DOCSLIB.ORG

This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Repertory and rivalry : opera and the Second Covent Garden Theatre, 1830-56. Dideriksen, Gabriella The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 10. Oct. 2021 Repertory and Rivalry: Opera at the Second Covent Garden Theatre, 1830 to 1856 Gabriella Dlderlksen PhD, Historical Musicology King's College London, University of London June 1997 Abstract Victorian London has hitherto frequently been regarded as an operatic backwater without original musical or theatrical talent, and has accordingly been considered only marginally important to the history of 19th-century opera in general. This study seeks to assert London's importance as an operatic centre during the mid-l9th century by establishing the history of the Theatre Royal, Covent Garden, later the Royal Italian Opera, as one of the three major theatres at which opera was staged, as well as the details of opera production. The operatic repertory of Covent Garden consisted to a large extent of adaptations and translations of foreign works, and it is the lack of understanding of this concept to which many of the misconceptions concerning the London opera industry owe their origin. Owing to the scarcity of adequate secondary research tools and the conversely vast number of largely untapped primary sources, the structure of this thesis necessarily crosses the boundaries of strictly musicological research into theatre history. It establishes for the first time the details of operatic and theatrical management at Covent Garden from 1830 to 1856 by focusing on the management and finance, the artistic policy of individual managers (in particular with regard to opera), the repertory structure, and the details of individual opera productions. In particular this investigation has concentrated on the establishment and analysis of a repertory calendar, an examination of the finances and organisation of the theatre through mainly legal and financial documents, and a comprehensive study of libretti and musical sources for opera productions at Covent Garden. This project for the first time provides a detailed and systematic analysis of opera production in mid-l9th century London. It has -2- furthermore resulted in a study of Covent Garden within the cultural context of London in the first half of the 19th century, a subject corresponding with other major research work currently being undertaken on the opera houses in Paris and Italy. -3- Contents Pages Abstract 2 Contents 4 Acknowledgements 6 Introduction 8 Part One - Competition and Financial Management 18-131 Chapter One: The Theatre Royal Covent Garden 20-65 1) Monopoly versus Competition 20 2) Financial Management: Expenditure 22 3) Financial Management: Income 37 4) The 1843 Theatre Regulation Act and Its 48 Aftermath at Covent Garden Notes to pages 18-52 53 Chapter Two: The Royal Italian Opera, 1847-1856 66-131 1) A Second Opera House for London? 66 2) The Establishment of the Royal Italian Opera 67 3) Surviving the First Year 73 4) Gye gains Control 76 5) Financial Management: Income 82 6) Financial Management: Expenditure 92 7) The Fire of 1856 and Its Aftermath 106 Notes to pages 66-107 108 Part Two - Artistic Policies and Repertory 132-239 Chapter Three: Strategies for the Playhouse 135-178 1) The Monopoly Debate and the Playhouse 135 Repertory 2) Drama 139 3) Opera 149 Notes to pages 132-170 171 Chapter Four: Strategies for the Opera House 179-239 1) The Repertory at Her Majesty's Theatre 180 before 1847 2) The Repertory of the Royal Italian Opera 182 in 1847 3) The Repertory of the Royal Italian Opera, 187 1848 to 1855 4) Negotiations for Performance Rights 205 5) The Company of the Royal Italian Opera: 211 Influence on Programming Notes to pages 179-225 226 -4- Part Three - Operas for Covent Garden 240-343 Chapter Five: English operas for the Theatre Royal, 241-286 Covent Garden 1) English Opera: Drama with Songs? 