DOCSLIB.ORG

Le Opere Europee, 1750-1814

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Wolfgang di Mesmer singspiel in un atto Weischern Amadeus Mozart (da una parodia de Le devin du village di Rousseau, di Charles Simon Favert) Artaserse, Pietro Metastasio Antonio Sacchini opera in tre atti 1770 (2) data luogo titolo librettista compositore Napoli Armida abbandonata, Francesco Saverio Niccolò Jommelli opera de' Rogati da TASSO, Gerusalemme Liberata Napoli Demoofonte, dramma per Pietro Metastasio Niccolò Jommelli musica in tre atti 1772 (1) data luogo titolo librettista compositore Armida, opera da TASSO, Antonio Salieri Gerusalemme Liberata 1773 (2) data luogo titolo librettista compositore 26. VII Eszterháza L’infedeltà delusa, Marco Coltellini Franz Joseph burletta per musica in due Haydn atti 30. XII Versailles Céphal et Procris, ou Jean François Grétry L’amour conjugal, Marmontel opera in tre atti 1774 (1) data luogo titolo librettista compositore 19.IV Paris, Opéra Iphigénie en Aulide, Marie François Cristoph Tragédie in tre atti Louis Gand Willibald Gluck Leblanc Roullet (da RACINE, Iphigénie en Aulide) 1776 (1) data luogo titolo librettista compositore 22.IV Paris, Alceste, opéra in tre atti Ranieri Christoph Académie Royale de’Calzabigi (da Willibald Gluck Euripide, Alceste) Leipzig Der Barber von Seville, G.F. Grossman F.L. Benda opera in due atti (da BEAUMARCHAIS, Le barbier de Seville, ou La précaution inutile 1777 (1) data luogo titolo librettista compositore 23. XI Paris, Armide, Philippe Quinault Cristoph Académie Royale opera in cinque atti (da TASSO, Willibald Gluck Gerusalemme Liberata) 1779 (3) data luogo titolo librettista compositore 18.V Paris, Opéra Iphigénie en Tauride, Nicolas-François Cristoph Tragédie in quattro atti Guillard (da Willibald Gluck GUYMOND DE LA TOUCHE, Iphigénie en Tauride) 6. XII Eszterháza L’isola disabitata, Pietro Metastasio Franz Joseph azione teatrale in due Haydn parti Armida, opera (da TASSO, Myslivecek Gerusalemme Liberata) 1781 (2) 23. I Paris, Opéra Iphigénie en Tauride, A. Du Congé Niccolò Piccinni Tragédie in quattro atti Dubreui 29. I München, Idomeneo, re di Creta, Giovanni Battista Wolfgang Residenztheater dramma per musica in tre Varesco (da Antoine Amadeus Mozart atti Danchet, Idomenée) 1782 (4) data luogo titolo librettista compositore 16.VII Wien, Burgtheater Die Entführung aus dem Johann Gottlob Wolfgang Serail, Singspiel in tre atti Stephanie jr. Amadeus Mozart 14.IX Milano, Fra i due litiganti il terzo da Goldoni Sarti Teatro alla Scala gode, opera in tre atti 15. XI Pietroburgo, Teatro Il barbiere di Siviglia, Paisiello ? (da Giovanni del Palazzo Imperiale ovvero La precauzione BEAUMARCHAIS, Le Paisiello barbier de Seville, ou inutile, opera in due atti La précaution inutile) Artaserse, Pietro Metastasio Domenico opera in tre atti Cimarosa 1784 (2) data luogo titolo librettista compositore 10. VII Vicenza, Teatro L’Olimpiade Pietro Metastasio Domenico Eritenio Cimarosa Armida, opera (da TASSO, Franz Joseph Gerusalemme Liberata) Haydn 1786 (2) 1. V Wien, Burgtheater Le nozze di Figaro, Lorenzo Da Ponte Wolfgang opera buffa in quattro atti (da La folle journée ou Le Amadeus Mozart mariage de Figaro di BEAUMARCHAIS) 17. XI Wien, Burgtheater Una cosa rara, Lorenzo Da Ponte Martìn y Soler opera in due atti (da LUIS VELEZ DE GUEVARA, la luna della Sierra) 1787 (2) carnevale Venezia, Teatro Il convitato di Pietra, Giovanni Bertati Giusepe Giustiniani di San opera in due atti (da TIRSO DA MOLINA, Gazzaniga El burlador de Sevilla) Moisè 29. X Prag, Nostitz Theater Don Giovanni, ossia Il Lorenzo Da Ponte Wolfgang dissoluto punito, dramma (da Bertati) Amadeus Mozart giocoso in due atti 1788 (1) data luogo titolo librettista compositore 27.I Wien, Burgtheater Artaserse, opera in tre atti Pietro Metastasio Pasquale