Marc Baer
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198112501
- eISBN:
- 9780191670787
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198112501.003.0013
- Subject:
- Literature, Drama, 19th-century and Victorian Literature
This chapter discusses briefly what happened to the OPs who participated in the 1809 theatre riot. Other notable individuals linked to this incident are also discussed in this chapter in passing. The ...
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This chapter discusses briefly what happened to the OPs who participated in the 1809 theatre riot. Other notable individuals linked to this incident are also discussed in this chapter in passing. The chapter ends with the ultimate fate of the theatre in Covent Garden, which is now known as the Royal Opera House.Less
This chapter discusses briefly what happened to the OPs who participated in the 1809 theatre riot. Other notable individuals linked to this incident are also discussed in this chapter in passing. The chapter ends with the ultimate fate of the theatre in Covent Garden, which is now known as the Royal Opera House.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0003
- Subject:
- Music, Opera, Popular
The songs in Chapter 2 describe the celebrity status of Enrico Caruso and Luisa Tetrazzini from the viewpoint of the working-class Italian immigrants whom these stars attracted to the Metropolitan ...
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The songs in Chapter 2 describe the celebrity status of Enrico Caruso and Luisa Tetrazzini from the viewpoint of the working-class Italian immigrants whom these stars attracted to the Metropolitan and Manhattan opera houses. They highlight the contrast between those immigrants' sincere but noisy appreciation of opera and the more refined by less genuine response of elite operagoers. Gus Edwards's “My Cousin Caruso” emerges as an influential model for the topical operatic novelty song.Less
The songs in Chapter 2 describe the celebrity status of Enrico Caruso and Luisa Tetrazzini from the viewpoint of the working-class Italian immigrants whom these stars attracted to the Metropolitan and Manhattan opera houses. They highlight the contrast between those immigrants' sincere but noisy appreciation of opera and the more refined by less genuine response of elite operagoers. Gus Edwards's “My Cousin Caruso” emerges as an influential model for the topical operatic novelty song.
Ruru Li
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9789622099944
- eISBN:
- 9789882207394
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099944.001.0001
- Subject:
- Society and Culture, Asian Studies
Any traditional theatre has to engage the changing world to avoid becoming a living fossil. How has Beijing Opera — a highly stylized theatre with breath-taking acrobatics and martial arts, fabulous ...
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Any traditional theatre has to engage the changing world to avoid becoming a living fossil. How has Beijing Opera — a highly stylized theatre with breath-taking acrobatics and martial arts, fabulous costumes and striking makeup — survived into the new millennium while coping with a century of great upheavals and competition from new entertainment forms? This book answers that question, looking at the evolution of singing and performance styles, make-up and costume, audience demands, as well as stage and street presentation modes amid tumultuous social and political changes. The author's study follows a number of major artists' careers in mainland China and Taiwan, drawing on primary print sources as well as personal interviews with performers and their cultural peers. One chapter focuses on the career of the author's own mother and how she adapted to changes in Communist ideology. In addition, the book explores how performers as social beings have responded to conflicts between tradition and modernity, and between convention and innovation. Through performers' negotiation and compromises, Beijing Opera has undergone constant re-examination of its inner artistic logic and adjusted to the demands of the external world.Less
Any traditional theatre has to engage the changing world to avoid becoming a living fossil. How has Beijing Opera — a highly stylized theatre with breath-taking acrobatics and martial arts, fabulous costumes and striking makeup — survived into the new millennium while coping with a century of great upheavals and competition from new entertainment forms? This book answers that question, looking at the evolution of singing and performance styles, make-up and costume, audience demands, as well as stage and street presentation modes amid tumultuous social and political changes. The author's study follows a number of major artists' careers in mainland China and Taiwan, drawing on primary print sources as well as personal interviews with performers and their cultural peers. One chapter focuses on the career of the author's own mother and how she adapted to changes in Communist ideology. In addition, the book explores how performers as social beings have responded to conflicts between tradition and modernity, and between convention and innovation. Through performers' negotiation and compromises, Beijing Opera has undergone constant re-examination of its inner artistic logic and adjusted to the demands of the external world.
Steven Huebner
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195189544
- eISBN:
- 9780199868476
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189544.001.0001
- Subject:
- Music, History, Western
This book explores the history of late-19th century French opera through thirteen of the most important and frequently performed works of that repertory. The main aesthetic and historical problem ...
