A Collection of More Than 220 Electronic Opera Libretti Full Text
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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
OPERA, COMIC OPERA, MUSICAL Box 4/1
Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo -
Ernest Guiraud: a Biography and Catalogue of Works
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI 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 print, 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 UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized 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 corner and continuing from left to right in equal sections with small overlaps. -
The Mousmé and the Cultural Mobility of Musical Comedy
6 Henry Balme Yale University, USA Between Modernism and Japonism: The Mousmé and the cultural mobility of musical comedy Edwardian musical comedy had been sidelined in music and theatre histories due to its conservative design and frivolous narratives, but it is now being critically reassessed for the role it played in the creation of a first globalised network of theatre. The Mousmé is a work that exemplifies the process of performative re- contextualisation that accompanied musical comedies as they travelled from London’s West End across the world, as far as Yokohama and Tokyo. The work appealed to British audiences because it was held to be a realistic reconstruction of Japanese culture and society, but it was also enjoyed by Japanese audiences, despite its stereotypical portrayal of their people. This apparent dichotomy is explored in this essay, which presents little-known documents surrounding the production and its travels. It sheds light on how musical theatre became culturally mobile during the first age of globalisation. Henry Balme is a full-time Ph.D. candidate in Music History at the Department of Music of Yale University. He completed his M.St. at the University of Oxford (2015) and his B.Mus. at City, University of London. Keywords: Bandmann Opera Company, cultural mobility, Edwardian musical comedy, Florence Smithson, George Edwardes, globalisation, japonism, Maurice E. Bandmann, modernity ulture is rarely stable or fixed.1 This claim is corroborated by the global Ctransmission and reception of Edwardian musical comedy. For a long time the genre had been considered an obscure part of musical theatre history and thus demoted to the sidelines of musicology and theatre studies.2 It is now being critically re-assessed for the importance it played in the globalisation of theatre during the first fifteen years of the twentieth century: musical comedy became a medium of extraordinary mobility, transmitted via the transnational travel and communication networks that had been put into place during the nineteenth century. -
10-06-2018 Aida Mat.Indd
Synopsis Act I Egypt, during the reign of the pharaohs. At the royal palace in Memphis, the high priest Ramfis tells the warrior Radamès that Ethiopia is preparing another attack against Egypt. Radamès hopes to command the Egyptian army. He is in love with Aida, the Ethiopian slave of Princess Amneris, the king’s daughter, and he believes that victory in the war would enable him to free and marry her. But Amneris also loves Radamès and is jealous of Aida, whom she suspects of being her rival for Radamès’s affection. A messenger brings news that the Ethiopians are advancing. The king names Radamès to lead the army, and all prepare for war. Left alone, Aida is torn between her love for Radamès and loyalty to her native country, where her father, Amonasro, is king. In the temple of Vulcan, the priests consecrate Radamès to the service of the god Ptah. Ramfis orders Radamès to protect the homeland. Act II Ethiopia has been defeated, and in her chambers, Amneris waits for the triumphant return of Radamès. Alone with Aida, she pretends that Radamès has fallen in battle, then says that he is still alive. Aida’s reactions leave no doubt that she loves Radamès. Amneris is certain that she will defeat her rival. At the city gates, the king and Amneris observe the victory celebrations and praise Radamès’s triumph. Soldiers lead in the captured Ethiopians, among them Amonasro, who signals his daughter not to reveal his identity as king. Amonasro’s eloquent plea for mercy impresses Radamès, and the warrior asks that the order for the prisoners to be executed be overruled and that they be freed instead. -
From Coppet to Milan: Romantic Circles at La Scala
