DOCSLIB.ORG

Read Ebook {PDF EPUB} the Diaries of Giacomo

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Read Ebook {PDF EPUB} the Diaries of Giacomo Read Ebook {PDF EPUB} The Diaries of Giacomo Meyerbeer: The Years of Celebrity, 1850-1856 by Robert Ignatius Letellier The Diaries of Giacomo Meyerbeer: The years of celebrity, 1850-1856 Volume 3 of The Diaries of Giacomo Meyerbeer, Giacomo Meyerbeer: Author: Giacomo Meyerbeer: Editor: Robert Ignatius Letellier:... The Diaries Of Giacomo Meyerbeer The Last Years 1857 1864. Download full The Diaries Of Giacomo Meyerbeer The Last Years 1857 1864 Book or read online anytime anywhere, Available in PDF, ePub and Kindle. Click Get Books and find your favorite books in the online library. Create free account to access unlimited books, fast download and ads free! Volume 3 covers a time span that preeminently represents the period in the composer's life known as The Years of International Fame (1850-56). Confirmed as the major figure on the operatic scene, and freed from the more onerous duties of his official position, Meyerbeer was able to enjoy his most remarkable period of stability and renown, as the detailed and absorbing diary entries reveal. Volume 3 covers a time span that preeminently represents the period in the composer's life known as The Years of International Fame (1850-56). Confirmed as the major figure on the operatic scene, and freed from the more onerous duties of his official position, Meyerbeer was able to enjoy his most remarkable period of stability and renown, as the detailed and absorbing diary entries reveal. The Diaries of Giacomo Meyerbeer, Volume 2 [Meyerbeer, Giacomo, Le Tellier, Robert Ignatius, Letellier, Robert Ignatius, Le Tellier, Robert Ignatius] on Amazon.com. *FREE* shipping on qualifying offers. The Diaries of Giacomo Meyerbeer, Volume 2Author: Giacomo Meyerbeer, Robert Ignatius LetellierFormat: HardcoverThe Diaries of Giacomo Meyerbeer: The Years of Celebrity ...https://www.amazon.it/Diaries- Giacomo-Meyerbeer...Translate this pageThe Diaries of Giacomo Meyerbeer: The Years of Celebrity, 1850-1856 (Inglese) Copertina rigida – 1 marzo 2002 di Giacomo Meyerbeer (Autore), Robert Ignatius Le Tellier (a cura di) Visualizza tutti i formati e le edizioni Nascondi altri formati ed edizioniFormat: Copertina rigidaReview. The Diaries of Giacomo Meyerbeer, iii: 1850-1856 ...https://eprints.soton.ac.uk/68949The Diaries of Giacomo Meyerbeer, iii: 1850-1856. Ed & trans. by Robert Ignatius Letellier. pp. 481. (Fairleigh Dickinson University Press, Madison, NJ and London, 2001, £55.Author: Mark EveristPublish Year: 2003Giacomo Meyerbeer - Find link - Edward Bettshttps://edwardbetts.com/find_link/Giacomo_MeyerbeerThe Diaries of Giacomo Meyerbeer: The years of celebrity, 1850-1856 By Giacomo Meyerbeer, Robert Ignatius Letellier, Robert Ignatius Eugène Léon Vivier (227 words) [view diff] exact match in snippet view article find links to article The Diaries of Giacomo Meyerbeer, iii: 1850-1856. Ed & trans. by Robert Ignatius Letellier. pp. 481. (Fairleigh Dickinson University Press, Madison, NJ and London, 2001, ?55. ISBN 0-8386-3844-9.) The third volume of Robert Letellier's trans-lation of the Diaries of Giacomo Meyerbeer (hence-forth MD3), covering the period 1850-6, begins The Diaries of Giacomo Meyerbeer: 1850-1856, The Years of Celebrity, Vol 3 , 2004 The Diaries of Giacomo Meyerbeer: 1857-1864, The Last Years Vol. 4 , 2004 The English Novel, 