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This book explores the history of late-19th century French opera through thirteen of the most important and frequently performed works of that repertory. The main aesthetic and historical problem addressed is that of the reconciliation of Richard Wagner's influence with French operatic tradition and national identity as expressed in aesthetic terms. The choice of operas by Jules Massenet, Ernest Reyer, Camille Saint-Saëns, Édouard Lalo, Emmanuel Chabrier, Vincent d'Indy, Ernest Chausson, Alfred Bruneau, and Gustave Charpentier is conditioned by Wagner's death in 1883: all were either first performed or initially conceived in the decade after this. This book argues that Wagner's impact was highly variegated as it passed through different professional, aesthetic, and temperamental filters. But his influence rarely resulted in a musical style where enough features coincided to produce a texture that an informed listener might identify as stylistic pastiche. Moreover, because French composers and critics generally did not understand Wagner's oeuvre as forming a unified corpus, they responded in different ways to the discrete phases of his development. In the pressure-cooker of aesthetic debates tinged by modernism and nationalism at the turn of the century, works perceived in very close orbit to Wagner faced an especially steep uphill struggle for acceptance. Whereas certain operas by Massenet achieved success in the marketplace without aspiring to modernist ideals of artistic progress, composers such as Vincent d'Indy and Alfred Bruneau thought of themselves as working on the post-Wagnerian cusp, and were cast by their supporters in this light. In the master narrative of music history, however, both were trumped in this respect by Debussy's Pelléas et Mélisande, a work that this book touches upon in its epilogue.Less
This book explores the history of late-19th century French opera through thirteen of the most important and frequently performed works of that repertory. The main aesthetic and historical problem addressed is that of the reconciliation of Richard Wagner's influence with French operatic tradition and national identity as expressed in aesthetic terms. The choice of operas by Jules Massenet, Ernest Reyer, Camille Saint-Saëns, Édouard Lalo, Emmanuel Chabrier, Vincent d'Indy, Ernest Chausson, Alfred Bruneau, and Gustave Charpentier is conditioned by Wagner's death in 1883: all were either first performed or initially conceived in the decade after this. This book argues that Wagner's impact was highly variegated as it passed through different professional, aesthetic, and temperamental filters. But his influence rarely resulted in a musical style where enough features coincided to produce a texture that an informed listener might identify as stylistic pastiche. Moreover, because French composers and critics generally did not understand Wagner's oeuvre as forming a unified corpus, they responded in different ways to the discrete phases of his development. In the pressure-cooker of aesthetic debates tinged by modernism and nationalism at the turn of the century, works perceived in very close orbit to Wagner faced an especially steep uphill struggle for acceptance. Whereas certain operas by Massenet achieved success in the marketplace without aspiring to modernist ideals of artistic progress, composers such as Vincent d'Indy and Alfred Bruneau thought of themselves as working on the post-Wagnerian cusp, and were cast by their supporters in this light. In the master narrative of music history, however, both were trumped in this respect by Debussy's Pelléas et Mélisande, a work that this book touches upon in its epilogue.
M. A. Aldrich
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9789622097773
- eISBN:
- 9789882207585
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622097773.003.0060
- Subject:
- History, Asian History
This chapter considers the Peking Opera. It takes preparation in advance to enjoy a Peking Opera, as it requires concentration that's a few notches above the standard Mel Gibson action thriller. In ...
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This chapter considers the Peking Opera. It takes preparation in advance to enjoy a Peking Opera, as it requires concentration that's a few notches above the standard Mel Gibson action thriller. In the nineteenth century, Peking Opera troupes were hard pressed to find rehearsal studios. Some people think of Peking Opera as a never changing element in Chinese culture. There were two influences in the aesthetic of Peking Opera. The first was minimalism and the second was the primacy of suggestion over detail. Until the 1930s, all Peking Opera performers were men on account of Confucian sentiments against women performing in public. Peking Opera drew a distinction between wen and wu. The former tend to be poetic and, truthfully, tougher sledding for a foreign audience. The latter usually entails a dazzling display of acrobatics that can hold the attention of the most devoted Mel Gibson fan.Less
This chapter considers the Peking Opera. It takes preparation in advance to enjoy a Peking Opera, as it requires concentration that's a few notches above the standard Mel Gibson action thriller. In the nineteenth century, Peking Opera troupes were hard pressed to find rehearsal studios. Some people think of Peking Opera as a never changing element in Chinese culture. There were two influences in the aesthetic of Peking Opera. The first was minimalism and the second was the primacy of suggestion over detail. Until the 1930s, all Peking Opera performers were men on account of Confucian sentiments against women performing in public. Peking Opera drew a distinction between wen and wu. The former tend to be poetic and, truthfully, tougher sledding for a foreign audience. The latter usually entails a dazzling display of acrobatics that can hold the attention of the most devoted Mel Gibson fan.