243 2) Topics and Story]ines of English Operas, 247 circa 1820 to 1845 3) The Dramatic and Musical Composition of 255 English Operas, circa 1820 to 1845 Notes to pages 240-278 279 Chapter Six: Producing Foreign Opera 286-343 1) Financial and Artistic Benefits 287 2) Adaptation versus Original 291 3) Personnel and Working Procedures 294 4) Translations 304 5) Adaptations 307 Notes to pages 286-33 1 332 Conclusion 344 Appendices 346-372 Appendix 1: Receipts for the Theatre Royal, 346 Covent Garden, 1809-1843 Appendix 2: Lease Agreement between Frederick Gye 347 and the Proprietors of Covent Garden, 1854 Appendix 3: Monthly Singers' Salaries at the Royal 357 Italian Opera, 1848-1855 Appendix 4: Repertory of the Theatre Royal, Covent 360 Garden, 1829-1843: by Number of Performances Appendix 5: Repertory of the Theatre Royal, 365 Covent Garden, 1829-1843: Number of Opera Performances by Genre Appendix 6: Repertory of the Theatre Royal, Covent 367 Garden, 1829-1843: Opera Premieres! Revivals Appendix 7: The Repertory of the Royal Italian Opera, 369 1847-1855: Number of Operas/Proportion of Total Performances Appendix Ba: First Performances in England at the 371 Royal Italian Opera, 1847-1855 Appendix 8b: First Performances in England at 372 Her Majesty's, 1847-1855 Music Examples 373 Bibliography 378 -5- Acknowledgments Many friends and colleagues have given me invaluable assistance and advice over the past five years. To my supervisor Curtis Price I owe a deep gratitude for first encouraging me to embark upon this project and for his astute and critical guidance throughout my research. Matthew Ringel's enthusiasm and friendship were much appreciated during the many hours we spent discussing the intricacies of opera management in 19th-century London; without these debates this thesis would doubtiess be the poorer. I would also like to thank several colleagues, some of whom very generously shared research material with me, for their advice and encouragement: Irene Auerbach, Tracy C. Davis, Cyril Ehrlich, Mark Everist, Richard Fouikes, Jennifer Hall, Sabine Henze- Döhring, Robert D. Hume, Leanne Langley, Martha Ottlová, John Rosseffi, Christian Sprang, Reinhard Strohm and John M. Ward. My discovery of the Gye Diaries was probably the single most important find of this project. My special thanks are due to Roderick Gye and his family for permitting an indefinite loan of these valuable documents to the Archives of the Royal Opera House, Covent Garden. I am also immensely grateful to Francesca Franchi and her assistants Jane Jackson and Margaret Nicholson for the very generous access they were able to grant me to the diaries as well as the significant collection of music manuscripts and other material held at the Archives. I would further like to acknowledge the assistance of the following Libraries, their curators and staff: the British Library, in particular the North Library, the Music Reading Area and the Newspaper Library at Colindale, Tracey Earl at Coutts & Co (Strand), Jeanne New]in (former curator) at the Harvard Theatre Collection (Massachusetts), the Houghton Library (Harvard, Mass.), the Public Record Office -6- (Chancery La, the University of London Library (Senate House) and the Theatre Museum London. I would like to thank the Regents of the University of California for permission to reuse material first published in my joint article with Matthew Ringel, 'Frederick Gye and "The Dreadful Business of Opera Management"', 19th-Century Music, summer 1995, xix/1 :3-30. Several institutions provided generous financial assistance. The British Academy awarded me a three year Postgraduate Studentship in 1993; the British Federation of Women Graduates granted me an award in 1993/94. My research visit to the Harvard Theatre Collection in 1993 was very generously supported by the Society for Theatre Research (Anthony Denning Award 1993/94), the Houghton Library, Harvard University (John M Ward Fellowship in Dance and Music for the Theatre 1993/94) and the Central Research Fund, University of London. Finally, I would like to thank most warmly my husband Peter Firth and my parents Yvonne and Ole Diderlksen for supporting and encouraging me throughout these years of study. Peter also deserves my sincerest gratitude for his perceptive criticism and patient proof reading of my thesis. -7- Introduction It has been a frequently held view that 19th-century London was an operatic backwater without original musical or theatrical talent, and consequently of only marginal Importance to the history of 19th-century opera in general. Few major composers were connected with London's opera houses and theatres, as these relied principally on importing operas from Continental theatres, rather than commissioning new works. With the emphasis of the repertory thus placed firmly on adapted as opposed to original operas, few musicologists have examined either the institutions or the repertory itself.