Anfossi 1790 (1) data luogo titolo librettista compositore 27.I Wien, Burgtheater Così fan tutte, ossia La Lorenzo Da Ponte Wolfgang scuola degli amanti, Amadeus Mozart dramma giocoso in due atti 1791 (4) data luogo titolo librettista compositore 18.VII Paris, Théâtre Lodoïska, comédie Claude-François Luigi Cherubini Feydeau héroïque in tre atti Fillette-Loraux 1.VIII Paris, Théâtre Italien Lodoïska ou Les Jean-Élie Nicola Zingarelli Tartares, comédie Bédémaux héroïque in tre atti Dejaure 6.IX Prag, Nationaltheater La clemenza di Tito, Caterino Mazzolà Wolfgang opera seria in due atti (da PIETRO METASTASIO, Amadeus Mozart La clemenza di Tito 30.IX Wien, Theater auf Die Zauberflöte, singspiel Emanuel Wolfgang der Wieden in due atti Schikaneder Amadeus Mozart 1792 (1) data luogo titolo librettista compositore 7.II Wien, Il matrimonio segreto, Giovanni Bertati Domenico Nationaltheater melodramma giocoso in (da COLMAN e Cimarosa due atti GARRICK, The secret Marriage) 1794 (1) data luogo titolo librettista compositore 26.VIII Napoli, Teatro dei Le astuzie femminili, Giovanni Domenico Fiorentini opera in quattro atti Palomba Cimarosa 1796 (2) data luogo titolo librettista compositore 16.IX Milano, Giulietta e Romeo, Giuseppe Foppa Nicola Zingarelli Teatro alla Scala opera in due atti Malta Il barbiere di Siviglia, (da BEAUMARCHAIS, Nicolò Isouard opera buffa in tre atti Le barbier de Seville, ou La précaution inutile, 1775) 1798 (1) data luogo titolo librettista compositore 11.X Milano, Ines de Castro, A. Gasperini Niccolò Teatro Carcano opera seria in due atti Zingarelli 1800 (2)1 data luogo titolo librettista compositore 16.I Paris, Les deux journées, Nicholas Bouilly Luigi Cherubini Théâtre Feydeau melodramma in tre atti 16.IX Paris, Le calife de Bagdad, Charles Adrien Boïeldieu Opéra-Comique opera in un atto Guillaume Etienne 1801 (1) data luogo titolo librettista compositore 28.III Wien, Die Geschöpfe des Salvatore Viganò Ludvig van Hofburgtheater Prometheus, ballo eroico Beethoven in due parti (sei atti) 1803 (1) data luogo titolo librettista compositore 4.X Paris, Opéra Anacréon, ou L’amour R. Mendouze Luigi Cherubini fugitif, Opéra-ballet 1804 (1) data luogo titolo librettista compositore 17.1 Mosca, Bol’šoj Dneprovskaja rušalka N. Catterino Cavos (L’ondina del Dnepr), Kras’nopolskij opera magico-buffa in tre atti 1805 (1) data luogo titolo librettista compositore a 20.XI Wien, Theater an der Fidelio, opera in tre atti (I Joseph von Ludwig van Wien vers.) Sonnleithner Beethoven 1806 (2) data luogo titolo librettista compositore 28.I Paris, Opéra- Les deux aveugles de Benoît Joseph Méhul Comique Tolède, opera in un atto Marsollier 29.II Wien, Theater an der Fidelio, opera in tre atti Joseph von Ludvig van a Wien (II vers.) Sonnleithner Beethoven 1807 (3) data luogo titolo librettista compositore 12.I Mosca, Bol’šoj Il’ja Bogatyr (Il’ja il I. Krïlov Catterino Cavos prode), grande opera magico-buffa in quattro atti 17.II Paris, Opéra- Joseph, DMC, 3 A. Duval Joseph Méhul Comique 28.XI Paris, Opéra La Vestale, tragédie V. J. Etienne de Gaspare Spontini I lyrique in tre atti Jouy 1809 (1) data luogo titolo librettista compositore 28.XI Paris, Opéra Fernand Cortez, ou La V. J. Etienne de Gaspare Spontini conquête du Mexico, Jouy, J.A. opéra in tre atti d’Esmenard 1810 (4) data luogo titolo librettista compositore 22.II Paris, Opéra-comique Cendrillon, opéra-féerie in Charles Nicolò Isouard tre atti Guillaume Etienne 14.X San Pietroburgo Cendrillon, opera in tre Charles Daniel Steibelt atti Guillaume Etienne 16.IX Francoforte sul Meno Silvana, opera romantica Franz Karl Carl Maria von in tre atti (da Das Hiemer Weber Wäldmadchen) 3.XI Venezia, San Moisé La cambiale di Gaetano Rossi Gioachino matrimonio, farsa in un (da Camillo Federici, Rossini
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]