Larry Hamberlin
- Published in print:
- 2011
- Published Online:
- January 2011
- ISBN:
- 9780195338928
- eISBN:
- 9780199855865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195338928.003.0007
- Subject:
- Music, Opera, Popular
This chapter and the next examine novelty songs that use both opera and ragtime to express tensions between highbrow and lowbrow culture, racializing them as tensions between white and black America. ...
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This chapter and the next examine novelty songs that use both opera and ragtime to express tensions between highbrow and lowbrow culture, racializing them as tensions between white and black America. Chapter 6 is an in-depth treatment of a single song, Ted Snyder and Irving Berlin's “That Opera Rag” (1910). Through a close reading of the music and lyrics, an examination of the song's use in a stage comedy, Getting a Polish, and a consideration of the stage persona of May Irwin, the actress who interpolated the song in that comedy, the chapter demonstrates how contemporary audiences could perceive multiple levels of meaning that interact in a complex piece of social and musical commentary.Less
This chapter and the next examine novelty songs that use both opera and ragtime to express tensions between highbrow and lowbrow culture, racializing them as tensions between white and black America. Chapter 6 is an in-depth treatment of a single song, Ted Snyder and Irving Berlin's “That Opera Rag” (1910). Through a close reading of the music and lyrics, an examination of the song's use in a stage comedy, Getting a Polish, and a consideration of the stage persona of May Irwin, the actress who interpolated the song in that comedy, the chapter demonstrates how contemporary audiences could perceive multiple levels of meaning that interact in a complex piece of social and musical commentary.
Tan See Kam
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9789888208852
- eISBN:
- 9789888313518
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208852.001.0001
- Subject:
- Film, Television and Radio, Film
Tsui Hark’s Hong Kong New Wave film Peking Opera Blues (1986) is set in a China marked by contestations between Republican democrats and monarchist revivalists (circa 1913). Through various acts of ...
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Tsui Hark’s Hong Kong New Wave film Peking Opera Blues (1986) is set in a China marked by contestations between Republican democrats and monarchist revivalists (circa 1913). Through various acts of reading film in different (though intertextually connected) ways along a formalist-historical-postmodernist continuum this book offers various reading strategies which reveal the film’s richness in terms of textual contours, textual affects, and ideological influences. Five acts of reading are explored which variously and collectively deconstruct the film’s playful intertextual and hypertextual configurations. Tsui Hark’s filmmaking career is summarized, and a polysemous analysis of the film’s story and form; its historical background; a companion film Shanghai Blues; Peking opera; Canto-pop and Mandarin songs; mandarin ducks and butterfly fiction; and the “three-women” film in Chinese-language cinema, are all explored within the general context of Hong Kong New Wave filmmaking and the issues of Chinese identity, culture, power in the contemporary politics of Hong Kong as they pertain to the Sinophone realms of articulations. Overall, the book asks a central question for film studies: does the film as a cultural and social artifact merely tell stories about the past or does it seek to reclaim lost territory in metafictional ways, with significant resonance for reading contemporary situations?Less
Tsui Hark’s Hong Kong New Wave film Peking Opera Blues (1986) is set in a China marked by contestations between Republican democrats and monarchist revivalists (circa 1913). Through various acts of reading film in different (though intertextually connected) ways along a formalist-historical-postmodernist continuum this book offers various reading strategies which reveal the film’s richness in terms of textual contours, textual affects, and ideological influences. Five acts of reading are explored which variously and collectively deconstruct the film’s playful intertextual and hypertextual configurations. Tsui Hark’s filmmaking career is summarized, and a polysemous analysis of the film’s story and form; its historical background; a companion film Shanghai Blues; Peking opera; Canto-pop and Mandarin songs; mandarin ducks and butterfly fiction; and the “three-women” film in Chinese-language cinema, are all explored within the general context of Hong Kong New Wave filmmaking and the issues of Chinese identity, culture, power in the contemporary politics of Hong Kong as they pertain to the Sinophone realms of articulations. Overall, the book asks a central question for film studies: does the film as a cultural and social artifact merely tell stories about the past or does it seek to reclaim lost territory in metafictional ways, with significant resonance for reading contemporary situations?