1700-1740: An Annotated Bibliography, Westport CT/London: Greenwood Press , 2002 Buy Giacomo Meyerbeer: A Reader Unabridged edition by Robert Ignatius Letellier, Robert Ignatius Letellier (ISBN: 9781847183880) from Amazon's Book Store. Everyday low … Buy Giacomo Meyerbeer: A Discography of Vintage Recordings 1889 - 1955 Unabridged by Richard Arsenty, Robert Ignatius Letellier (ISBN: 9781443852746) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.Reviews: 3Format: HardcoverAuthor: Richard Arsenty, Robert Ignatius LetellierForeign Opera at the London Playhouseshttps://www.cambridge.org/core/books/foreign- opera...Metrics. Book description. In the early nineteenth century over forty operas by foreign composers, including Mozart, Rossini, Weber and Bellini, were adapted for London playhouses, often appearing in drastically altered form. Such changes have been denigrated as 'mutilations'. Meyerbeer, Giacomo; Letellier, Robert Ignatius, editor (2002). The Diaries of Giacomo Meyerbeer: 3. The Years of Celebrity, 1850–1856. Madison, New Jersey: Fairleigh Dickinson University Press. ISBN 978-0-8386-3844-6. Sadie, Stanley, editor (1992). … Giacomo Meyerbeer, Robert Ignatius Letellier (1999). “The Diaries of Giacomo Meyerbeer: The years of celebrity, 1850-1856”, p.21, Fairleigh Dickinson Univ Press Jul 31, 2009 · Amazon.in - Buy The Meyerbeer Libretti: Grand Opera 4 L'Africaine (Giacomo Meyerbeer: the Complete Libretti) book online at best prices in India on Amazon.in. Read The Meyerbeer Libretti: Grand Opera 4 L'Africaine (Giacomo Meyerbeer: the Complete Libretti) book reviews & author details and more at Amazon.in. Free delivery on qualified orders.Format: PaperbackBibliographywww.jewryinmusic.com/bibliography.htmlRobert Letellier, (ed) The Diaries of Giacomo Meyerbeer vol. 3 1850-1856 The Years of Celebrity, Cranbury, NJ and London, 2002 Robert Ignatius Letellier The Thematic Nexus of Religion, Power, Politics and Love in the Operas of Giacomo Meyerbeer, http://www.meyerbeer.com/, 1998 J. Mewburn Levien The Singing of John Braham, London, 1945 Invaluable for non-German speakers, the British Meyerbeer scholar Robert Ignatius Letellier has made the diaries available in a richly annotated translation, which came out between 1999 and 2004, while a small selection of the correspondence was published in 1991 under the title A Life in Letters, translated by Mark Violette. Both are ... The Opera Libretto Meyerbeer S Grand Opera Of Roberto Il Diavolo Etc. Download full The Opera Libretto Meyerbeer S Grand Opera Of Roberto Il Diavolo Etc Book or read online anytime anywhere, Available in PDF, ePub and Kindle. Click Get Books and find your favorite books in the online library. Sophie Johanne Charlotte Crüwell, vicomtesse Vigier, de son nom de scène Sophie Cruvelli, est une cantatrice allemande née le 12 mars 1826 à Bielefeld et morte le 6 novembre 1907 à Monte-Carlo. Soprano dramatique admirée pour sa puissance vocale comme pour son art de tragédienne, elle eut une brève mais éclatante carrière en particulier à Londres et Paris au milieu du XIX e siècle. ↑ Robert Ignatius Letellier (Ed), The Diaries of Giacomo Meyerbeer: The years of celebrity, 1850-1856 (Fairleigh Dickinson Univ. Press, 2002) ISBN 0838638449. ↑ Camille Saint-Saëns, Musical Memories translated by Edwin Gile Rich (Small, Maynard & Co., Boston 1919), Chapter XX, 'Meyerbeer'. searching for Giacomo Meyerbeer 50 found (515 total) alternate case: giacomo Meyerbeer. Nurmahal (opera) (88 words) exact match in snippet view article Rookh premiered in Berlin. The Diaries of Giacomo Meyerbeer: The last years, 1857-1864 0838638457 Giacomo Meyerbeer, Robert Ignatius Letellier - 1999 Spontini Robert Ignatius Letellier is the author of Giacomo Meyerbeer (5.00 avg rating, 2 ratings, 0 reviews, published 2007), Giacomo Meyerbeer (4.00 avg rating,...4.3/5Ratings: 18Reviews: 1Written works: Day In Mamre Night In SodomGiacomo Meyerbeer (Author of Les Huguenots)https://www.goodreads.com/author/show/1170419.Giacomo_MeyerbeerGiacomo Meyerbeer. edit data. Giacomo Meyerbeer was a German opera composer of Jewish birth who has been described as perhaps the most successful stage composer of the nineteenth century. With his 1831 opera Robert le diable and its successors, he …4/5Ratings: 22Reviews: 2Review. The Diaries of Giacomo Meyerbeer, iii: 1850-1856 ...https://core.ac.uk/display/268643Review. The Diaries of Giacomo Meyerbeer, iii: 1850-1856. Ed & trans. by Robert Ignatius Letellier. pp. 481. (Fairleigh Dickinson University Press, Madison, NJ ...Author: Mark Everist(PDF) Meyerbeer's Music of the Future | Gabriela Cruz ...https://www.academia.edu/3765264The´ophile Gautier, topic of Wagner in his review of Robert Letellier’s Portraits contemporains: litte´rateurs, peintres, edition of Meyerbeer’s diaries in Opera Quarterly sculpteurs, artistes dramatiques (Paris: Charpentier, 19 (2003): 514 – 20 and Opera Quarterly 21 1874), 162 –63. Oct 01, 2010 · Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period. He has studied the work of Giacomo Meyerbeer (a four-volume English edition of his diaries, a collection of critical and biographical studies, a guide to research, two readings of the operas, as well as compiling and introducing editions of the complete libretti and non-operatic texts, and a selection ...Author: Robert Ignatius LetellierFormat: PaperbackVol. 84, No. 3, Aug., 2003 of Music & Letters on JSTORhttps://www.jstor.org/stable/i278826For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available. ... 1850-1856 by Robert Ignatius Letellier, Giacomo Meyerbeer The Diaries of Giacomo Meyerbeer, III: 1850-1856 by Robert Ignatius Letellier, Giacomo Meyerbeer ... Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period. He has studied the work of Giacomo Meyerbeer (a four-volume English edition of his diaries, a collection of critical and biographical studies, a guide to research, two readings of the operas, as well as compiling and introducing editions of the complete libretti and non-operatic texts, and a selection ... ^ Meyerbeer, Giacomo; Le Tellier, Robert Ignatius (2002).
Load more

Recommended publications
  • Boston Symphony Orchestra Concert Programs, Season 42,1922
    SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, April 12, at 8.00 PRoGRKttttE SSfflfflffl Steinway & Sons STEINERT JEWETT WOODBURY « PIANOS v Duo-Art REPRODUCING PIANOS AND PIANOLA PIANOS victroLas victor records M. STEINERT & SONS SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-SECOND SEASON 1922-1923 INC. PIERRE MONTEUX, Conductor SEASON 1922-1923 THURSDAY EVENING, APRIL 12, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE . Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l 'CHE INSTRUMENT OF THE IMMORTALS Q OMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt and convenience a Steinway can at his Steinway be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. 'Prices: $875 and up Convenient terms.
