DOCSLIB.ORG

Contracts for Two Drury Lane Actresses in 1822

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contracts for Two Drury Lane Actresses in 1822 Contracts for two Drury Lane actresses in 1822 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Wanko, Cheryl. 1995. Contracts for two Drury Lane actresses in 1822. Harvard Library Bulletin 5 (3), Fall 1994: 53-67. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42664028 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 53 Contracts for Two Drury Lane Actresses in 1822 Cheryl Wanko tar actresses have always received better treatment than minor actresses, but in Searlier periods we seldom know the details: just how much better were they treated and in what ways? Tracy C. Davis has provided us with extensive informa- tion on mid- and late-nineteenth-century actresses, but data for the earlier part of the century remains scanty.' A comparison of two previously unknown contracts drawn up in the summer of r 822 by Robert William Elliston, manager of Drury Lane, will furnish useful detail on the terms of agreement for stars and minor play- ers. The first, at Penn State, is a standard printed "Articles of Agreement" between Elliston and a minor actress named Elisabeth Edwards (later Hamilton) dated 19 June. To this agreement is annexed a printed "Table of Regulations" for Drury Lane performers listed but not located by Arnott and Robinson. 2 The second, at the Harvard Theatre Collection, is a special manuscript agreement between Elliston CHERYL w ANKO teaches Restoration and 18th-century and Frederick George Fisher dated 22July concerning Fisher's "Infant Daughter," literature at West Chester Uni- 3 Clara Fisher. versity in Pennsylvania. In The agreement for Fisher, then a talented child actress, shows an attempt by addition to several articles pub- Elliston to open his newly refurbished Drury Lane with star performers. Her agree- lished in Theatre Survey and ment demonstrates the remarkable financial rewards available to a star actress in Journal of English and Germanic the London theatre at this time, whereas Edwards's illustrates the meager suste- Philology, she is finishing a manuscript on biographies and nance available to a minor actress. More important, the "Table" attached to autobiographies of I 8th cen- Edwards's agreement provides new information on company policies under tury performers. Elliston. Contrasting these two contracts, then, not only will help detail a particu- larly exciting season under the "Great Lessee," but will also help document the salaries, privileges, and penalties of early nineteenth-century players in a major London company. 1 Tracy C. Davis, ActressesAs Working Women: Their Social Lane, October 28, 1820." Penn State purchased the Identity in VictorianCulture (London: Routledge, 1991). agreement and Table in 1992. I am grateful to Dr. 2 In English TheatricalLiterature 1559-1900: A Bibliography Charles Mann, curator of Penn State's Special Collec- (London: Society for Theatre Research, 1970), James tions, for permission to print them. Fullarton Arnott and John William Robinson list "Regu- 3 The contract is located in a box of uncataloged Elliston lations instituted of good order in the Theatre Royal, manuscripts in the Harvard Theatre Collection. I am Drury Lane, Oct. 28, 1820" as number 1403. The title grateful to Dr. Jeanne T. Newlin, Curator, for permis- should read, "Table of Regulations, Instituted for the sion to print this document. Maintenance of Good Order in the Theatre Royal, Drury 54 HARVARD LIBRARY BULLETIN AGREEMENT BETWEEN ELLISTON AND EDWARDS This agreement consists of two parts: the two-page printed contract itself and a printed "Table of Regulations." The latter apparently accompanied the former in all agreements, since the contract states that the performer shall "conform to the Table of Regulations, a Copy whereof is hereunto annexed." The contract is be- tween Elliston and an Elisabeth Edwards, who is identified on the back of the document as "Miss Edwards afterwards Mrs Hamilton." Although it is signed by Elliston and two witnesses, Edwards herself seems never to have signed it. Very likely this was her copy, and the copy she signed remained with Elliston. How- ever, I can find no record of her presence in the Drury Lane company in the I 822- 1823 season under either name, though she may have been so minor a performer that her name never appeared in bills, ads, theatrical handbooks, or contemporary theatrical memoirs. Perhaps Edwards decided against exploitation-or perhaps she found a better situation with Mr. Hamilton. In the following copy of the "Articles of Agreement," text in ordinary roman type reproduces the printed part of the contract; that appearing in italic represents manuscript