Load more

Recommended publications
  • Pacini, Parody and Il Pirata Alexander Weatherson
    “Nell’orror di mie sciagure” Pacini, parody and Il pirata Alexander Weatherson Rivalry takes many often-disconcerting forms. In the closed and highly competitive world of the cartellone it could be bitter, occasionally desperate. Only in the hands of an inveterate tease could it be amusing. Or tragi-comic, which might in fact be a better description. That there was a huge gulf socially between Vincenzo Bellini and Giovanni Pacini is not in any doubt, the latter - in the wake of his highly publicised liaison with Pauline Bonaparte, sister of Napoleon - enjoyed the kind of notoriety that nowadays would earn him the constant attention of the media, he was a high-profile figure and positively reveled in this status. Musically too there was a gulf. On the stage since his sixteenth year he was also an exceptionally experienced composer who had enjoyed collaboration with, and the confidence of, Rossini. No further professional accolade would have been necessary during the early decades of the nineteenth century On 20 November 1826 - his account in his memoirs Le mie memorie artistiche1 is typically convoluted - Giovanni Pacini was escorted around the Conservatorio di S. Pietro a Majella of Naples by Niccolò Zingarelli the day after the resounding success of his Niobe, itself on the anniversary of the prima of his even more triumphant L’ultimo giorno di Pompei, both at the Real Teatro S.Carlo. In the Refettorio degli alunni he encountered Bellini for what seems to have been the first time2 among a crowd of other students who threw bottles and plates in the air in his honour.3 That the meeting between the concittadini did not go well, this enthusiasm notwithstanding, can be taken for granted.
    [Show full text]
  • A Guide to Vibrato & Straight Tone
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 The Versatile Singer: A Guide to Vibrato & Straight Tone Danya Katok The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1394 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE VERSATILE SINGER: A GUIDE TO VIBRATO & STRAIGHT TONE by DANYA KATOK A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2016 ©2016 Danya Katok All rights reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music to satisfy the dissertation requirement for the degree of Doctor of Musical Arts Date L. Poundie Burstein Chair of the Examining Committee Date Norman Carey Executive Officer Philip Ewell, advisor Loralee Songer, first reader Stephanie Jensen-Moulton L. Poundie Burstein Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract THE VERSATILE SINGER: A GUIDE TO VIBRATO & STRAIGHT TONE by Danya Katok Advisor: Philip Ewell Straight tone is a valuable tool that can be used by singers of any style to both improve technical ideals, such as resonance and focus, and provide a starting point for transforming the voice to meet the stylistic demands of any genre.