    [Show full text]
  • L'opéra Comique
    AAllpphhoonnssee LLEEVVEEAAUUXX ALPHONSE LEVEAUX documentation - Théâtre 1 NN ooss TThhééââttrree ddee 11880000 àà 11888800 NOS THÉÂTRES DE 1800 À 1880 Alphonse LEVEAUX 1810-1893 © Théâtre-documentation - Pézenas - 2018 2 ALPHONSE LEVEAUX Nos Théâtres de 1800 à 1880 3 NOS THÉÂTRES DE 1800 À 1880 Nos théâtres de 1800 à 1880 : la Tragédie, le Drame, la Comédie, l’Opéra français, l’Opéra Italien, l’Opéra Comique, le Vaudeville, les Ballets, l’Opérette, la Féerie, les Revues, la Parodie, la Pantomime. Tresse et Stock éditeurs, Paris. 1881-1886. 4 ALPHONSE LEVEAUX La France est le pays où le goût du théâtre est le plus répandu. Elle possède les meilleurs auteurs dont les productions, après s’être fait connaître à Paris, alimentent les scènes de province et sont, en assez grand nombre, traduites pour l’étranger, quand elles n’y sont pas représentées en langue française, comme en Russie, par exemple. Le théâtre entre pour beaucoup dans les causeries du monde. On pourrait même lui savoir gré de lutter souvent sans désavantage avec la politique qui tend à tout absorber. Que de bonnes soirées passées au spectacle et quelle agréable distraction nous donne une pièce bien jouée par des acteurs de talent ! Il est peu de personnes qui restent insensibles à ce genre de divertissement. On peut encore remarquer qu’il laisse un souvenir plus durable que bien d’autres incidents de la vie. Après dix et vingt ans, quand on a oublié une foule de choses, on se souvient parfaitement d’une comédie qui a fait plaisir et l’on en cite volontiers quelques traits heureux.
    [Show full text]
  • L'art Musical (1860-70; 1872-94), Prototype Ripm Catalogue and Keyword-Author Index: an Assay of Ripm Methodology and Introductory Study of the Journal
    L'ART MUSICAL (1860-70; 1872-94), PROTOTYPE RIPM CATALOGUE AND KEYWORD-AUTHOR INDEX: AN ASSAY OF RIPM METHODOLOGY AND INTRODUCTORY STUDY OF THE JOURNAL By DIANA CHRISTINA SOPHIA SNIGUROWICZ t B.Mus., The University of British Columbia, 1983 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1988 (c) Diana Christina Sophia Snigurowicz, 1988 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of °\X\Axt)JuC^ The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date ]2. ABSTRACT The musicological community has long recognized the need for restrospective peri• odical indexing. Previous attempts to develop a system to allow access to this monumental documentary resource, however, have not been successful. Realizing the importance of international cooperation and concensus in this effort, the Inter• national Association of Music Libraries (IAML) and the International Musicologi• cal Society (IMS) approved the creation of the Repertoire international de la presse musicale (RIPM) in 1981 and 1982, respectively.
    [Show full text]
  • Schriftenreihe Des Sophie Drinker Instituts Band 4
    Schriftenreihe des Sophie Drinker Instituts Herausgegeben von Freia Hoffmann Band 4 Marion Gerards, Freia Hoffmann (Hrsg.) Musik – Frauen – Gender Bücherverzeichnis 1780–2004 BIS-Verlag der Carl von Ossietzky Universität Oldenburg 2006 Das Werk ist einschließlich aller seiner Teile urheberrechtlich ge- schützt. Jede Verwertung außerhalb der Grenzen des Urheberrechts bedarf der Zustimmung der Autorinnen. Dies gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Medien. © BIS-Verlag, Oldenburg 2006 Umschlaggestaltung: Marta Daul Layout und Satz: BIS-Verlag Verlag / Druck / BIS-Verlag Vertrieb: der Carl von Ossietzky Universität Oldenburg Postfach 25 41, 26015 Oldenburg Tel.: 0441/798 2261, Telefax: 0441/798 4040 e-mail: [email protected] Internet: www.bis.uni-oldenburg.de ISBN 3-8142-0966-4 Inhaltsverzeichnis Vorwort 3 Hinweise zur Benutzung 5 1 Nachschlagewerke 9 1.1 Lexika und biographische Nachschlagewerke 9 1.2 Bibliographien 14 1.3 Notenverzeichnisse 17 1.4 Diskographien 22 2 Einführende Literatur 24 2.1 Kunstmusik 24 2.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 42 2.3 Stilübergreifend und Sonstige 50 3 Personenbezogene Darstellungen 54 3.1 Kunstmusik 54 3.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 320 3.3 Stilübergreifend und Sonstige 433 4 Spezielle Literatur 446 4.1 Kunstmusik 446 4.2 Populäre Musik (Jazz, Rock, Pop, Volksmusik, Chansons, Weltmusik u. ä.) 462 4.3 Stilübergreifend
