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Book
423 p. illus. 22 cm.
Music Library
Book
xxvi, 275 p., [12] leaves of plates : ports ; 23 cm.
SAL3 (off-campus storage)
Book
xiv, 703 p., [16] p. of plates : ill. ; 25 cm.
Susie Gilbert traces the development of ENO from its earliest origins in the darkest Victorian slums of the Cut, where it was conceived as a vehicle of social reform, through two world wars, and via Sadler's Wells to its great glory days at the Coliseum and beyond. Setting the company's artistic achievements within the wider context of social and political attitudes to the arts and the ever-changing theatrical style, Gilbert provides a vivid cultural history of this unique institution's 150 years. Inspired by the idealism of Lilian Baylis, the company has been based on the belief that opera in the vernacular can not only reach out to even the least privileged members of society but also create a potent and immediate communication with its audience. With full access to ENO's archive, Gilbert has unearthed a rich range of material and held numerous interviews with a fascinating array of personalities, to weave an absorbing tale of life both in front and behind the scenes of ENO as it developed over the years.
(source: Nielsen Book Data)9780571224937 20160528
SAL3 (off-campus storage)
Book
vi, 503 leaves ; music.
SAL3 (off-campus storage)
Book
xi, 426 p.
SAL3 (off-campus storage)
Book
346 p. illus., ports. 26 cm.
Music Library
Book
5 v. illus., ports., facsims. 25 cm.
Green Library
Book
362 p., [5] leaves of plates : ill. ; 22 cm.
SAL3 (off-campus storage)
Book
2 v. port. 23 cm.
Green Library, SAL3 (off-campus storage)
Book
5 v. : ill. ; 25 cm.
  • V. 1. 1711-1763
  • v. 2. 1763-1782
  • v. 3. 1783-1793
  • v. 4. 1799-1821
  • v. 5. 1821-1844.
Music Library
Book
319 p. ; 18 cm.
""Le livre que vous avez entre les mains n'a pas d'équivalent. [...] Aucun guide n'égale son style, sa rigueur, la passion et la profonde connaissance de l'opéra qui le soulèvent d'un bout à l'autre. [...] Tous les opéras sont traités de la même manière : titre, genre, auteur du livret, date de la création, distribution d'origine, argument, histoire, puis analyse de l'oeuvre. Piotr Kaminski y ajoute parfois la liste des grandes reprises depuis la création et, systématiquement, de courtes indications discographiques. Que vous lisiez cet ouvrage d'une traite ou que vous alliez y picorer des informations sur tel ou tel opéra, soyez les bienvenus dans le monde merveilleux de l'art lyrique.""--P. [4] of cover.
Music Library
Book
xv, 788 p. : ill. ; 25 cm.
Music Library
Book
xii, 164 p. illus. 22 cm.
SAL3 (off-campus storage)
Book
xx, 448 p. incl. front. (port.) 22 cm.
SAL3 (off-campus storage)
Book
404 pages : music ; 21 cm.
  • Danksagung
  • Einleitung
  • Die italienische Opernlandschaft im London des 19. Jahrhunderts
  • Das Publikum
  • Die Sänger
  • Englands italienische Sänger : eine Suche nach Identität
  • Londoner Sängerverträge
  • Die Londoner Ausnahmeverträge zu Beginn des 19. Jahrhunderts
  • Pierre François Laportes Verträge mit Giulia Grisi und Antonio Tamburini der Seasons 1834 und 1835
  • Londons Opernprozesse um die Mitte des 19. Jahrhunderts
  • Die Verträge Pauline Viardot-Garcías mit dem Royal Italian Opera House Covent Garden zwischen 1847 und 1855
  • Die Vertragspraxis der 186oer-Jahre am Beispiel eines Vertrags zwischen Frederick Gye und Mario
  • Italienische Opern für London
  • Adaptionen
  • Einlagearien
  • Schlusswort
  • Anhang
  • Transkriptionen und Übersetzungen der Sängerverträge
  • Exemplarische Saisonübersichten
  • Abkürzungsverzeichnis
  • Literaturverzeichnis
  • Periodika
  • Archivalien
  • Libretti
  • Musikalien
  • Personenregister.