additions. Articles of Agreement indented made and entered into this nineteenthday of June one thousand eight hundred and Twenty two between ROBERT WILLIAM ELLISTON, of the THEATRE ROYAL, DRURY LANE, within the City and Liberties ofWestminster, Esquire, of the one Part, and ElisabethEdwards efBroad Court in the Parish efSaint Martyns in the Fields-Spinster of the other Part, (that is to say) THE said ROBERT WILLIAM ELLISTON doth hereby agree to engage and employ, and by these Presents doth engage and employ the said ElisabethEdwards as a Performer at the said Theatre Royal, Drury Lane, for the Term of one Year to commence from the First Day of Octobernext ensuing or as soon after as the Theatre shall be opened at the Rate of the Weekly Salary, and according to the usual Playhouse Payment of[blank] for every Six Nights ofTheatrical Performances at the said The- atre Royal, Drury Lane; and so in Proportion for any less Number of Nights of Theatrical Performances in the Week, so long as the said Elisabeth Edwards shall and do well and duly perform, and fulfill the Engagements and Agreements here- inafter contained, on her Part, such Weekly Salary or Payment to be made, if de- manded, on the last Day of every Week of Performance, at the Treasury or Pay Office of the said Theatre, during the usual Office Hours, the Stoppages, as herein mentioned, if any shall be incurred, being first deducted. AND the said ROBERT WIL- LIAM ELLISTON, for himself, his Executors, Administrators, and Assigns, doth hereby Covenant and Agree to and with the said ElisabethEdwards her Executors and Ad- ministrators, that the said ElisabethEdwards having duly performed herAgreements and Engagements in the Manner hereinafter mentioned, but not otherwise, shall be allowed the Use of the said Theatre, for one Benefit Night in every Season during the said Term, to perform there one such Play or Opera, and one Burletta, or Ballet, or Farce, or Musical Afterpiece, to be chosen out of the common Stock List of acting Plays, except any new Piece, or revived Piece, produced during the Season, in which such Benefit shall be taken, as she shall fix upon, such Night, as to the Priority and Order thereof, to be named and assigned by the Manager for the Time being of the said Theatre, and according to the Usage observed in the Lon- don Theatres: the said ElisabethEdwards first paying to the Treasurer for the Time being of the said Theatre, the Sum of Two Hundred Guineas for such Use of the said Theatre, exclusively of extra Charges for new Dresses, Copying, Printing, Advertising, and Supernumeraries, and other incidental Charges, if any there be. Provided always in case the said Sum of Two Hundred Guineas, and the Amount of such extra Charges shall not be paid previously to such Benefit Night, THEN it is hereby agreed by and between the said Parties hereto, that it shall and may be law- Contractsfor Two Drury Lane Actresses 55 ful to and for the said ROBERT WILLIAM ELLISTON, his Executors, Administrators, or Assigns, or the Treasurer for the Time being, to stop and retain the said Sum of Two Hundred Guineas, together with the Amount of such extra Charges out of the Monies to be received on such Benefit Night at the Doors of the said Theatre: And in case the Amount of the Monies so to be received shall not be sufficient to pay and defray the same, that then the Deficiency shall be retained and made good by and out of the W eel<ly Salary due or to become due to the said ElisabethEdwards and in case the Amount of the said Salary shall not be sufficient, then the said Elisabeth Edwards her Executors, Administrators, or Assigns, shall and will be an- swerable for and pay the Deficiency on demand, to the said ROBERT WILLIAM ELLISTON, his Executors, Administrators, or Assigns; or if the said ROBERT WILLIAM ELLISTON, his Executors, Administrators, or Assigns, shall think fit, give such rea- sonable Security as may be demanded for the Payment of Deficiencies, that may be due on account of the said Charges: PROVIDED ALWAYS AND it is hereby further declared and agreed, by and between the said Parties, that in case the said Elisabeth Edwards shall at any Time during the said Term of one year by Sickness, Indisposi- tion, Infirmity, or by any other Restraint, Accident, Reason, or Cause whatso- ever, be absent from Rehearsal or Performance, at the Time or Times she shall or may be required to attend, then and in every such Case, and as often as it shall so happen, the Salary, or a Proportion thereof, according to the Time or Duration of such Absence, shall and may, at the Discretion of the said ROBERT WILLIAM ELLISTON, his Executors, Administrators, or Assigns, or the Manager of the said Theatre for the Time being, be suspended and not paid, but the same be there- upon retained.