    [Show full text]
  • Decentralising Via Russia: Glinka's a Life for the Tsar in Nice, 1890
    1 Decentralising via Russia: Glinka’s A Life for the Tsar in Nice, 1890 Published Cambridge Opera Journal, Vol.27, No.1 (March 2015), pp.35-62 Abstract On 30 January 1890, the audience at the Théâtre Municipal in Nice witnessed something extraordinary. Midway through the first public performance of a Russian opera in France, Glinka’s A Life for the Tsar, the chorus and orchestra broke into a rendition of the Russian national anthem, followed by the ‘Marseillaise’. Both anthems were then repeated, with the audience calling out ‘Vive la Russie!’, ‘Vive la France!’ With France and Russia on the verge of an historic alliance, the evening was proclaimed a political and an artistic triumph. The success of this unusual event, I suggest, can be explained further by considering the context of operatic decentralisation in France, in conjunction with the arrival of the new director at the Théâtre, Raoul Gunsbourg. As a result of local and personal imperatives, the performance came to resonate nationally, with A Life serving as an unlikely emblem of modernity, while also bringing one peripheral French region strongly into Paris’s purview. *** In 1891, Charme dangereux, the latest release from the prolific novelist André Theuriet, hit the shelves. It told the story of a staid Parisian, Jacques, who succumbs to the charms of a mysterious Russian princess, the unforgettably named Mania Liebling, while vacationing in Nice. She first catches his eye at the Théâtre Municipal during a performance of Don Giovanni: 2 After the conclusion of the trio des masques, the singers were recalled and an ovation was given to Ludkof.
    [Show full text]
  • Cailliez, Les Acteurs Italiens
    LES ACTEURS ITALIENS DE LA VIE MUSICALE EN FRANCE AU XIXe SIÈCLE Approche prosopographique et analyse des réseaux Résumé : Les opéras italiens connaissent une très large diffusion en France au XIXe siècle, qu’ils soient représentés en version originale au Théâtre-Italien de Paris ou sous la forme de traductions sur les autres scènes parisiennes et de province. Cette diffusion est encouragée sous l’Empire par le goût prononcé de Napoléon pour la musique italienne et se poursuit sous la Restauration avec le succès des opéras de Rossini. Loin de se limiter à l’art lyrique, l’influence de la musique italienne en France se manifeste au sein d’institutions telles que le Conservatoire de Paris, le Théâtre-Italien, l’Opéra de Paris et son École de danse, l’Académie des Beaux-Arts et l’Ordre national de la Légion d’honneur. Qu’ils soient compositeurs, directeurs de théâtre, décorateurs, chanteurs, instrumentistes, chefs d’orchestre, danseurs, journalistes, éditeurs ou facteurs d’instruments, les centaines d’acteurs italiens de la vie musicale en France exercent leurs professions dans toutes les branches du secteur. Riassunto : Le opere italiane conoscono una larghissima diffusione in Francia nell’Ottocento, che vengano rappresentate in versione originale nel Teatro italiano di Parigi o sotto forma di traduzioni sulle altre scene parigine e di provincia. Questa diffusione viene incoraggiata durante il Primo Impero francese dalla spiccata preferenza di Napoleone per la musica italiana, e prosegue all’epoca della restaurazione con il successo delle opere di Rossini. L’influenza della musica italiana in Francia non si limita all’arte lirica, ma si manifesta nell’ambito di istituzioni come il Conservatorio di Parigi, il Teatro italiano, l’Opera di Parigi e la sua Scuola di ballo, l’Accademia delle belle arti e l’Ordine nazionale della Legione d’onore.
