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19 results

  • ‘Wanted – An Opera’

  • Paul Rodmell
  • Journal:
    Nineteenth-Century Music Review / Volume 19 / Issue 1 / April 2022
    Published online by Cambridge University Press:
    14 February 2022, pp. 139-142

  • The title of John Fuller Maitland's article ‘Wanted – An Opera’, in which he argued for the establishment in Britain of a state-supported national opera house, could almost be read as a statement of desire for an operatic work of British origin itself. The perception that composers produced little opera of value in the period of the so-called ‘British Music Renaissance’ has become a trope, despite research in recent years showing the extent of activity, both in terms of composition and performance, during the 20 years either side of 1900.

Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family
  • Edited by Nicholas Temperley
  • With contributions by Liz Cooper , David Chandler , Andrew Clarke , Julja Szuster , Stephen Banfield , Therese Ellsworth , David J. Golby , Valerie Langfield , Andrew Lamb , Alison Mero , Paul Rodmell and Matthew Spring
  • Published by:
    Boydell & Brewer
    Published online:
    04 June 2021
    Print publication:
    18 February 2016
  • Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family illuminates three areas that have recently attracted much interest: the musical profession, music in the British provincesand colonies, and English Romantic opera. The Loder family was pre-eminent in Bath's musical world in the early nineteenth century. John David Loder (1788-1846) led the theatre orchestra there from1807, and later the Philharmonic orchestra and Ancient Concerts in London; he also wrote the leading instruction manual on violin playing and taught violin at the Royal Academy of Music. His son Edward James (1809-65) was a brilliant but underrated composer of opera, songs, and piano music. George Loder (1816-68) was a well-known flautist and conductor who made a name in New York and eventuallysettled in Adelaide, where he conducted the Australian premieres of Les Huguenots, Faust, and other important operas. Kate Fanny Loder (1825-1904) became a successful pianist and teacher in early Victorian London, and she is only now getting her due as a composer.
    This book takes advantage of new and often surprising biographical research on the Loder family as a whole and its four main figures. It uses them to illustrate several aspects of music history: the position of professional musicians in Victorian society; music in the provinces, especially Bath and Manchester;the Victorian opera libretto; orchestra direction; violin teaching; travelling musicians in the US and Australasia; opera singers and companies; and media responses to English opera. The concludingsection is an intense analysis and reassessment of Edward Loder's music, with special emphasis on his greatest work, the opera Raymond and Agnes.

    NICHOLAS TEMPERLEY is Professor Emeritus of Musicology at the University of Illinois at Urbana-Champaign and is a leading authority on Victorian music.

    CONTRIBUTORS: Stephen Banfield, David Chandler, Andrew Clarke, Liz Cooper,Therese Ellsworth, David J. Golby, Andrew Lamb, Valerie Langfield, Alison Mero, Paul Rodmell, Matthew Spring, Julja Szuster, Nicholas Temperley

  • 12 - Carmen, as Seen and Heard in Victorian Britain

  • from Part II - Across Frontiers
  • Edited by Richard Langham Smith, Royal College of Music, London, Clair Rowden, Cardiff University
  • Book:
    <I>Carmen</I> Abroad
    Published online:
    18 September 2020
    Print publication:
    30 July 2020, pp 186-199

  • Summary

    The British premiere of Carmen in May 1878 was an instant hit with both critics and the opera-going public, who were entranced by Bizet’s music and Minnie Hauk’s representation of the title role. This chapter focuses on the reception of Hauk’s performances, and on representations of Carmen by her immediate successors, Zelia Trebelli, Emily Soldene and Selina Dolaro. In an era when operatic heroines were expected by British audiences to be meek, virtuous and adoring, Carmen’s passion and sensuality subverted expectations, posing challenges for the singers who played her and redefining the character of the prima donna for Victorian audiences.

  • 12 - Edward Loder’s Serious Operas

  • Edited by Nicholas Temperley
  • With contributions by Liz Cooper , David Chandler , Andrew Clarke , Julja Szuster , Stephen Banfield , Therese Ellsworth , David J. Golby , Valerie Langfield , Andrew Lamb , Alison Mero , Paul Rodmell and Matthew Spring
  • Book:
    Musicians of Bath and Beyond: Edward Loder (1809-1865) and his Family
    Published by:
    Boydell & Brewer
    Published online:
    04 June 2021
    Print publication:
    18 February 2016, pp 236-267

  • Summary

    THE composition of opera clearly represented a heightened activity for Edward Loder. Although only three works in the genre survive (Nourjahad (1834), The Night Dancers (1846) and Raymond and Agnes (1855)), and Loder's ability to work in this area was, more often than not, inhibited by pressures from elsewhere, it is self-evident from an examination of the surviving scores, and especially those of the latter two works, that Loder both esteemed and loved the genre, and aspired to be remembered as a successful opera composer. This chapter examines these three works which, happily, date from the beginning, middle, and end of his career, separated by gaps of about a decade, thus allowing consideration of his development as a composer, interest in dramatic narrative, and his approach to the operatic genre. What emerges is clear evidence of an evolving style, increasing sophistication and understanding, and growing independence, such that his own beliefs and aspirations steadily displaced, though did not wholly eliminate, pressures and values from the wider world of performers, critics and audiences.

    Although Loder had numerous entrées into the musical world through the network of connections made by his father, it was not until the production of his opera Nourjahad that he came to widespread public notice. According to one of his letters, published as a preface to the vocal score, it was through his connection with William Hawes that Loder gained this commission from the veteran impresario and dramatist Samuel J. Arnold. On a page of acknowledgements (quoted above, p. 224), Loder noted the speed at which the music had been composed and added:

    I hope that my future productions will better merit the praise which has been bestowed upon this; and, though a German Student in music, I shall feel proud to be one of the British Composers in the field, with many, who shall prove the great advantage of having their works brought before the public at the English Opera House.

    The defensive tone when referring to the pace at which the opera was composed suggests that Loder was either not wholly satisfied with what he had produced, or that he was hoping to deflect any criticisms.