Walter van de Leur
- Published in print:
- 2002
- Published Online:
- September 2008
- ISBN:
- 9780195124484
- eISBN:
- 9780199868711
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195124484.003.0005
- Subject:
- Music, History, Western
This chapter starts with the January 1943 appearance of the Ellington orchestra in Carnegie Hall. Ellington composed a work of symphonic dimensions, Black, Brown and Beige. Strayhorn’s contributions ...
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This chapter starts with the January 1943 appearance of the Ellington orchestra in Carnegie Hall. Ellington composed a work of symphonic dimensions, Black, Brown and Beige. Strayhorn’s contributions to this work are unearthed. A strong structural analogy between Ellington’s Black and Strayhorn’s Pentonsilic suggests that the exchange of ideas, rather than actual co-composition, formed the essence of their collaboration. The next section looks at the suite-format and sums up the advantages: it silenced criticism regarding form, it accommodated the division of tasks, it enabled the insertion of unused numbers, and it facilitated the later addition of programmatic explanations. The chapter continues with The Perfume Suite, the first acknowledged Ellington-Strayhorn collaboration, followed by Beggar’s Holiday (1946), unraveling Strayhorn’s contributions to this adaptation of the Beggar’s Opera. As Strayhorn contributed a growing number of arrangements, his style slowly permeated the orchestra’s sound.Less
This chapter starts with the January 1943 appearance of the Ellington orchestra in Carnegie Hall. Ellington composed a work of symphonic dimensions, Black, Brown and Beige. Strayhorn’s contributions to this work are unearthed. A strong structural analogy between Ellington’s Black and Strayhorn’s Pentonsilic suggests that the exchange of ideas, rather than actual co-composition, formed the essence of their collaboration. The next section looks at the suite-format and sums up the advantages: it silenced criticism regarding form, it accommodated the division of tasks, it enabled the insertion of unused numbers, and it facilitated the later addition of programmatic explanations. The chapter continues with The Perfume Suite, the first acknowledged Ellington-Strayhorn collaboration, followed by Beggar’s Holiday (1946), unraveling Strayhorn’s contributions to this adaptation of the Beggar’s Opera. As Strayhorn contributed a growing number of arrangements, his style slowly permeated the orchestra’s sound.
Steven Huebner
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195189544
- eISBN:
- 9780199868476
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189544.003.0001
- Subject:
- Music, History, Western
This introductory chapter begins with a discussion of the business and politics of French opera in the late 20th century. It describes government subsidies received by the two main Parisian houses: ...
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This introductory chapter begins with a discussion of the business and politics of French opera in the late 20th century. It describes government subsidies received by the two main Parisian houses: the Académie nationale de musique (the Opéra) and the Théâtre national de l'Opéra-Comique. It argues that at the fin de siècle, the stakes in value judgement, and the potential to touch deep-seated anxieties were particularly high at the Opéra because a fading court culture was mapped onto an institution heavily subsidized by a State which, however slowly, was reconfiguring both the remaining vestiges of the ancien régime and the more recent hegemony of the grande bourgeoisie. Richard Wagner, the composer around whom the stakes were the highest at both houses, is discussed.Less
This introductory chapter begins with a discussion of the business and politics of French opera in the late 20th century. It describes government subsidies received by the two main Parisian houses: the Académie nationale de musique (the Opéra) and the Théâtre national de l'Opéra-Comique. It argues that at the fin de siècle, the stakes in value judgement, and the potential to touch deep-seated anxieties were particularly high at the Opéra because a fading court culture was mapped onto an institution heavily subsidized by a State which, however slowly, was reconfiguring both the remaining vestiges of the ancien régime and the more recent hegemony of the grande bourgeoisie. Richard Wagner, the composer around whom the stakes were the highest at both houses, is discussed.
Steven Huebner
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195189544
- eISBN:
- 9780199868476
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189544.003.0003
- Subject:
- Music, History, Western
This chapter focuses on the collaboration between Massenet and Carvalho of the Opéra-Comique. According to Édouard NoËl, then an administrative assistant at that theatre, it was Carvalho who first ...