    [Show full text]
  • I Vespri Siciliani», Anche Se in Realtà Non Era Così8
    Frontespizio del libretto dell’opera Les Vêpres siciliennes pubblicato in occasione della prima rappresentazione assoluta (Parigi, 13 giugno 1855). Milano, Museo Teatrale alla Scala. 16 VERDI E LA RIVOLUZIONE: «LES VÊPRES SICILIENNES» di Michele Girardi* Incalzaru la briga contra li franchischi et livaru a rimuri e fforo a li armi li franchischi cum li palermitani et li homini a rimuri di petri e di armi gridandu «moranu li franchischi» et intraru in la chitati cum grandi rimuri et foru per li plazi et quanti franchischi trouavanu tutti li auchidianu infra quilli rimuri lu capitanu chi era tandu per lu Re Carlu. Rebellamentu di Sichilia, lu quale Hordinau e Fichi pari Misseri Ioanni in Prochita, contra re Carlu (1290 ca.) se mala segnoria, che sempre accora li popoli suggetti, non avesse mosso Palermo a gridar: «Mora! Mora!» Par. VIII, 73-75 Nel 1852, dopo l’esperienza dell’adattamento dei Lombardi alla prima crociata in Jérusalem per le scene parigine (1847), Verdi trovò un accordo per scrivere ex novo un grand opéra da rappresentarsi nella Salle de la rue Le Peletier, il tempio della lirica francese. I contatti risalivano a un paio d’anni prima, e allora egli aveva scartato, tra le altre proposte, un soggetto “politico” come il Don Carlo di Schiller, che sarebbe divenuto la fonte del suo secondo grand opéra nel 1867. Nel contratto che gli mandò Nestor Roqueplan, direttore dell’Opéra, il 20 febbraio 1852, Verdi vide soddisfatta una condizione che aveva imposto: l’autore del libretto sarebbe stato Eugène Scribe, eventualmente aiutato da un collaboratore1. Questo vincolo gli avrebbe consentito di misurarsi con Giacomo Meyerbeer sul suo stesso terre- no, visto che Scribe era l’anima drammatica del principe del grand opéra fin dai tempi di Robert le Diable (1831).
    [Show full text]
  • Downloadable PDF
    To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/437 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Verdi in Victorian London Massimo Zicari https://www.openbookpublishers.com © 2016 Massimo Zicari This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Massimo Zicari, Verdi in Victorian London. Cambridge, UK: Open Book Publishers, 2016. http://dx.doi.org/10.11647/OBP.0090 In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/isbn/9781783742134#copyright Further details about CC BY licenses are available at https://creativecommons.org/ licenses/by/4.0/ All external links were active on 28/6/2016 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://www.openbookpublishers.com/isbn/9781783742134#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]
  • Le Tour De France Du Chevalier Lohengrin
    Michal Piotr Mrozowicki Université de Gdansk Pologne Membre d’honneur du CRW-Lyon Du ressentiment à l’enthousiasme – Le Tour de France du Chevalier Lohengrin Cette fatale représentation de Tannhäuser à Paris en 1861, ne peut être considérée comme un commencement ; elle a été une plante sans racines, importée par l’ordre de l’empereur Napoléon, détruite par le Jockey-Club. L’art de Wagner n’admet point de ces procédés arbitraires ; il est une nécessité de l’esprit moderne : il ne peut donc prospérer que là où cette nécessité est sentie. Dans la France de 1861, on ne pouvait encore y penser : Tannhäuser y fit ce pèlerinage de Rome parce qu’on l’y envoya, mais il dut s’en retourner sans rien avoir obtenu, parce que le bâton ne se couvrit pas encore de feuilles. Aujourd’hui, après vingt-cinq années, le miracle s’est accompli, l’apparition du printemps après l’hiver ; le moment est arrivé pour l’esprit artistique français, où nécessairement le printemps doit venir. Baron Hans von Wolzogen (La Revue Wagnérienne , no 3, le 8 avril 1886, p. 70) Le 17 septembre 1891, le journaliste du Gaulois signant par le nom de plume d’« Intérim » se permit de commencer le compte rendu de la première représentation de Lohengrin au Palais Garnier par une remarque un peu malicieuse : Dans cinquante ans, les érudits qui voudront documenter un croquis de la vie parisienne, en l’an de grâce 1891, iront déterrer dans la poudre des bibliothèques les journaux de l’époque. Lorsqu’ils liront les comptes-rendus dramatiques des feuilles qui paraissent ce matin, lorsqu’ils y trouveront que Lohengrin a été représenté sur notre première scène lyrique, le mercredi 16 septembre 1891, ils croiront avoir été trompés et avoir reçu du garçon du bureau la collection des journaux de Carpentras.