Load more

Recommended publications
  • La Cultura Italiana
    LA CULTURA ITALIANA BALDASSARE GALUPPI (1706–1785) Thousands of English-speaking students are only familiar with this composer through a poem by Robert Browning entitled “A Toccata of Galuppi’s.” Few of these students had an inkling of who he was or had ever heard a note of his music. This is in keeping with the poem in which the toccata stands as a symbol of a vanished world. Although he was famous throughout his life and died a very rich man, soon after his death he was almost entirely forgotten until Browning resurrected his name (and memory) in his 1855 poem. He belonged to a generation of composers that included Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works were emblematic of the prevailing galant style that developed in Europe throughout the 18th century. In his early career he made a modest success in opera seria (serious opera), but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his opera buffa (comic opera) in the new dramma giocoso (playful drama) style. To the suc- ceeding generation of composers he became known as “the father of comic opera,” although some of his mature opera seria were also widely popular. BALDASSARE GALUPPI was born on the island of Burano in the Venetian Lagoon on October 18, 1706, and from as early as age 22 was known as “Il Buranello,” a nickname which even appears in the signature on his music manuscripts, “Baldassare Galuppi, detto ‘Buranello’ (Baldassare Galuppi, called ‘Buranello’).” His father was a bar- ber, who also played the violin in theater orchestras, and is believed to have been his son’s first music teacher.
    [Show full text]
  • Le Opere Europee, 1750-1814
    Le opere europee, 1750-1814 Michele Girardi (in fieri, 18 ottobre 2010) 1751 (1) data luogo titolo librettista compositore Artaserse, Pietro Metastasio Baldassarre opera in tre atti Galuppi 1754 (1) data luogo titolo librettista compositore 26.X Venezia, Teatro Il filosofo di campagna, Carlo Goldoni Baldassarre Grimani di S. dramma giocoso per Galuppi Samuele musica in tre atti 1757 (1) data luogo titolo librettista compositore autunno Venezia, Teatro L’isola disabitata, Carlo Goldoni Giuseppe Grimani di S. dramma giocoso per Scarlatti Samuele musica in tre atti 1760 (2) data luogo titolo librettista compositore 6.II Roma Teatro delle La Cecchina, ossia La Carlo Goldoni Nicola Piccinni Dame buona figliola, opera in tre atti OUIS NSEAUME IV Wien, Burgtheater L’ivrogne corrigée, da L A e Cristoph JEAN-BAPTISTE opéra-comique in due atti LOURDET DE SANTERRE, Willibald Gluck L’ivrogne corrigée, ou le mariage du diable 1761 (2) data luogo titolo librettista compositore 10.VI Bologna La buona figliola Carlo Goldoni Nicola Piccinni maritata, opera in tre atti Armida, opera da TASSO, Tommaso Gerusalemme Liberata Traetta 1765 (2) data luogo titolo librettista compositore 26.I London, King’s Adriano in Siria, dramma Pietro Metastasio Johann Christian Theater per musica in tre atti Bach 2.II London, Covent Artaxerxes, Arne ? Thomas Augustin Garden opera seria in tre atti (da METASTASIO) Arne Artaserse, Pietro Metastasio Giovanni dramma per musica in tre Paisiello atti 1766 (2) data luogo titolo librettista compositore Artaserse, Pietro Metastasio Nicola Piccinni opera in tre atti Venezia La buona figliola Bianchi Latilla supposta, opera 1767 (2) data luogo titolo librettista compositore 13.V Salzburg Apollo et Hyacinthus, Rufinus Widl Wolfgang seu Hyacinthi Amadeus Mozart metamorphosis, commedia in latino 26.XII Wien Alceste, opera in tre atti Ranieri Christoph de’Calzabigi Willibald Gluck (da EURIPIDE, Alceste) 1768 (2) data luogo titolo librettista compositore XI Wien, teatro-giardino Bastien und Bastienne, Friedrich W.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • Eröffnungsvortrag: Haydns Opern in Ihrer Zeit Und Heute
    ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliche Arbeiten aus dem Burgenland Jahr/Year: 1992 Band/Volume: 090 Autor(en)/Author(s): Feder Georg Artikel/Article: Haydns Opern in ihrer Zeit und heute. 9-20 Eröffnungsvortrag:© Landesmuseum für Burgenland, Austria, download unter www.biologiezentrum.at Haydns Opern in ihrer Zeit und heute Georg FEDER, Köln “Joseph Haydn und die Oper seiner Zeit” so lautet das Thema unseres Symposions. Haydns Opern in ihrer Zeit und heute sind das Thema dieses ersten Vortrages. Mit ihm möchte ich versuchen, einen kurzen Überblick über Haydns Opernschaffen zu geben, einerseits in historischer Hinsicht, andererseits in Betrachtung der neueren Entwicklungen. Haydns Opernschaffen ist nach den Forschungen und Veröffentlichungen der letzten Jahrzehnte gut überschaubar; Umfang, Gliederung und zeitlicher Verlauf dieses Schaffens lassen sich mit klaren Linien skizzieren. (Vgl. die Tabelle.) Es erstreckte sich über einen Zeitraum von vier Jahrzehnten: von 1751/52 bis 1791. Schauplätze der Uraufführungen waren zuerst Wien, dann Eisenstadt und Esz­ terhäza. Die letzte Oper entstand in London. Den Werkgattungen nach gliedert sich Haydns Opernschaffen in die Gruppe der deutschen Singspiele, mit gespro­ chenen Dialogen, meist in der Sonderform der Marionettenoper, wobei unter lauter heiteren Singspielen ein ernstes vorkommt, und in die Gruppe der italie­ nischen Opern. Zu letzteren gehört zunächst die bei Haydn bald als Opera seria, bald als Dramma eroico oder Dramma per musica bezeichnete ernste Oper, die in kleinerer Form Festa teatrale oder Azione teatrale heißt. Daneben steht die heitere Oper, als Commedia, als Intermezzo, Opera buffa oder Burletta, einmal auch als Dramma giocoso per musica bezeichnet.
    [Show full text]
  • EJC Cover Page
    Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. GLUCK'S LONDON OPERAS By WILLIAM BARCLAY SQUIRE WV ITH the conspicuous exception of Horace Walpole's letters, we are singularly deficient in social chronicles of the later years of the reign of George II. For con- temporary accounts of the invasion of England by Prince Charles Edward in 1745, of his surprising march to Derby and the consternation it created in London-when the news arrived on a day long remembered as 'Black Friday'-Walpole's letters, which are our chief authority, have to be supplemented by reference to the newspapers of the day.
    [Show full text]
  • Information to Users
    INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct phnt, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed copyright material had to be removed, a note will indicate the deletion Oversize materials (e g . maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O.
    [Show full text]
  • A Study of Music As an Integral Part
    A Study of Music as an Integral Part of the Spoken Drama in the American Professional Theatre: 1930-1955 By MAY ELIZABETH BURTON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA August, 1956 PREFACE This is a study of why and how music is integrated with spoken drama in the contemporary American professional theatre. Very little has been written on the subject, so that knowledge of actual practices is limited to those people who are closely associated with commercial theatre-- composers, producers, playwrights, and musicians. There- fore, a summation and analysis of these practices will contribute to the existing body of knowledge about the contemporary American theatre. It is important that a study of the 1930-1955 period be made while it is still contemporary, since analysis at a later date would be hampered by a scarcity of detailed production records and the tendency not to copyright and publish theatre scores. Consequently, any accurate data about the status of music in our theatre must be gathered and re- corded while the people responsible for music integration are available for reference and correspondence. Historically, the period from 1930 to 1^55 is important because it has been marked by numerous fluc- tuations both in society and in the theatre. There are evidences of the theatre's ability to serve as a barometer of social and economic conditions. A comprehension of the ii degree and manner in which music has been a part of the theatre not only will provide a better understanding of the relationship between our specific theatre idiom and society, but suggests the degree to which it differs from that fostered by previous theatre cultures.
