concerts. The Saltoun Club of Instrumentalists and the Società Lirica were perhaps founded by him as early as this period of his life. They were intended for the practice and performance of unfamiliar operatic music. He played in the orchestra on the occasion of Carl Maria von Weber's funeral, 21 June 1826.

In the later years of his partnership with Pressburger, Powell became interested in what he termed "a composed film", a marriage of image to operatic music. The finale of Black Narcissus and the ballet sequence of The Red Shoes were earlier steps toward his goal. The Tales of Hoffmann is an achievement of this ideal, as the entire opera was pre-recorded to create the soundtrack, and the movie was edited to the rhythms of the music. The production is completely without dialogue and, with the exception of Robert Rounseville and Ann Ayars, none of the actors did their own singing.

This is not to say that, in the Classical period, E-flat major was only for bombastic music with brass. "E-flat was the key Haydn chose most often for [string] quartets, ten times in all, and in every other case he wrote the slow movement in the dominant, B-flat."Paul Griffiths, The String Quartet. New York: Thames & Hudson (1983): 29 Or "when composing church music and operatic music in E-flat major, [Joseph] Haydn often substituted cors anglais for oboes in this period", and also in the Symphony No. 22 in E-flat major.

As author, he wrote such books on music and operatic composers as: Wagner Without Fear (1998), Verdi With a Vengeance (2000), Puccini Without Excuses (2005), all published by Random House. He has also written opera libretti and articles on religion and architecture. He frequently gives lectures on operatic music and composers, and is also a radio commentator and has recently been a regular host for New York Public Radio's Overnight Music and WNYC radio. Since creation of the Metropolitan Opera Radio on Sirius in the Fall of 2006, he writes all the commentaries heard during entractes of historical broadcasts.

He also handled the trying conditions of the early sound 'studios', with their boxy confines and wall-mounted recording funnel, much better than did many of his contemporaries, who often felt inhibited or intimidated by their uninspiring surroundings. His singing was considered to be 'old-fashioned', even in the circa-1900 era. Consequently, his discs provide a retrospective guide to Italian singing practice of the early-to- mid-19th century (the era of Gaetano Donizetti and Vincenzo Bellini)—as well as exemplifying the "grand manner" style of vocalism for which much Romantic operatic music was written. Battistini delivers this kind of music in a virile, bold and patrician way.

The RMSM has spent a century and a half at Kneller Hall, which was the country house of the court painter Sir Godfrey Kneller and was rebuilt after a fire in 1848. The school is open to men and women whose commitment to the army is for a minimum of four years. The Corps of Army Music, the largest employer of musicians in the United Kingdom, promotes itself to potential recruits as an opportunity to earn a salary as a musician. The school's curriculum is not limited to martial music, but includes jazz, swing, middle-of-the-road, popular, baroque, mainstream symphonic and operatic music.

Tams-Witmark : In 1922, Sargent Aborn (1867–1956), brother of Milton Aborn (1864–1933), both of the Aborn Opera Company, acquired the Arthur W. Tams (1848–1927) music library, a collection that had become the largest circulating music library in the world — and by extension, Witmark's biggest competitor in the music-rental field. In January of 1925, M. Witmark & Sons acquired the music Tams library, ending 30 years of intense rivalry. The combined Tams-Witmark library, operating as the Tam-Witmark Music Library Inc. (a New York corporation) secured its position as the largest source of musical-comedy and operatic music for amateur and professional productions.

Tams- Witmark was acquired by Concord Music Company in 2018. : In the 1960s, Tams- Witmark donated several lots of its old inventory to the special collections of five libraries known for music research: the Library of Congress, the Eastman School of Music, Westminster Choir College, and the largest part of its inventory to the University of Wisconsin–Madison, through the initiative of the Wisconsin Center for Film and Theater Research and the School of Music. : The consolidation of Tams and Witmark mostly affected operatic music and musical theatre. It did not affect the separate concern of M. Witmark & Sons, music publishers, who continued publishing popular and classical music.

After many trips in Europe (France, Germany, Spain and Italy), fascinated by Italian culture, particularly with operatic music, he decided, at the instigation of newly acquainted opera singers, to take up singing solo. Then took the stage name Wojciech Wentura. He helped initiate the "Italian Bel Canto Show" project, which presents an operatic gala of the most popular Italian operatic arias and Neapolitan songs.'Interview with Wojciech Wentura by Krystyna Paszkowska - "Polska The Times Dziennik Bałtycki" Sept 12 2008' In September, 2011, Wentura was invited to London, to Nigel Wolf-Hoyle's recording studio, and recorded three songs with British singer and performer Katy Carr for her solo album.

The Urick brothers were born in Malden, Massachusetts. Joe (born Joseph Urick; May 3, 1921 – December 22, 2007), Gene (February 13, 1924 – April 26, 1997), Vic (May 20, 1925 – January 23, 1978), and Ed Ames (born Edmund Dantes Urick on July 9, 1927)Ames, Ed accessdate July 21, 2018 they formed the singing group the Amory Brothers, which would become the Ames Brothers. Born into a non-professional but musically talented family, the boys were raised to enjoy classical music and operatic music. Their parents, David and Sarah Urick, were Russian Jewish immigrants from Ukraine who read Shakespeare and semi-classics to their nine children from the time they were old enough to listen.