    [Show full text]
  • The Cambridge Companion to Verdi Edited by Scott L
    Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Frontmatter More information The Cambridge Companion to Verdi This Companion provides an accessible biographical, theatrical, and social-cultural background for Verdi’s music, examines in detail important general aspects of its style and method of composition, and discusses stylistic themes in reviews of representative works. Aspects of Verdi’s milieu, style, creative process, and critical reception are explored in essays by highly reputed specialists. Individual chapters address themes in Verdi’s life, his role in transforming the theatre business, and his relationship to Italian Romanticism and the Risorgimento. Chapters on four operas representative of the different stages of Verdi’s career, Ernani, Rigoletto, Don Carlos, and Otello, synthesize analytical themes introduced in the more general chapters and illustrate the richness of Verdi’s creativity. The Companion also includes chapters on Verdi’s non-operatic songs and other music, his creative process, and writing about Verdi from the nineteenth century to the present day. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Frontmatter More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L. Balthazar Frontmatter More information The Cambridge Companion to VERDI ............ edited by Scott L. Balthazar Professor of Music History, West Chester University of Pennsylvania © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-63535-6 - The Cambridge Companion to Verdi Edited by Scott L.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 34, May 14
    PANAMA-PACIFIC INTERNATIONAL EXPOSITION FESTIVAL HALL, SAN FRANCISCO, CALIFORNIA Tuesday Evening, May 25, 1915 PRoGR7W\E Tickets Exposition Ticket Office, for the remaining concert 343 Powell Street on sale at the mm355 (St. Francis Hotel) Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Kurth, R. Grunberg, M. Pinfield, C. Gerardi, A. Ringwall, R. Gunderson, E Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P Berlin, W. Kautzenbach, W Van Wynbergen, C. Blumenau, W. Violoncellos. Kellei Warnke, H. , J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel R. Nast, L. Folgmann, E Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Chevrot, A. Stanislaus, H Vannini, A. Fuhrmann, M. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch. E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Bach, V. Mausebach, A. Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Senia, T.
    [Show full text]
  • University of Groningen Between Music Tourism and Fandom Gessel
    University of Groningen Between music tourism and fandom Gessel, van, Jeroen Published in: Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2019 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Gessel, van, J. (2019). Between music tourism and fandom: The operatic exploits of Ferdinand de Beaufort (1797–1868). Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis, 69(1), 91- 108. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 24-09-2021 TIJDSCHRIFT VAN DE KONINKLIJKE VERENIGING VOOR NEDERLANDSE MUZIEKGESCHIEDENIS DEEL LXIX, 2019 Eindredacteur: ERIC JAS Redactie: ROBERT ADLINGTON, JACQUES BOOGAART, ALBERT CLEMENT, WALTER VAN DE LEUR INHOUD DAVID FALLOWS: Charles the Bold as patron, singer and composer 3 SIMON GROOT: Flarden van Amersfoortse cantilenae? Drie Nederlandstalige kerstliederen uit Amersfoort en refreinen van de Latijnse school 19 HENRI VANHULST: La musique dans un catalogue de vente de Loth de Haes, libraire à Leiden (1671) 57 RUDOLF RASCH: Roger, Bach and Walther.
    [Show full text]