    [Show full text]
  • Opera, Liberalism, and Antisemitism in Nineteenth-Century France the Politics of Halevy’S´ La Juive
    Opera, Liberalism, and Antisemitism in Nineteenth-Century France The Politics of Halevy’s´ La Juive Diana R. Hallman published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Diana R. Hallman 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Dante MT 10.75/14 pt System LATEX 2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Hallman, Diana R. Opera, liberalism, and antisemitism in nineteenth-century France: the politics of Halevy’s´ La Juive / by Diana R. Hallman. p. cm. – (Cambridge studies in opera) Includes bibliographical references and index. isbn 0 521 65086 0 1. Halevy,´ F., 1799–1862. Juive. 2. Opera – France – 19th century. 3. Antisemitism – France – History – 19th century. 4. Liberalism – France – History – 19th century. i. Title. ii. Series. ml410.h17 h35 2002 782.1 –dc21 2001052446 isbn 0 521 65086 0
    [Show full text]
  • La Dimora Milanese Di Giuditta Pasta Giovanni Truglia
    III, 2017 La dimora milanese di Giuditta Pasta Giovanni Truglia Tra i capitoli meno noti della vita di Giuditta Pasta (1797-1865)1 vi è probabilmente quello legato alle vicende della residenza milanese che la cantante acquistò intorno al 1829 nella centralissima Contrada del Monte al numero 1275 – l’attuale via Monte Napoleone 14 – (fig. 1), e fece decorare secondo il gusto di un neoclassicismo tardo, non pienamente aggiornato rispetto alle tendenze artistiche della Restaurazione.2 Oggi non rimane più nulla dei fasti di Casa Pasta, andata irrimediabilmente perduta in seguito ai bombardamenti che colpirono la città nell’estate del 1943; poche sono le informazioni giunte sino a noi e che permettono di ricostruire un quadro completo di come la dimora dovesse apparire ai tempi della sua realizzazione.3 Unica fonte visiva per il piccolo ciclo sono alcune fotografie conservate nelle collezioni del Civico Archivio Fotografico del Castello Sforzesco4 1 Giuditta Pasta può vantare una consistente letteratura critica, caratterizzata spesso da un taglio eccessivamente elogiativo; si è scelto così di non tracciarne un profilo biografico, rimandando invece a testi dedicati:M ARIA FERRANTI GIULINI, Giuditta Pasta e i suoi tempi: memorie e lettere, Milano, Sormani, 1935; Giuditta Pasta e i suoi tempi e Saronno, catalogo della mostra a cura di Vittorio Pini, Saronno, Comune di Saronno, 1977; GIORGIO APPOLLONIA, Giuditta Pasta. Gloria del bel canto, Torino, EDA, 2000. 2 Il contributo nasce come estratto della mia tesi di laurea triennale in Scienze dei Beni Culturali dal titolo La dimora milanese di Giuditta Pasta, discussa al termine dell’anno accademico 2015/2016 nell’Università degli Studi di Milano con relatore Giovanni Agosti.
    [Show full text]
  • Du Concert Au Show Business. Le Rôle Des Impréssarios Dans Le Développement International Du Commerce Musical, 1850-1930 Laetitia Corbière
    Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930 Laetitia Corbière To cite this version: Laetitia Corbière. Du concert au show business. Le rôle des impréssarios dans le développement international du commerce musical, 1850-1930. Histoire. Université de Lille, 2018. Français. NNT : 2018LILUH025. tel-01989103 HAL Id: tel-01989103 https://tel.archives-ouvertes.fr/tel-01989103 Submitted on 22 Jan 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. UNIVERSITE LILLE 3 – CHARLES DE GAULLE / UNIVERSITE DE GENEVE ÉCOLE DOCTORALE DES SCIENCES DE L’HOMME ET DE LA SOCIETE Doctorat Histoire Lætitia CORBIERE DU CONCERT AU SHOW BUSINESS. Le rôle des imprésarios dans le développement international du commerce musical, 1850-1930 Thèse dirigée par Sylvie APRILE / Ludovic TOURNES Soutenue le 19 juin 2018 Jury : Philippe DARRIULAT Didier FRANCFORT Michel PORRET Jean-Claude YON 1 2 Du concert au show business. Le rôle des imprésarios dans le développement international du commerce musical, 1850-1930. Résumé : Cette recherche porte sur le développement international des tournées musicales entre 1850 et 1930, période caractérisée par l’affirmation de la fonction d’intermédiation et par une approche commerciale de plus en plus assumée du concert.