From Coppet to Milan: Romantic Circles at La Scala Carmen Casaliggi Cardiff Metropolitan University When Percy Shelley left England and settled with Mary Godwin and Claire Clairmont at Maison Chapuis close to Villa Diodati in May 1816, his thoughts naturally turned to the people who were part of the coterie of European writers and artists visiting Switzerland during that Summer. As he wrote in a letter to Thomas Jefferson Hogg dated July 18, 1816: “Lord Byron, whom I have seen at this place, is about to publish a new canto of Childe Harold [...] Mad. de Stael [sic] is here & a number of literary people whom I have not seen, & indeed have no great curiosity to see” (493). Despite their strident disagreement over the merits of Byron’s entourage, Shelley’s words are suggestive of the significance of Switzerland as a centre of creativity and inspiration; it also becomes an important site to test authentic forms of sociability. John William Polidori’s diary entry for May 25, 1816 – written only few days after he arrived in Switzerland as Byron’s personal physician - retraces the footsteps of writers and philosophers interested in Swiss destinations: “It is a classic ground we go over. Buonaparte, Joseph, Bonnet, Necker, Staël, Voltaire, Rousseau, all have their villas (except Rousseau). Genthoud, Ferney, Coppet are close to the road” (96). This distinctive association of the biographical, the historical, and the geographical indicates the extent to which the Swiss experience can be seen as one of the first Romantic examples of influence and collaboration between British and European Romantic writers. -
Organizzazione E Produzione Di Uno Spettacolo Teatrale. Il Don Carlo
Corso di Laurea magistrale in Economia e Gestione delle Arti e delle Attività culturali Tesi di Laurea Organizzazione e produzione di uno spettacolo teatrale. Il Don Carlo Relatore Ch. Prof. Federico Pupo Correlatore Ch. Prof. David Douglas Bryant Laureando Ilaria Di Sebastiano Matricola 874180 Anno Accademico 2019/2020 2 Un ringraziamento particolare al mio relatore, Federico Pupo, per avermi seguita e consigliata durante tutto il percorso e al Teatro La Fenice nel suo team professionale per avermi accolta e aver reso possibile la stesura di questo elaborato. 3 4 SOMMARIO INTRODUZIONE .................................................................................................................... 7 PRIMO CAPITOLO: Il progetto ........................................................................................... 9 1.1 Il grand-opéra ................................................................................................................. 9 1.2 Il drammaturgo: Friedrich Schiller............................................................................ 11 1.3 Il compositore: Giuseppe Verdi .................................................................................. 15 1.4 I librettisti: Joseph Méry e Camille Du Locle............................................................ 18 1.4.1 Don Carlo: storia e trama ......................................................................................... 19 SECONDO CAPITOLO: il progetto ................................................................................... -
Social Discourse in the Savoy Theatre's
SOCIAL DISCOURSE IN THE SAVOY THEATRE’S PRODUCTIONS OF THE NAUTCH GIRL (1891) AND UTOPIA LIMITED (1893): EXOTICISM AND VICTORIAN SELF-REFLECTION William L. Hicks, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2003 APPROVED: John Michael Cooper, Major Professor Margaret Notley, Committee Member Mark McKnight, Committee Member James C. Scott, Dean of the College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Hicks, William L, Social Discourse in the Savoy Theatre’s Productions of The Nautch Girl (1891) and Utopia Limited (1893): Exoticism and Victorian Self-Reflection. Master of Music (Musicology), August 2003, 107 pp., 4 illustrations, 12 musical examples, references, 91 titles. As a consequence to Gilbert and Sullivan’s famed Carpet Quarrel, two operettas with decidedly “exotic” themes, The Nautch Girl; or, The Rajah of Chutneypore, and Utopia Limited; or, The Flowers of Progress were presented to London audiences. Neither has been accepted as part of the larger Savoy canon. This thesis considers the conspicuous business atmosphere of their originally performed contexts to understand why this situation arose. Critical social theory makes it possible to read the two documents as overt reflections on British imperialism. Examined more closely, however, the operettas reveal a great deal more about the highly introverted nature of exotic representation and the ambiguous dialogue between race and class hierarchies in late nineteenth-century British society. Copyright, 2003 by William L. Hicks ii ACKNOWLEDGEMENTS Because of the obscurity of The Nautch Girl and Utopia Limited, I am greatly indebted to the booksellers Christopher Browne and Wilfred M. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Zefiro Ci Riporta Le Note Di Soliva Di Carla Baselgia-Ferrari