    [Show full text]
  • Furbish'd Remnants
    UNIVERSITY OF CALIFORNIA Los Angeles “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Angelina Marie Del Balzo 2019 Ó Copyright by Angelina Marie Del Balzo 2019 ABSTRACT OF THE DISSERTATION “Furbish’d Remnants”: Theatrical Adaptation and the Orient, 1660-1815 by Angelina Marie Del Balzo Doctor of Philosophy in English University of California, Los Angeles, 2019 Professor Felicity A. Nussbaum, Chair Furbish’d Remnants argues that eighteenth-century theatrical adaptations set in the Orient destabilize categories of difference, introducing Oriental characters as subjects of sympathy while at the same time defamiliarizing the people and space of London. Applying contemporary theories of emotion, I contend that in eighteenth-century theater, the actor and the character become distinct subjects for the affective transfer of sympathy, increasing the emotional potential of performance beyond the narrative onstage. Adaptation as a form heightens this alienation effect, by drawing attention to narrative’s properties as an artistic construction. A paradox at the heart of eighteenth-century theater is that while the term “adaptation” did not have a specific literary or theatrical definition until near the end of the period, in practice adaptations and translations proliferated on the English stage. Anticipating Linda Hutcheon’s postmodernist theory of adaptation, eighteenth-century playwrights and performers conceptualized adaptation as both process and product. Adaptation created a narrative mode that emphasized the process and labor of performance for audiences in order to create a higher level of engagement with ii audiences.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 69, 1949-1950, Subscription
    aammeaam SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-NINTH SEASON, 1949-1950 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, I95O, BY BOSTON SYMPHONY ORCHESTRA, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown. Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T. D. Perry, Jr. N. S. Shirk, Assistant Managers 897] " p^^^iQ © © © © © Only © » you can decide © © © Whether your property is large or small, it rep- © resents the security for your family's future. Its ulti- © © mate disposition is a matter of vital concern to those © you love. © © To assist you in considering that future, the Shaw- © mut Bank has a booklet: "Should I Make a Will?" © © It outlines facts that everyone with property should © know, and explains the many services provided by © this Bank as Executor and Trustee. © © Call at any of our 28 convenient offices, write or telephone © for our booklet: "Should I Make a Will?" © © © © © The Optional © © © Shawmut Bank © 40 Water Street, Boston © Member Federal Deposit Insurance Corporation © © Capital and Surplus $30,000,000 © "Outstanding Strength" for 114 Years © © ©@©©©©©©©©©©@©©©©@©©©©©©©©©©©©© [898] SYMPHONIANA Broadcast from the New Organ Pictures within Pictures C^handlanaier s Tremont and West Streets BROADCAST FROM THE NEW ORGAN Next Sunday morning, at 9:15 (Local Station WEEI), the weekly broadcast by E.
    [Show full text]
  • Francia Vs Irlanda: Oscar Wilde Y La Negociación De La Identidad Dramática
    Quaderns de Filologia. Estudis literaris. Vol. XII (2007) 103-116 FRANCIA VS IRLANDA: OSCAR WILDE Y LA NEGOCIACIÓN DE LA IDENTIDAD DRAMÁTICA Ignacio Ramos Gay Universidad de Castilla-La Mancha Una de las herramientas de exploración interpretativa surgida a partir de la década de los 90 en torno a la figura de Oscar Wilde ha sido la importan- cia concedida a la presencia de la identidad nacional en su obra. A diferencia de todos aquellos autores que, tradicionalmente, identificaron al dramaturgo como uno de los principales artífices, junto a Henry Arthur Jones, Arthur Wing Pinero, W. S. Gilbert, J. T. Grein, Sydney Grundy, George Bernard Shaw o John Galsworthy, de la denominada “English Renaissance” o renacimiento del teatro británico de finales del XIX y principios del siglo XX1, la crítica antropológica y postcolonial de los dos últimos decenios fundamenta su lec- tura de la obra wildeana a partir de sus orígenes irlandeses, desprendiendo significaciones ulteriores que permiten abordar sus escritos desde un prisma 1 El English drama revival se antepone como denominación a toda una serie de autores cuyas dra- maturgias se definen por un intento de superar las tendencias melodramáticas y cómicas en las que se hallaba inmerso el género durante la totalidad del siglo XIX. Enmarcado particularmente en la década de 1890, y representado por los dramaturgos citados más arriba, el denominador común de todos ellos es un retorno al teatro “ennoblecido” con la tarea de guiar al espectador y transmitirle un componente ético que rebase el mero entretenimiento. Además de sobre los escenarios, la mayoría de dichos autores expresó públicamente a través de artículos periodísticos y ensayos los cuatro pilares que habían de reconfigurar el teatro británico del siglo XX.