    [Show full text]
  • VINCENZO BELLINI, Norma, Orchestra Sinfonica E Coro Del Gran
    IV, 2018 VINCENZO BELLINI, Norma, Orchestra sinfonica e Coro del Gran Teatre del Liceu di Barcellona, direttore d’orchestra Renato Palumbo, regia di Kevin Newbury, 2 DVD C Major 737208, 2015. • Norma, Orchestra of the Royal Opera House, Royal Opera Chorus, direttore d’orchestra Antonio Pappano, regia di Àlex Ollé. 2 DVD Opus Arte OA 1247 D, 2016. La fortuna teatrale e discografica di Norma sta attraversando un periodo di intensa vitalità che sembrava quasi impossibile fino a qualche anno fa. Molteplici ragioni danno conto di questo rinnovato interesse. Da un lato, l’intenso lavoro critico attorno alla figura di Bellini e dei suoi interpreti ha contribuito a mettere in discussione la tradizione esecutiva dell’opera che si era cristallizzata durante la prima metà del Novecento e di cui, per molti aspetti, Maria Callas ha rappresentato l’apogeo. Dall’altro, la graduale estensione dell’uso di strumenti d’epoca nell’ambito del melodramma italiano del primo Ottocento ha reso possibile la coesistenza, e reciproca influenza, di prassi esecutive le cui premesse storiche e culturali erano in origine diverse. Molti degli sforzi di critici e studiosi interessati agli aspetti esecutivi di Norma sono stati dedicati alla definizione delle caratteristiche vocali e drammatiche dei cantanti per i quali i tre ruoli principali furono scritti: Giuditta Pasta (Norma), Giulia Grisi (Adalgisa) e Domenico Donzelli (Pollione). Tale attività di ricerca ha contribuito a scardinare luoghi comuni e consuetudini esecutive di lunga data, mettendo in luce tanto una frattura tra le concezioni della vocalità del tempo e quelle che dirigono le aspettative del pubblico contemporaneo, quanto il fatto che la proliferazione di soluzioni esecutive quanto mai diversificate non è solo caratteristica dei nostri giorni, ma ha accompagnato la fortuna dell’opera durante gran parte dell’Ottocento.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Reexamining Portamento As an Expressive Resource in Choral Music, Ca. 1840-1940 a Disserta
    UNIVERSITY OF CALIFORNIA Los Angeles Reexamining Portamento as an Expressive Resource in Choral Music, Ca. 1840-1940 A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Desiree Janene Balfour 2020 © Copyright by Desiree Janene Balfour 2020 ABSTRACT OF THE DISSERTATION Reexamining Portamento as an Expressive Resource in Choral Music, ca. 1840-1940 by Desiree Janene Balfour Doctor of Musical Arts University of California, Los Angeles, 2020 Professor William A. Kinderman, Co-Chair Professor James K. Bass, Co-Chair This study reexamines portamento as an important expressive resource in nineteenth and twentieth-century Western classical choral music. For more than a half-century, portamento use has been in serious decline and its absence in choral performance is arguably an impoverishment. The issue is encapsulated by John Potter, who writes, “A significant part of the early music agenda was to strip away the vulgarity, excess, and perceived incompetence associated with bizarre vocal quirks such as portamento and vibrato. It did not occur to anyone that this might involve the rejection of a living tradition and that singers might be in denial about their own vocal past.”1 The present thesis aims to show that portamento—despite its fall from fashion—is much more than a “bizarre vocal quirk.” When blended with aspects of the modern aesthetic, 1 John Potter, "Beggar at the Door: The Rise and Fall of Portamento in Singing,” Music and Letters 87 (2006): 538. ii choral portamento is a valuable technique that can enhance the expressive qualities of a work.