Music Library
Book
2 v. : ill. ; 24 cm.
  • A Note on Names, Titles, Quotation Policy, and Currency-- Abbreviations and Works Frequently Cited-- PART 1: THE PANTHEON AND THE HISTORY OF OPERA IN LONDON, 1789-1795-- 1. The Establishment of the Pantheon Opera-- 2. The Pantheon Experiment, 1790-91-- 3. The Fire and the Little Haymarket Season, 1791-92-- 4. The Return to the King's Theatre, Haymarket. 1792-1795-- Epilogue-- PART 2: THE PANTHEON ENTERPRISE: ARCHITECTURE, PRODUCTION, REPERTOIRE, AND FINANCES-- Introduction-- 5. The Architecture of the Pantheon Opera-House-- 6. Departmental Organization, Treasurer, House Servants, and Tradesmen-- 7. The Production Process-- 8. The Opera-- 9. The Ballet-- 10. Finances-- PART 3: APPENDICES-- I. Personnel and Tradesmen-- II. Selected Contracts-- III. The Pantheon Scene Inventory-- IV. The Wardrobe Book-- V. Versions of La locanda-- VI. Subscribers-- VII. Chancery and Exchequer Lawsuits Concerning the Opera-- VIII. A Short Catalogue of the Bedford Opera Papers-- Index.
  • (source: Nielsen Book Data)9780198167167 20160528
Following on from the volume on the King's Theatre, Haymarket (published by OUP in 1995), this interdisciplinary study of opera and ballet now turns to London's Pantheon Opera during the period 1789-98. The discovery of six cartons of previously unknown manuscripts in the possession of the Duke of Bedford makes possible the rewriting of a hitherto dark and little understood chapter in the history of opera in London. The King's Theatre, Haymarket, burnt down in 1789. To replace it, the fifth Duke of Bedford and the Marquis of Salisbury secretly backed a new opera company, to be housed in the Pantheon, an elegant exhibition hall hastily converted to house the venture. Part 1 of this book tells a tale of intrigue, blackmail, bankruptcy, arson, and high-society infighting against a background of exalted artistic aspirations and genuine love of opera. The Pantheon tried to engage Mozart to compete against Haydn, and hired some of the most notable singers and dancers in Europe. Mismanagement led to huge losses, and the theatre burnt in highly suspicious circumstances in 1792. The backers tried to impose an artistic vision and financial controls on the management of the rebuilt King's Theatre, Haymarket, when opera returned there in 1793, but by 1795 their failure was evident. The second part of the book is a detailed analysis of the opera and ballet repertoire, personnel, management, costumes, staging practices, and finances of the company, based on the Bedford archive and a wealth of hitherto unused sources. What emerges is the fullest operational analysis ever published of any pre-nineteenth-century English theatre or opera company.
(source: Nielsen Book Data)9780198167167 20160528
This interdisciplinary study attempts to make sense of what has long been regarded as a chaotic period in the history of opera in London. In 1778 R. B. Sheridan acquired the King's Theatre and its resident opera company in what we would now call a leveraged buy-out, plunging the opera into escalating debts that were to haunt it into the 1840s. The 1780s and early 1790s were a stormy but exciting era: the company hired some of the foremost singers and dancers in Europe; ballet d'action came to London, with Noverre himself as ballet master; the company employed such composers as Sacchini, Anfossi, Cherubini and ultimately Haydn; it went bankrupt and carried on through years of wrangling in Canchery; the King's Theatre burned down in 1789 and was rebuilt and re-opened in defiance of the Lord Chamberlain's refusal to license the new building. Drawing on librettos and scores, ballet scenarios, pamphlets, scattered manuscripts, legal records, architectural drawings, newspapers and other sources, the authors reconstruct the history of the company its shifting artistic policies, analysing opera and ballet repertoy, performers, production circumstances, finances and managerial infighting.
(source: Nielsen Book Data)9780198161660 20160528
Music Library
Book
249 p. : ill., ports. ; 22 cm.
SAL3 (off-campus storage)
Book
xv, 215 p. illus., music. 22cm.
Music Library
Book
256 p. illus. 23 cm.
Archive of Recorded Sound

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