  • La Colección De Música Del Infante Don Francisco De Paula Antonio De Borbón
    COLECCIONES SINGULARES DE LA BIBLIOTECA NACIONAL 10 La colección de música del infante don Francisco de Paula Antonio de Borbón COLECCIONES SINGULARES DE LA BIBLIOTECA NACIONAL DE ESPAÑA, 10 La colección de música del infante don Francisco de Paula Antonio de Borbón en la Biblioteca Nacional de España Elaborado por Isabel Lozano Martínez José María Soto de Lanuza Madrid, 2012 Director del Departamento de Música y Audiovisuales José Carlos Gosálvez Lara Jefa del Servicio de Partituras Carmen Velázquez Domínguez Elaborado por Isabel Lozano Martínez José María Soto de Lanuza Servicio de Partituras Ilustración p. 4: Ángel María Cortellini y Hernández, El infante Francisco de Paula, 1855. Madrid, Museo del Romanticismo, CE0523 NIPO: 552-10-018-X © Biblioteca Nacional de España. Ministerio de Educación, Cultura y Deporte © De los textos introductorios: sus autores Catálogo general de publicaciones ofi ciales de la Administración General del Estado: http://publicacionesofi ciales.boe.es CATALOGACIÓN EN PUBLICACIÓN DE LA BIBLIOTECA NACIONAL DE ESPAÑA Biblioteca Nacional de España La colección de música del infante don Francisco de Paula Antonio de Borbón en la Biblioteca Nacional de España / elaborado por Isabel Lozano Martínez, José María Soto de Lanuza. – Madrid : Biblioteca Nacional de España, 2012 1 recurso en línea : PDF. — (Colecciones singulares de la Biblioteca Nacional ; 10) Bibliografía: p. 273-274. Índices Incluye transcripción y reproducción facsímil del inventario manuscrito M/1008 NIPO 552-10-018-X 1. Borbón, Francisco de Paula de, Infante de España–Biblioteca–Catálogos. 2. Partituras–Biblioteca Nacional de España– Catálogos. 3. Música–Manuscritos–Bibliografías. I. Lozano, Isabel (1960-). II. Soto de Lanuza, José María (1954- ).
    [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]
  • Download Five
    Chapter Four “Un misérable eunuque” He had his Spring contract, his librettist was by his side and he had sympathy galore - no one whatsoever in musical circles in Milan could have been unaware of the Venetian scam,i from now on the guilty pair would be viewed askance by operatic managements throughout the peninsula. The direction of La Scala - only too willing to be supportive - agreed against all their usual caution to a religious heroine to fulfil Pacini’s contractual engagement and Giovanna d’Arco was the result - a saintly martyr bedevilled not just by the familiar occult and heretic foes but by the dilatory behaviour of the librettist in question - Gaetano Barbieri - who confessed that only half his text was actually in hand when rehearsals began in February 1830. Even if the great theatre was not unduly dismayed by the delay that resulted it put the opera and its composer into bad odour with its audience, after excuse after excuse and postponement after postponement of the prima, Pacini was obliged to ask the Chief of Police to impose a measure of calm and it was only at the very last gasp of the season that the curtains parted on his Giovanna and then before a sea of angry faces. The composer was hissed as he took his seat at the cembalo but smiled merely as they were confronted by a genuine novelty: Henriette Méric-Lalande in bed asleep. Her “dream aria” in which the bienheureuse greets her sacred destiny met with murmurs (Italian audiences seldom warmed to devotional intimacies on stage) but her truly seraphic cavatina, immaculately sung, brought them down to earth like a perfect miracle.
    [Show 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.
    [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]
  • EJ Full Draft**
    Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.
    [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]