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This chapter focuses on the collaboration between Massenet and Carvalho of the Opéra-Comique. According to Édouard NoËl, then an administrative assistant at that theatre, it was Carvalho who first thought of a Manon based upon Abbé Prévost's famous 18th-century novel Histoire du Chevalier Des Grieux et de Manon Lescaut. The occasion was an Opéra-Comique gala on 30 January 1882 to commemorate the hundredth anniversary of Auber's birth. The idea for a new work on the subject supposedly hit Carvalho during the resounding ovation after the piece. He immediately approached Massenet. On 2 February Hartmann drew up a contract for delivery of a libretto by 1 March with two writers who had just paired up: Philippe Gille, co-librettist for Delibes's recent success Lakmé, and Henri Meilhac of Carmen fame. On 19 January 1884, the curtain rose on what became one of the most successful operas in the entire French repertory.Less
This chapter focuses on the collaboration between Massenet and Carvalho of the Opéra-Comique. According to Édouard NoËl, then an administrative assistant at that theatre, it was Carvalho who first thought of a Manon based upon Abbé Prévost's famous 18th-century novel Histoire du Chevalier Des Grieux et de Manon Lescaut. The occasion was an Opéra-Comique gala on 30 January 1882 to commemorate the hundredth anniversary of Auber's birth. The idea for a new work on the subject supposedly hit Carvalho during the resounding ovation after the piece. He immediately approached Massenet. On 2 February Hartmann drew up a contract for delivery of a libretto by 1 March with two writers who had just paired up: Philippe Gille, co-librettist for Delibes's recent success Lakmé, and Henri Meilhac of Carmen fame. On 19 January 1884, the curtain rose on what became one of the most successful operas in the entire French repertory.
Naomi André
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780252041921
- eISBN:
- 9780252050619
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252041921.001.0001
- Subject:
- Music, Opera
This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas ...
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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring together works performed in the West (the United States and Europe) and South Africa. Focal works are: From the Diary of Sally Hemings (William Bolcom and Sandra Seaton), Porgy and Bess, and Winnie: The Opera (Bongani Ndodana-Breen). A chapter is devoted to the nineteenth-century Carmens (novella by Mérimée and opera by Bizet) and black settings in the United States (Carmen Jones, Carmen: A Hip Hopera) and South Africa (U-Carmen eKhayelitsha). Woven within the discussions of specific works are three rubrics for how the text and music create the drama: Who is in the story? Who speaks? and Who is in the audience doing the interpreting? These questions, combined with a historical context that includes how a work also resonates in the present day, form the basis for an engaged musicological practice.Less
This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring together works performed in the West (the United States and Europe) and South Africa. Focal works are: From the Diary of Sally Hemings (William Bolcom and Sandra Seaton), Porgy and Bess, and Winnie: The Opera (Bongani Ndodana-Breen). A chapter is devoted to the nineteenth-century Carmens (novella by Mérimée and opera by Bizet) and black settings in the United States (Carmen Jones, Carmen: A Hip Hopera) and South Africa (U-Carmen eKhayelitsha). Woven within the discussions of specific works are three rubrics for how the text and music create the drama: Who is in the story? Who speaks? and Who is in the audience doing the interpreting? These questions, combined with a historical context that includes how a work also resonates in the present day, form the basis for an engaged musicological practice.
Warwick Lister
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195372403
- eISBN:
- 9780199870820
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372403.003.0010
- Subject:
- Music, History, Western
In this chapter Viotti's increasing preoccupation with his financial situation and his deep affection for Margaret Chinnery come to the fore. His strenuous attempts to obtain a pension are described, ...
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In this chapter Viotti's increasing preoccupation with his financial situation and his deep affection for Margaret Chinnery come to the fore. His strenuous attempts to obtain a pension are described, and fresh evidence is adduced concerning a new position created for him by the Opéra administration. His failing health becomes increasingly apparent, though he continued to make music with friends, including Baillot, at Châtillon, the summer home near Paris bought by Margaret Chinnery. The death of his half-brother, André Viotti, with whom he had become close, was another blow. After Viotti's death in London in 1824, Margaret Chinnery was left with three lawsuits involving his estate. George Chinnery died in 1825, survived by his father, who died in 1827, and his mother, who died in 1840.Less
In this chapter Viotti's increasing preoccupation with his financial situation and his deep affection for Margaret Chinnery come to the fore. His strenuous attempts to obtain a pension are described, and fresh evidence is adduced concerning a new position created for him by the Opéra administration. His failing health becomes increasingly apparent, though he continued to make music with friends, including Baillot, at Châtillon, the summer home near Paris bought by Margaret Chinnery. The death of his half-brother, André Viotti, with whom he had become close, was another blow. After Viotti's death in London in 1824, Margaret Chinnery was left with three lawsuits involving his estate. George Chinnery died in 1825, survived by his father, who died in 1827, and his mother, who died in 1840.
