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3661 results in Opera

Page 54 of 184

  • From Guadagni’s Suitcase: A Primo Uomo’s Signature Aria and its Transformation

  • Margaret R. Butler
  • Journal:
    Cambridge Opera Journal / Volume 27 / Issue 3 / November 2015
    Published online by Cambridge University Press:
    12 November 2015, pp. 239-262

  • By 1760, the great musico Gaetano Guadagni had made a name for himself singing the role of Arbace in Baldassare Galuppi’s popular setting of Artaserse. A replacement aria connected with that work emerged as Guadagni’s signature song. Its text appears in all librettos for Galuppi’s setting that Guadagni sang; Johann Christian Bach provided Guadagni with another setting of the text; and a third by an unknown composer suggests links between the poetry and settings by Gaetano Pampani and Leonardo Vinci. This article examines Guadagni’s aria and its transformation, re-examining the role of a solo song in the creation of a singer’s international reputation, its power to evoke memories of other celebrities in the minds of audiences and its function in placing a singer within a broad community of star performers.

  • ‘Sancta Cæcilia Rediviva’. Elizabeth Linley: Repertoire, Reputation and the English Voice

  • Suzanne Aspden
  • Journal:
    Cambridge Opera Journal / Volume 27 / Issue 3 / November 2015
    Published online by Cambridge University Press:
    12 November 2015, pp. 263-287

  • In the early 1770s, Elizabeth Linley was, for a few short years, not just Britain’s most celebrated singer, but also the subject of almost cult-like devotion. Her brief career demonstrated a general awareness on the part of audience, singer and managers alike of the value of enmeshing of art, voice and life in the construction of a successful public persona. The extraordinary adulation she inspired suggests more than just canny use of publicity, however: her cultivation of an apparently distinctive sound and association with a particular repertoire – Handelian oratorio – at a time when Handel was particularly revered suggests British interest in the development of a national musical voice, as well as repertoire.

  • ‘The little that I have done is already gone and forgotten’:Farinelli and Burney Write Music History

  • Anne Desler
  • Journal:
    Cambridge Opera Journal / Volume 27 / Issue 3 / November 2015
    Published online by Cambridge University Press:
    12 November 2015, pp. 215-238

  • Eighteenth-century narratives of Carlo Broschi Farinelli’s inimitability and superiority did not arise fortuitously but resulted to a large extent from artistic, professional and personal choices made by the singer in order to create a unique artistic profile and influence public perception of him. Similarly, Charles Burney created his historical writings with the aim of establishing himself as a man of letters in order to rise in social status and leave a lasting legacy. Analysis of Farinelli’s careful manipulation of his reputation in his encounters with Burney and the latter’s calculated representation of Farinelli in The Present State of Music in France and Italy and A General History of Music sheds light not only on both men’s self-promotion strategies, but also on the high degree of mediation of historical fact in writings that have long served as supposedly reliable ‘primary’ sources on eighteenth-century music.

Reminiscences of Michael Kelly, of the King's Theatre, and Theatre Royal Drury Lane
  • Including a Period of Nearly Half a Century
  • Volume 1
  • Michael Kelly
  • Published online:
    05 November 2015
    Print publication:
    20 October 2011
    First published in:
    1826
  • Michael Kelly (1762–1826) was an Irish singer and composer who studied music in a Naples conservatory before touring Europe and performing for royalty. His voyage to Italy began with a brush with pirates, one of whom was a childhood acquaintance. Kelly also found himself stranded penniless in Venice, spent a night in prison after a fist fight at the theatre, and had a narrow escape from revolutionary France. He is probably best remembered for creating the roles of Don Basilio and Don Curzio in the first performance, in 1786, of Le Nozze di Figaro, of which he describes the rehearsal period and reception. He later joined London's Theatre Royal as both a performer and composer and opened a music shop, which went bankrupt. These memoirs, published in 1826, provide rich first hand insights into a key period in theatre history. Volume 1 covers Kelly's early life and musical training.

The Operas of Maurice Ravel
  • Emily Kilpatrick
  • Published online:
    05 November 2015
    Print publication:
    26 October 2015
  • Maurice Ravel's operas L'Heure espagnole (1907/1911) and L'Enfant et les sortilèges (1919–25) are pivotal works in the composer's relatively small œuvre. Emerging from periods shaped by very distinct musical concerns and historical circumstances, these two vastly different works nevertheless share qualities that reveal the heart of Ravel's compositional aesthetic. In this comprehensive study, Emily Kilpatrick unites musical, literary, biographical and cultural perspectives to shed new light on Ravel's operas. In documenting the operas' history, setting them within the cultural canvas of their creation and pursuing diverse strands of analytical and thematic exploration, Kilpatrick reveals crucial aspects of the composer's working life: his approach to creative collaboration, his responsiveness to cultural, aesthetic and musical debate, and the centrality of language and literature in his compositional practice. The first study of its kind, this book is an invaluable resource for students, specialists, opera-goers and devotees of French music.

Reminiscences of Michael Kelly, of the King's Theatre, and Theatre Royal Drury Lane
  • Including a Period of Nearly Half a Century
  • Volume 2
  • Michael Kelly
  • Published online:
    05 November 2015
    Print publication:
    20 October 2011
    First published in:
    1826
  • Michael Kelly (1762–1826) was an Irish singer and composer who studied music in a Naples conservatory before touring Europe and performing for royalty. His voyage to Italy began with a brush with pirates, one of whom was a childhood acquaintance. Kelly also found himself stranded penniless in Venice, spent a night in prison after a fist fight at the theatre, and had a narrow escape from revolutionary France. He is probably best remembered for creating the roles of Don Basilio and Don Curzio in the first performance, in 1786, of Le Nozze di Figaro, of which he describes the rehearsal period and reception. He later joined London's Theatre Royal as both a performer and composer and opened a music shop, which went bankrupt. These memoirs, published in 1826, provide rich first-hand insights into a key period in theatre history. Volume 2 covers Kelly's later musical and theatrical career.

Page 54 of 184