    [Show full text]
  • Adelina Patti Galt Als Eine Herausragende Opernsängerin Internationalen Ranges Des Italienischen Belcanto
    Patti, Adelina gendste Interpretin des Belcanto, und wenn sie auf der Bühne oder auf dem Podium erschien, löste ihre süße, glockenhelle, glänzend geschulte Stimme das Entzücken der Zuhörer aus. Dazu kam ihre hübsche, zarte Erschei- nung, ein lebhaftes Mienenspiel und feuriges Versenken in ihren Vortrag.“ Pester Lloyd, ”Morgenblatt”, 30. September 1919, 66. Jg., Nr. 183, S. 5. Profil Adelina Patti galt als eine herausragende Opernsängerin internationalen Ranges des italienischen Belcanto. Ne- ben ihrem Gesangsstil wurde auch ihre Schauspielkunst, die von Charme und großer Natürlichkeit geprägt war, ge- rühmt. Orte und Länder Adelina Patti wurde als Kind italienischer Eltern in Mad- rid geboren. Ihre Kindheit verbrachte sie in New York. Nach ihrem Konzertdebut 1851 in dieser Stadt unter- nahm die Sopranistin Konzerttourneen durch Nordame- rika, Kuba, die Karibik, Kanada und Mexiko. Nach ihrem großen Erfolg 1861 in London trat sie in der englischen Musikmetropole regelmäßig über 40 Jahre auf. Auch auf der Pariser Opernbühne war die Sängerin kontinuierlich präsent. Weiterhin unternahm die Künstlerin regelmäßig Tourneen durch ganz Europa und sang in Städten wie Wien, Berlin, Hamburg, Dresden, Wiesbaden, Amster- Adelina Patti, Hüftbild von Ch. Reutlinger dam, Brüssel, Florenz, Nizza, Rom, Neapel, Madrid, Liss- abon, Petersburg und Moskau. Mehrere Konzertreisen führten Adelina Patti wiederholt nach Nord -, Mittel- Adelina Patti und Südamerika. 1878 kaufte die Sängerin in Wales das Ehename: Adelina Adela Cederström Schloss „Craig-y-Nos“ wo sie die Zeit zwischen den Varianten: Adelina de Cuax, Adelina Nicolini, Adelina Tourneen verbrachte. Auf diesem Schloss veranstaltete Cederström, Adelina Patti-Nicolini, Adelina Adela Juana die Künstlerin regelmäßig Konzertabende. Maria Patti, Adelina Adela Juana Maria de Cuax, Adelina Adela Juana Maria Nicolini, Adelina Adela Juana Maria Biografie Cederström, Adelina Adela Juana Maria Patti-Nicolini Adelina Patti stammte aus einer Musikerfamilie.
    [Show full text]
  • Opernaufführungen in Stuttgart
    Opernaufführungen in Stuttgart ORIGINALTITEL AUFFÜHRUNGSTITEL GATTUNG LIBRETTIST KOMPONIST AUFFÜHRUNGSDATEN (G=Gastspiel)(L=Ludwigsburg)(C=Cannstatt) Euryanthe Euryanthe Oper Helemine von Chezy C(arl M(aria) von 1833: 13.03. ; 28.04. - 1863: 01.02. - 1864: 17.01. - Weber 1881; 12.02. (Ouverture) - 1887: 20.06 (Ouverture) - 1890: 16.02. ; 26.03. ; 25.09. ; 02.11. - 1893: 07.06 - Abu Hassan Oper in 1 Akt Franz Karl Hiemer Carl Maria von Weber 1811: 10.07. - 1824: 08.12. - 1825: 07.01. Achille Achilles Große heroische Nach dem Ferdinand Paer 1803: 30.09. ; 03.10. ; 31.10. ; 18.11. - 1804: Oper in 3 Akten Italienischen des 23.03. ; 18.11. - 1805: 17.06. ; 03.11. ; 01.12. - Giovanni DeGamerra 1806: 18.05. - 1807: 14.06. ; 01.12. - 1808: 18.09. - von Franz Anton 1809: 08.09. - 1810: 01.04. ; 29.07. - 1812: 09.02. ; Maurer 01.11. - 1813: 31.10. - 1816: 11.02. ; 09.06. - 1817: 01.06. - 1818: 01.03. - 1820: 15.01. - 1823: 17.12. - 1826: 08.02. Adelaide di Adelheit von Guesclin Große heroische Aus dem Italienischen Simon Mayr 1805: 21.07. ; 02.08. ; 22.09. - 1806: 02.03. ; 14. 09. Guescelino Oper in 2 Akten ; 16.09. (L). - 1807: 22.02. ; 30.08.(L) ; 06.09. - 1809: 07.04. - 1810: 11.04. - 1814: 28.08.(L) ; 09.10. - 1816: 05.05. ; 18.08. Adelina (auch Adeline Oper in 1 Akt Nach dem Pietro Generali 1818: 23.03. Luigina, Luisina) Italienischen von Franz Karl Hiemer - Des Adlers Horst Romantisch- Carl von Holtei Franz Gläser 1852: 30.04. ; 02.05.