Warwick Lister
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195372403
- eISBN:
- 9780199870820
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372403.003.0004
- Subject:
- Music, History, Western
This chapter describes Viotti's three-and-a-half years as the codirector of the Théâtre de Monsieur, later the Théâtre de la rue Feydeau, which was acclaimed for its productions of Italian opera ...
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This chapter describes Viotti's three-and-a-half years as the codirector of the Théâtre de Monsieur, later the Théâtre de la rue Feydeau, which was acclaimed for its productions of Italian opera buffa. Viotti's professional association with Luigi Cherubini, who was composer-in-residence in the theater, and who became Viotti's lifelong friend, is described. The chapter devotes considerable space to Viotti's extraordinary, unsuccessful attempt to gain control of the Paris Opéra. Viotti's organization of a series of concerts in his theater is treated at length. The effect of the French Revolution on his career is considered (Viotti fled to London in July 1792).Less
This chapter describes Viotti's three-and-a-half years as the codirector of the Théâtre de Monsieur, later the Théâtre de la rue Feydeau, which was acclaimed for its productions of Italian opera buffa. Viotti's professional association with Luigi Cherubini, who was composer-in-residence in the theater, and who became Viotti's lifelong friend, is described. The chapter devotes considerable space to Viotti's extraordinary, unsuccessful attempt to gain control of the Paris Opéra. Viotti's organization of a series of concerts in his theater is treated at length. The effect of the French Revolution on his career is considered (Viotti fled to London in July 1792).
Warwick Lister
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195372403
- eISBN:
- 9780199870820
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372403.003.0006
- Subject:
- Music, History, Western
This chapter begins with Viotti's resumption of public performance at the Hanover Square concerts in London. His London concertos (the last ten of his twenty-nine concertos) are discussed. His trip ...
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This chapter begins with Viotti's resumption of public performance at the Hanover Square concerts in London. His London concertos (the last ten of his twenty-nine concertos) are discussed. His trip to the Continent in the summer of 1793 is described, as well as his sojourn in Bath, where he performed in 1794. The Chinnery family—William and Margaret and their three children—are introduced, a family with whom he was to be intimately associated for the rest of his life, and with whom, beginning in 1796, he lived at their home, Gillwell, near London. Viotti's positions at the King's Theatre in London, variously as acting director, director of the Opera Concert, where he appeared with Haydn, and leader of the orchestra, are described in detail. His second temporary renunciation of public performance in 1796, his entering the wine business, and, finally, his exile from England for alleged Jacobin activities, and his sojourn in the village of Schönfeld, near Hamburg, are all described.Less
This chapter begins with Viotti's resumption of public performance at the Hanover Square concerts in London. His London concertos (the last ten of his twenty-nine concertos) are discussed. His trip to the Continent in the summer of 1793 is described, as well as his sojourn in Bath, where he performed in 1794. The Chinnery family—William and Margaret and their three children—are introduced, a family with whom he was to be intimately associated for the rest of his life, and with whom, beginning in 1796, he lived at their home, Gillwell, near London. Viotti's positions at the King's Theatre in London, variously as acting director, director of the Opera Concert, where he appeared with Haydn, and leader of the orchestra, are described in detail. His second temporary renunciation of public performance in 1796, his entering the wine business, and, finally, his exile from England for alleged Jacobin activities, and his sojourn in the village of Schönfeld, near Hamburg, are all described.
Warwick Lister
- Published in print:
- 2009
- Published Online:
- September 2009
- ISBN:
- 9780195372403
- eISBN:
- 9780199870820
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372403.003.0009
- Subject:
- Music, History, Western
This chapter describes Viotti in his role as director of the Paris Opéra and the Théâtre Italien in the period 1819–21. Several letters are cited showing how he dealt with disciplinary, financial, ...
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This chapter describes Viotti in his role as director of the Paris Opéra and the Théâtre Italien in the period 1819–21. Several letters are cited showing how he dealt with disciplinary, financial, and artistic matters involving composers, such as Gaspare Spontini, colleagues, such as Ferdinando Paer and Kreutzer, lead singers, chorus and orchestra members, dancers, and his superiors in the Opéra administration. His attempts to improve artistic standards among the singers and the orchestra are documented. Viotti's role in the increasing popularity of Rossini's operas at the Théâtre Italien is considered. His friendships with the Duke of Cambridge, the poet Thomas Moore, Lady Bessborough, his pupil Robberechts, and others, is described. Viotti's unsuccessful attempts to recoup his losses from the failure of his wine business in 1818 are given due attention.Less
This chapter describes Viotti in his role as director of the Paris Opéra and the Théâtre Italien in the period 1819–21. Several letters are cited showing how he dealt with disciplinary, financial, and artistic matters involving composers, such as Gaspare Spontini, colleagues, such as Ferdinando Paer and Kreutzer, lead singers, chorus and orchestra members, dancers, and his superiors in the Opéra administration. His attempts to improve artistic standards among the singers and the orchestra are documented. Viotti's role in the increasing popularity of Rossini's operas at the Théâtre Italien is considered. His friendships with the Duke of Cambridge, the poet Thomas Moore, Lady Bessborough, his pupil Robberechts, and others, is described. Viotti's unsuccessful attempts to recoup his losses from the failure of his wine business in 1818 are given due attention.