Serenade tells the story of poor vineyard worker Damon Vincenti (Mario Lanza), who becomes an operatic tenor, and is involved with two women -- one a high society hostess, Kendall Hale (Joan Fontaine), the other a Mexican bullfighter's daughter, Juana Montes (Sara Montiel). The tenor has a breakdown because of his unrequited love for the society woman, but finds love (and a happy ending) with the Mexican girl. Highly melodramatic, the film features a great deal of operatic music, all of it sung by Lanza. Of note are the Act III Monologue from Verdi's Otello and an extract from the duet "Dio Ti Giocondi" from the same opera featuring Metropolitan Opera soprano Licia Albanese.

After studying with Berteau, Jean-Pierre Duport made his debut at the age of 19 at the Concert Spirituel, then the center for non-operatic music in Paris. Between 1766 and 1769 Duport was employed by the Prince of Conti, after which he spent two years in England and two years in Spain. In 1773, Frederick the Great the King of Prussia offered Duport a position as principal cellist of his orchestra, and Duport accepted and remained in Berlin for the rest of his life. Duport was the cello tutor of Frederick's nephew, Prince Friedrich Wilhelm II, and soon after Friedrich Wilhelm II was crowned king in 1786, Duport was placed in charge of all chamber music at the court.

The society was founded on 25 February 1871 by Romain Bussine and Camille Saint-Saëns, who shared the presidency, and early members included Alexis de Castillon, Théodore Dubois, Henri Duparc, Gabriel Fauré, César Franck, Jules Garcin, Ernest Guiraud, Jules Massenet, and Paul Taffanel. It was conceived in reaction to the tendency in French music to favour vocal and operatic music over orchestral music, and to further the cause of French music in contrast to the Germanic tradition. "They were determined to unite in their efforts to spread the gospel of French music and to make known the works of living French composers ... According to their statutes ... their intention was to act 'in brotherly unity, with an absolute forgetfulness of self'".Vallas, p. 135.

Williams, Alexandra. "Arts: Ex-chairman damns Opera House report", The Independent, 12 December 1997 A new board appointed Michael Kaiser as general director in September 1998. He oversaw the restoration of the two companies' finances and the re-opening of the opera house. He was widely regarded as a success, and there was some surprise when he left in June 2000 after less than two years to run the Kennedy Center in Washington, D.C."Kaiser the rescuer takes off for Kennedy", London Evening Standard, 13 December 2000 The last operatic music to be heard in the old house had been the finale of Falstaff, conducted by Solti with the singers led by Bryn Terfel, in a joint opera and ballet farewell gala in July 1997.

To begin with, it shows a degree of vacillation in attitude toward its subject — perhaps resulting from Marcello's personal ambivalence regarding operatic music, as both a critic and a composer. For example, the dedicatory is by "the author of the book to its composer." In addition, it exhibits a number of surrealistic elements, which reach a climax in the last chapter, "The Raffle" (presumably organized by the mother of a young female singer), where the prizes include "a full dress of modern poet in fever-colored tree bark, wrapped with metaphors, translations, hyperboles" as well as "the pen that wrote Il teatro alla moda." The printing accompanies these peculiarities with a chaotic use of italic and normal typography and of capital fonts.

By the late nineteenth century, there was in effect a national school of orchestral and operatic music in Scotland. Major composers included Alexander Mackenzie (1847–1935), William Wallace (1860–1940), Learmont Drysdale (1866–1909), Hamish MacCunn (1868–1916) and John McEwen (1868–1948). Mackenzie, who studied in Germany and Italy and mixed Scottish themes with German Romanticism,"Alexander Mackenzie" Scottish Composers: the Land With Music, retrieved 11 May 2012. is best known for his three Scottish Rhapsodies (1879–80, 1911), Pibroch for violin and orchestra (1889) and the Scottish Concerto for piano (1897), all involving Scottish themes and folk melodies. Wallace's work included an overture, In Praise of Scottish Poesie (1894); his pioneering symphonic poem about his namesake, medieval nationalist William Wallace AD 1305–1905 (1905); and a cantata, The Massacre of the Macpherson (1910).

Parts of Venice are renowned for the beauty of their settings, their architecture, and artwork. Venice is known for several important artistic movements—especially during the Renaissance period—has played an important role in the history of symphonic and operatic music, and is the birthplace of Antonio Vivaldi. Although the city is facing some challenges (including an excessive number of tourists and problems caused by pollution, tide peaks and cruise ships sailing too close to buildings), Venice remains a very popular tourist destination, a major cultural centre, and has been ranked many times the most beautiful city in the world. It has been described by the Times Online as one of Europe's most romantic cities and by The New York Times as "undoubtedly the most beautiful city built by man".