    [Show full text]
  • Management, Competition and Artistic Policy in London, 1861-70
    This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Opera in 'the Donizettian Dark Ages' : management, competition and artistic policy in London, 1861-70. Ringel, Matthew Laurence The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 Opera in 'The Donizettian Dark Ages' Management, Competition and Artistic Policy in London, 186 1-70 Matthew L. Ringel Dissertation submitted for the Ph.D.
    [Show full text]
  • Marie Taglioni, Ballerina Extraordinaire: in the Company of Women
    NINETEENTH-CENTURY GENDER STUDIES # ISSUE 6.3 (WINTER 2010) Marie Taglioni, Ballerina Extraordinaire: In the Company of Women By Molly Engelhardt, Texas A&M University—Corpus Christi <1>The nineteenth-century quest for novelty during the 1830s and 40s was nowhere better satisfied than from the stages of the large theatres in London and Paris, which on a tri-weekly basis showcased ballet celebrities and celebrity ballets as top fare entertainment.(1) While few devotees had the means to actually attend ballet performances, the interested majority could read the plots and reviews of the ballets published in print media—emanating from and traversing both sides of the channel—and know the dancers, their personalities and lifestyles, as well as the dangers they routinely faced as stage performers. During a benefit performance in Paris for Marie Taglioni, for example, two sylphs got entangled in their flying harnesses and audiences watched in horror as a stagehand lowered himself from a rope attached to the ceiling to free them. Théophile Gautier writes in his review of the performance that when Paris Opera director Dr. Veron did nothing to calm the crowds, Taglioni herself came to the footlights and spoke directly to the audience, saying “Gentlemen, no one is hurt.”(2) On another occasion a cloud curtain came crashing down unexpectedly and almost crushed Taglioni as she lay on a tombstone in a cloisture scene of Robert le Diable.(3) Reporters wrote that what saved her were her “highly- trained muscles,” which, in Indiana Jones fashion, she used to bound off the tomb just in time.
    [Show full text]
  • The Musical Journal (1840) Copyright © 2005 RIPM Consortium Ltd Répertoire International De La Presse Musicale ( the Musical Journal (1840)
    Introduction to: Richard Kitson, The Musical Journal (1840) Copyright © 2005 RIPM Consortium Ltd Répertoire international de la presse musicale (www.ripm.org) The Musical Journal (1840) The Musical Journal, a magazine of information, on all subjects connected with the science [MUJ] was issued weekly in London on Tuesdays between 7 January and 29 December 1840, under the proprietorship of W. Mitchell and Son at 39 Charing Cross, and printed by J. Limbird at 143, Strand. In all only forty-five issues were distributed, for by Volume II, no. 43, 27 October 1840 the editor became aware of the need for termination owing to the general decline in provincial concerts (the festivals) and professional concerts and operas in London.1 Thus no issues were published in November, and only three biweekly issues appeared in December. Each issue contains sixteen pages with the exception of Volume II, no. 28, which has only fourteen. Volume I contains issue numbers 1 through 26 (7 January to 30 June, 1840), while Volume II contains numbers 27 through 46, (7 July to 29 December, 1840).2 The journal’s 730 pages are printed in single-column format, and the pages are numbered consecutively in each volume. Indices for both volumes are given at the outset of each half-year in the New York Public Library microfilm copy of the journal used for this RIPM publication.3 The names of the editors are not given in the journal, and all texts relating to it, which might be attributed to an editor, are unsigned. In fact, signatures (names, initials and pseudonyms) are given only for those who contributed letters to the editor, and texts borrowed from other publications.
    [Show full text]