Steve Swayne
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195388527
- eISBN:
- 9780199894345
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195388527.003.0025
- Subject:
- Music, History, American, History, Western
There were a number of difficulties that emerged in the early years of Schuman's tenure as president of Lincoln Center. One of the most difficult was negotiating with the management of City Center to ...
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There were a number of difficulties that emerged in the early years of Schuman's tenure as president of Lincoln Center. One of the most difficult was negotiating with the management of City Center to bring the New York City Opera and the New York City Ballet to Lincoln Center. City and state politicians got involved in the negotiations, and the staff of the Metropolitan Opera was not overly supportive of these new constituents. In attempting to solve some of the challenges Schuman saw at Lincoln Center, he ended up riling his opponents, who tried to get Schuman fired. He survived in the post and saw the battles as positive in the long run. During this period, challenges at home emerged, with the women in his family suffering from physical and psychological setbacks. Despite the challenges, Schuman managed to complete an original work for Martha Graham, The Witch of Endor.Less
There were a number of difficulties that emerged in the early years of Schuman's tenure as president of Lincoln Center. One of the most difficult was negotiating with the management of City Center to bring the New York City Opera and the New York City Ballet to Lincoln Center. City and state politicians got involved in the negotiations, and the staff of the Metropolitan Opera was not overly supportive of these new constituents. In attempting to solve some of the challenges Schuman saw at Lincoln Center, he ended up riling his opponents, who tried to get Schuman fired. He survived in the post and saw the battles as positive in the long run. During this period, challenges at home emerged, with the women in his family suffering from physical and psychological setbacks. Despite the challenges, Schuman managed to complete an original work for Martha Graham, The Witch of Endor.
William R. Newman
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780691174877
- eISBN:
- 9780691185033
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691174877.003.0013
- Subject:
- History, History of Science, Technology, and Medicine
This chapter examines Newton's take on the substantial alchemical corpus ascribed to the high medieval Mallorcan philosopher Ramon Lull. It begins with a brief consideration of the Epistola ad ...
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This chapter examines Newton's take on the substantial alchemical corpus ascribed to the high medieval Mallorcan philosopher Ramon Lull. It begins with a brief consideration of the Epistola ad Theodorum Mundanum and Newton's synopsis of it. It then examines the cycle of Opera in their several complementary drafts, which will reveal the heavy influence exercised by Dickinson, pseudo-Lull, Snyders, and other authors. The Opera may be dated conservatively to the period between the publication of Dickinson's Epistola in 1686 and a later stage in Newton's alchemy, namely, his intense collaboration with Nicolas Fatio de Duillier in the early 1690s. The work with Fatio also contributed to Newton's production of a text that has received notice from other Newtonian scholars as in some sense the culmination of his alchemical endeavor, Huntington Library, Babson MS 420, otherwise known as Praxis.Less
This chapter examines Newton's take on the substantial alchemical corpus ascribed to the high medieval Mallorcan philosopher Ramon Lull. It begins with a brief consideration of the Epistola ad Theodorum Mundanum and Newton's synopsis of it. It then examines the cycle of Opera in their several complementary drafts, which will reveal the heavy influence exercised by Dickinson, pseudo-Lull, Snyders, and other authors. The Opera may be dated conservatively to the period between the publication of Dickinson's Epistola in 1686 and a later stage in Newton's alchemy, namely, his intense collaboration with Nicolas Fatio de Duillier in the early 1690s. The work with Fatio also contributed to Newton's production of a text that has received notice from other Newtonian scholars as in some sense the culmination of his alchemical endeavor, Huntington Library, Babson MS 420, otherwise known as Praxis.
Adrian Daub
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780226082134
- eISBN:
- 9780226082271
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226082271.001.0001
- Subject:
- Music, Opera
In the late nineteenth century, Richard Wagner dominated the German opera stage not just aesthetically, in terms of the way opera was written and performed, but also philosophically, providing the ...