For Gretchen's story, Schumann employs operatic music, beginning with a love duet, proceeding to Gretchen's passionate and desperate aria, and concluding with a church scene. The second part of the work opens with stark contrast: on the one hand, the lively, fresh music of Ariel and the spirits calls Faust to savor the beauties of nature; on the other hand, in the scene following, Schumann's restless orchestration brings to the fore Faust's delusions upon hearing of a new world being created and its rapturous promise of an everlasting present. The final scenes, drawing the work to its placid yet unsettled conclusion, hold some of Schumann's best choral writing. Scenes from Goethe's Faust has often been overlooked within Schumann's impressive oeuvre, but has enjoyed a resurgence since the 1970s.

The band was and is nationally recognized for excellence and has been seen by millions through its many performances on television and at major events, including performing for five sitting US Presidents.Wikipedia Page Michigan State University Spartan Marching Band Falcone left to the concert band movement a wealth of arrangements of classical orchestral and operatic music that he adapted to the instrumentation and timbre of the band as well as many military marches from cultures around the world adapted to modern western instrumentation. Michigan State University's marching band continues to play its iconic version of the MSU Fight Song, affectionately known to the band as "Falcone Fight". During his tenure at Michigan State University, the fight song was a very dynamic arrangement, ever subject to changes, as can be heard in the various recordings found throughout the University archives.

Florence Cole Talbert-McCleave (born Florence Cole, June 17, 1890 – April 3, 1961), also known as Madame Florence Cole-Talbert, was an American operatic soprano, music educator, and musician. Called "The First Lady in Grand Opera" by the National Negro Opera Guild, she was one of the first African American women and black opera artists performing abroad who received success and critical acclaim in classical and operatic music in the 20th Century. Through her career as a singer, a music educator, and an active member of the National Association of Negro Musicians, she became a legendary figure within the African American music community, also earning the titles of "Queen of the Concert Stage" and "Our Divine Florence." Most notably, she is credited with being the first African American woman to play the titular role of Verdi's Aida in a European staging of the opera.

J. R. Baxter, "Music, Highland", in M. Lynch, ed., The Oxford Companion to Scottish History (Oxford: Oxford University Press, 2001), , pp. 434–5. This revival began to have a major impact on classical music, with the development of what was in effect a national school of orchestral and operatic music in Scotland. Major composers included Alexander Mackenzie (1847–1935), William Wallace (1860–1940), Learmont Drysdale (1866–1909), Hamish MacCunn (1868–1916) and John McEwen (1868–1948).Gardiner, Modern Scottish Culture, pp. 195–6. Mackenzie, who studied in Germany and Italy and mixed Scottish themes with German Romanticism,"Alexander Mackenzie" Scottish Composers: the Land With Music, retrieved 11 May 2012. is best known for his three Scottish Rhapsodies (1879–80, 1911), Pibroch for violin and orchestra (1889) and the Scottish Concerto for piano (1897), all involving Scottish themes and folk melodies. Wallace's work included an overture, In Praise of Scottish Poesie (1894).

Simon P. Keefe, ed., The Cambridge Companion to the Concerto (Cambridge: Cambridge University Press, 2005), , p. 130. By the late nineteenth century, there was in effect a national school of orchestral and operatic music in Scotland. Major composers included Alexander Mackenzie (1847–1935), William Wallace (1860–1940), Learmont Drysdale (1866–1909) and Hamish MacCunn (1868–1916). Mackenzie, who studied in Germany and Italy and mixed Scottish themes with German Romanticism,"Alexander Mackenzie" Scottish Composers: the Land With Music, retrieved 11 May 2012. is best known for his three Scottish Rhapsodies (1879–80, 1911), Pibroch for violin and orchestra (1889) and the Scottish Concerto for piano (1897), all involving Scottish themes and folk melodies. Wallace's work included an overture, In Praise of Scottish Poesie (1894).J. Stevenson, "William Wallace", AllMusic, retrieved 11 May 2011. Drysdale's work often dealt with Scottish themes, including the overture Tam O’ Shanter (1890), the cantata The Kelpie (1891).

Watson as King Hildebrand in Princess Ida, c. 1932, one of Watson's first roles with the D'Oyly Carte Opera Company Richard Charles Watson (1903 – 2 August 1968) was an Australian bass opera and concert singer and actor. He is probably best remembered as a principal with the D'Oyly Carte Opera Company who sang the comic bass-baritone roles of the Savoy Operas, but he appeared in a wide range of operas at the Royal Opera House and with the Carl Rosa Opera Company with singers including Lotte Lehmann and Lauritz Melchior, under conductors including Sir Thomas Beecham and Bruno Walter. He recorded some operatic music, and over a half dozen of his recordings with D'Oyly Carte remain in print, including his 1932 recording of King Hildebrand in Princess Ida and his recordings of the Learned Judge, Sergeant of Police, Pooh-Bah, Sir Despard Murgatroyd, Wilfred Shadbolt and Don Alhambra, released in 1949 and 1950.