    [Show full text]
  • Le Opere Europee 1800-1899 Michele Girardi (In Fieri, 20 Gennaio 2019)
    Le opere europee 1800-1899 Michele Girardi (in fieri, 20 gennaio 2019) 1800 (2) Paris Les deux journées 16.I Nicholas Bouilly Luigi Cherubini Théâtre Feydeau melodramma, 3 Paris Le calife de Bagdad Charles Guillaume 16.IX Adrien Boïeldieu OC opera, 1 Etienne 1801 (1) Wien Die Geschöpfe des Prometheus Ludvig van 28.III Salvatore Viganò Hofburgtheater ballo eroico 2p Beethoven 1802 (2) Venezia Le metamorfosi di Pasquale, o 16.I T. San Moisé sia Tutto è illusione nel mondo Giuseppe Foppa Gaspare Spontini farsa giocosa per musica, 1 Venezia Werter e Carlotta Giulio Domenico primavera Vincenzo Pucitta T. San Moisé opera, 1 Camagna 1803 (1) 4.X Paris Anacréon, ou L’amour fugitif R. Mendouze Luigi Cherubini O opéra-ballet 1804 (3) Joseph Marie Paris La petite maison Armand Michel 12.V Gaspare Spontini OC (Feydeau) opéra-comique, 3 Dieulafoy e N. Gersin Dneprovskaja rušalka (L’ondina St Petersburg 17 Ferdinand Kauer Catterino Cavos Bol’šoj Kamenny T. del Dnepr) opera magico-buffa, 3 Victor-Joseph Étienne de Jouy e Paris Milton 12.XI Joseph Marie Gaspare Spontini OC (Favart) fait historique, 1 Armand Michel Dieulafo 1805 (2) Paris Julie, ou Le pot de fleurs 12.III Antoine Gabriel Jars Gaspare Spontini OC (Favart) comédie en prose, mêlée de chants, 1 Wien Fidelio Joseph von Ludvig van 20. I X Theater an der Wien opera, 3 (I vers.) Sonnleithner Beethoven 1806 (2) Paris Les deux aveugles de Tolède 28.I Benoît Marsollier Joseph Méhul OC opera, 1 Joseph von 29 Wien Fidelio Theater an der Wien opera, 3 (IIa vers.) Sonnleithner 2 1807 (3) Mosca Илья-Богатырь (Il’ja il prode) 12.I Ivan Krïlov Catterino Cavos Bol’šoj grande opera magico-buffa, 4 Paris Joseph 17.II Alexandre Duval Joseph Méhul OC drame en prose mêlé de chants, 3 Paris La Vestale 15.XII V.
    [Show full text]
  • Small-Scale Opera: History and Continuing Relevance in the 21St Century
    SMALL-SCALE OPERA: HISTORY AND CONTINUING RELEVANCE IN THE 21ST CENTURY Joel B. Trisel A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2015 Committee: Katherine Meizel, Advisor Christopher Scholl Kevin Bylsma ii ABSTRACT Katherine Meizel, Advisor This paper explores the history and recent rise in popularity of small-scale opera. Small- scale opera, originally referred to as chamber opera, and recently referred to as “Micro-opera”, “NANOWorks”, et cetera, has gained popularity in the past forty years due to artistic and financial reasons. The genre reflects the need for companies to find financially viable ways to continue to produce and perform classical music in a poor economic climate. The short length and relatively simple plots of the works in this genre also reflect the shift in media consumption on a broad level in the United States. While the genre is growing in popularity today, it has ties to historical practices, including some of the first documented operas written in the Baroque period. This paper provides a historical account of iterations of small-scale opera and culminates in interviews with professionals working in the field today. Through my research, I conclude that the genre is likely to succeed in the 21st century. This is due to the financial viability small-scale opera affords to both those producing and attending these works. Small-scale opera provides composers with a flexible medium in which they can explore writing sung drama that is substantially more likely to be produced than full-length works.
    [Show full text]