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In the late nineteenth century, Richard Wagner dominated the German opera stage not just aesthetically, in terms of the way opera was written and performed, but also philosophically, providing the historical, political and metaphysical framework by which to judge what opera could accomplish and needed to accomplish. Tristan’s Shadow provides a history of German opera written in the fifty years after Wagner’s death, with a view not just to Wagner’s legacy as a composer, but his legacy as a theoretician. Specifically, Tristan’s Shadow investigates the way in which the Wagnerian philosophy of sex (judged by Wagner himself to be his most innovative set of ideas) provided a way for his heirs to articulate responses and critiques of Wagner’s broader aesthetic, philosophical and political project. In different ways, these composers interrogated the way Wagner brought sexuality onto the opera stage as a means of interrogating a far broader range of aesthetic issues in Wagner’s oeuvre.Less
In the late nineteenth century, Richard Wagner dominated the German opera stage not just aesthetically, in terms of the way opera was written and performed, but also philosophically, providing the historical, political and metaphysical framework by which to judge what opera could accomplish and needed to accomplish. Tristan’s Shadow provides a history of German opera written in the fifty years after Wagner’s death, with a view not just to Wagner’s legacy as a composer, but his legacy as a theoretician. Specifically, Tristan’s Shadow investigates the way in which the Wagnerian philosophy of sex (judged by Wagner himself to be his most innovative set of ideas) provided a way for his heirs to articulate responses and critiques of Wagner’s broader aesthetic, philosophical and political project. In different ways, these composers interrogated the way Wagner brought sexuality onto the opera stage as a means of interrogating a far broader range of aesthetic issues in Wagner’s oeuvre.
Toba Singer
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044026
- eISBN:
- 9780813046259
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044026.003.0023
- Subject:
- Music, Dance
Carlos Acosta speaks about Fernando as a teacher who introduced adolescent boys to the laws of physics in the ballet studio, and while Acosta had little direct contact with Alonso, explains how he ...
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Carlos Acosta speaks about Fernando as a teacher who introduced adolescent boys to the laws of physics in the ballet studio, and while Acosta had little direct contact with Alonso, explains how he benefited from studying with the teachers Alonso trained, with whom Alonso shared his encyclopedic grasp of ballet history and technique and also from the dynamic and powerful men’s style that Alonso helped cultivate in the Cuban company.Less
Carlos Acosta speaks about Fernando as a teacher who introduced adolescent boys to the laws of physics in the ballet studio, and while Acosta had little direct contact with Alonso, explains how he benefited from studying with the teachers Alonso trained, with whom Alonso shared his encyclopedic grasp of ballet history and technique and also from the dynamic and powerful men’s style that Alonso helped cultivate in the Cuban company.
Mark Everist
- Published in print:
- 2021
- Published Online:
- March 2021
- ISBN:
- 9780197546000
- eISBN:
- 9780197546031
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780197546000.001.0001
- Subject:
- Music, History, Western
The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer’s ...
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The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer’s works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714–1787) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible—together with the soprano Pauline Viardot—for the ‘revival’ of the composer’s Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck’s music for the Parisian stage. The ‘revival’ of Orfeo is contextualized among other attempts at reviving Gluck’s works in the 1860s, and the role of Berlioz, Viardot, and a host of others re-examined.Less
The history of music is most often written as a sequence of composers and works. But a richer understanding of the music of the past may be obtained by also considering the afterlives of a composer’s works. Genealogies of Music and Memory asks how the stage works of Christoph Willibald Gluck (1714–1787) were cultivated in nineteenth-century Paris, and concludes that although the composer was not represented formally on the stage until 1859, his music was known from a wide range of musical and literary environments. Received opinion has Hector Berlioz as the sole guardian of the Gluckian flame from the 1820s onwards, and responsible—together with the soprano Pauline Viardot—for the ‘revival’ of the composer’s Orfeo in 1859. The picture is much clarified by looking at the concert performances of Gluck during the first two thirds of the nineteenth century, and the ways in which they were received and the literary discourses they engendered. Coupled to questions of music publication, pedagogy, and the institutional status of the composer, such a study reveals a wide range of individual agents active in the promotion of Gluck’s music for the Parisian stage. The ‘revival’ of Orfeo is contextualized among other attempts at reviving Gluck’s works in the 1860s, and the role of Berlioz, Viardot, and a host of others re-examined.