SETTEMBRE 2015 Zefiro ci riporta le note di Soliva di Carla Baselgia-Ferrari Sarah Albertoni, clarinetto, Zarina Armari Quadroni, pianoforte, Veronika Kiss, fagotto: tre donne di talento che con i loro strumenti musicali compongono un trio interessante e singolare, in quanto l’accostamento clarinetto, pianoforte e fagotto è piuttosto insolito. Assieme formano il Trio Zeffiretto, nome vezzoso ed evocativo che si ispira a Zefiro, un vento poetico, messaggero di primavera. Il 4 di ottobre prossimo alla Bibliomedia di Biasca, alle ore 17.30, il Trio Zeffiretto si esibirà in un concerto che propone un programma di autori interessanti, accomunati da analogie temporali e culturali. Nel nostro contesto locale è particolarmente intrigante la presenza fra questi autori di un compositore di origini bleniesi. Si tratta di Carlo Evasio Soliva (Casale Monferrato 1791- Parigi 1853), figlio di Giovanni Soliva emigrato da Semione in Piemonte dove gestiva un caffè, e di Lucia Cima di Olivone. Primo di quattro figli, Carlo Evasio venne indirizzato agli studi musicali dapprima come chierico presso la cappella del duomo di Casale. In seguito venne iscritto al Conservatorio di Milano di cui fu uno dei primi allievi. Nel 1815 fu uno dei primi tre diplomati del Conservatorio, ottenendo il primo premio in composizione. Il giovanissimo Soliva, grazie ai suoi meriti di studio, ottenne l’incarico di comporre la musica su un libretto di Felice Romani, uscito vincitore da un concorso bandito dalla Scala di MiIano. In cinque mesi Soliva compose il melodramma eroicomico in due atti La testa di bronzo o sia La capanna solitaria che andò in scena al Teatro alla Scala il 3 settembre 1816, ottenendo un grandissimo successo e ben 47 repliche. -
Frederic Chopin As a Man and Musician, Volume 1
Frederic Chopin as a Man and Musician, Volume 1 Frederick Niecks Frederic Chopin as a Man and Musician, Volume 1 Table of Contents Frederic Chopin as a Man and Musician, Volume 1.............................................................................................1 Frederick Niecks............................................................................................................................................1 PREFACE TO THE FIRST EDITION..........................................................................................................1 PREFACE TO THE SECOND EDITION.....................................................................................................4 PREFACE TO THE THIRD EDITION.........................................................................................................4 CHAPTER I.................................................................................................................................................12 CHAPTER II................................................................................................................................................19 CHAPTER III..............................................................................................................................................25 CHAPTER IV..............................................................................................................................................32 CHAPTER V................................................................................................................................................36 -
Verdi Handbuch
Verdi Handbuch VERDI HANDBUCH 2., überarbeitete und erweiterte Auflage Herausgegeben von Anselm Gerhard und Uwe Schweikert Metzler Bärenreiter Bibliografische Information der deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.d-nb.de> abrufbar. ISBN 978-3-476-02377-3 (Metzler) ISBN 978-3-476-05186-8 (eBook) DOI 10.1007/978-3-476-05186-8 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © 2013 Springer-Verlag GmbH Deutschland Ursprünglich erschienen bei J.B. Metzler’sche Verlagsbuchhandlung und Carl Ernst Poeschel Verlag GmbH in Stuttgart 2013 www.metzlerverlag.de [email protected] Inhalt Vorbemerkung . XI Zum Gebrauch dieses Buches . XIII Abgekürzt zitierte Ausgaben von Briefen von und an Verdi . XIV Zeittafel (Vincenzina C. Ottomano und Anselm Gerhard) . XV EINLEITUNG Verdi-Bilder (Anselm Gerhard) . 2 Verdis Selbststilisierung 2 ›Self-made-man‹ 6 »Un orso« – ein Bär 8 »Un compositore rozzo« – ein roher Komponist 9 Der »Leierkasten«-Musiker 11 Der Antipode Wagners 14 »Der Komponist der italienischen Revolution« 16 Der Nationalkomponist 19 Der »Bauer« von Sant’Agata 20 Der me- lancholische Witwer 21 Autonomie 24 VERDIS WIRKEN IM ITALIENISCHEN 19. JAHRHUNDERT Italien zwischen Restauration, Risorgimento und nationaler Einheit (Martina Grempler) . 30 Zwischen Revolution und Restauration 31 Mailand als neues Zentrum 33 Risorgimento 34 Von der Idee zur Realität: Die italienischen Einigungskriege 35 Der Nationalstaat 38 Nachwirkungen des Risorgimento 40 Eine nationale Sprache für Verdis Opern (Vittorio Coletti) .