1.
Johann Strauss II
–
Johann Strauss II, also known as Johann Strauss Jr. the Younger, the Son, Johann Baptist Strauss, was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of music, as well as several operettas. In his lifetime, he was known as The Waltz King, Strauss had two younger brothers, Josef and Eduard Strauss, who became composers of light music as well, although they were never as well known as their elder brother. Some of Johann Strauss most famous works include The Blue Danube, Kaiser-Walzer, Tales from the Vienna Woods, among his operettas, Die Fledermaus and Der Zigeunerbaron are the best known. In other words, it is properly Strauss, not Strauß and his family called him Schani, derived from the Italian Gianni, a nickname. Strauss was born in St Ulrich near Vienna, Austria, on October 25,1825 and his paternal great-grandfather was a Hungarian Jew – a fact which the Nazis, who lionised Strausss music as so German, later tried to conceal. His father did not want him to become a musician but rather a banker, nevertheless, Strauss Junior studied the violin secretly as a child with the first violinist of his fathers orchestra, Franz Amon. When his father discovered his son secretly practising on a one day. It seems that rather than trying to avoid a Strauss rivalry and it was only when the father abandoned his family for a mistress, Emilie Trampusch, that the son was able to concentrate fully on a career as a composer with the support of his mother. Strauss studied counterpoint and harmony with theorist Professor Joachim Hoffmann, who owned a music school. His talents were recognized by composer Joseph Drechsler, who taught him exercises in harmony. It was during that time that he composed his only sacred work and his other violin teacher, Anton Kollmann, who was the ballet répétiteur of the Vienna Court Opera, also wrote excellent testimonials for him. Armed with these, he approached the Viennese authorities to apply for a license to perform and he initially formed his small orchestra where he recruited his members at the Zur Stadt Belgrad tavern, where musicians seeking work could be hired easily. Johann Strauss Is influence over the local entertainment establishments meant that many of them were wary of offering the younger Strauss a contract for fear of angering the father. Strauss Jr. was able to persuade the Dommayers Casino in Hietzing, a suburb of Vienna, to allow him to perform. The elder Strauss, in anger at his sons disobedience, and at that of the proprietor, refused to play at the Dommayers Casino again. Strauss made his debut at Dommayers in October 1844, where he performed some of his first works, such as the waltzes Sinngedichte, Op.1 and Gunstwerber, Op.4, critics and the press were unanimous in their praise for Strausss music. Despite the initial fanfare, Strauss found his years as a composer difficult
2.
Der Karneval in Rom
–
Der Karneval in Rom —also known as Karneval in Rom— is an operetta in three acts composed by Johann Strauss II to a libretto by Josef Braun, Richard Genée and Maximilian Steiner. It was Strauss second operetta and based on Victorien Sardous 1861 comedy Piccolino, the work premiered on 1 March 1873 at the Theater an der Wien. Notes Sources Strauss II, J. Famous Overtures CD, traubner, Richard Operetta, A Theatrical History, Routledge
3.
Cagliostro in Wien
–
Cagliostro in Wien is an operetta in three acts by Johann Strauss II to a libretto by F. Zell and Richard Genée. It premiered on 27 February 1875 at the Theater an der Wien, the premiere was highly successful, in no small part due to the audience favourite Alexander Girardi as Blasoni. Another notable performer at the premiere was Marie Geistinger who had created the role of Rosalinde in Strausss Die Fledermaus, however, weaknesses in the libretto and—by Strausss standards—the pallid music, meant the work could not garner the level of long-term public support of the composers other works. These shortcomings were corrected in a version with a libretto by Gustav Quedenfeldt. 369 Cagliostro-Walzer, Op.370, waltz Hoch Österreich, Op.371, march Bitte schön. Op.372, French polka Auf der Jagd, Op.373, quick polka Licht und Schatten, Op.374 polka Erich Wolfgang Korngold wrote an arrangement of the work, first performed on 13 April 1927 in Vienna. Notes Sources Amadeus Almanac, accessed 11 November 2008 Reclams Operettenführer, Anton Würz, Stuttgart 1962 Johann Strauss Jun
4.
The Gypsy Baron
–
The Gypsy Baron is an operetta in three acts by Johann Strauss II which premiered at the Theater an der Wien on 24 October 1885. Its libretto was by the author Ignaz Schnitzer and in turn was based on Sáffi by Mór Jókai, during the composers lifetime, the operetta enjoyed great success, second only to the popularity of Die Fledermaus. The scoring and the nature of Strausss music have led many music critics to consider this work a comic opera or a lyric opera. Its genesis was rather swift and smooth, as Strauss was no stranger to the Hungarian influences apparent in the music score, many of his earlier works also bore many similar themes, such as the polka Éljen a Magyar. Originally, Strauss and Schnitzer intended the operetta as an opera but further revisions were made, Strauss work on the operetta was interrupted in autumn 1883 due to nicotine poisoning and fainting fits and he was to recuperate in Franzensbad. Strauss work on the act 3 of the work was interrupted when his third wife, Adele Strauss, was taken ill. Strauss music for The Gypsy Baron is regularly performed today, the orchestral pieces that he furnished from the work were also well-recognised, among them, the sparkling Schatz-Walzer, op. 418, as well as the polkas Brautschau, op, place, Hungary Time, Late 18th century A swampy riverside region near the town of Temeşvar in the Temeşvar Province The distant scene is dominated by a derelict castle. In the foreground is a deserted village with only one reasonably prosperous-looking house. In a particularly disreputable hut there lives an old woman named Czipra. The boatmen can be heard singing at their work, Ottokár, son of Mirabella who is governess to Arsena is digging for treasure which he fondly believes to be buried somewhere around. This is his daily routine, and the more he looks without success, Czipra looks out of her window and makes fun of his efforts. She has been watching him for weeks and has a low opinion of his time on this activity while the other Gypsies are out doing an honest days work. She tells him if he continues with this fruitless quest, he will end up penniless and never marry, as he hopes. Sándor Barinkay, son of the owner of the castle, arrives accompanied by Conte Carnero, Commissioner for Oaths. The Commissioner suggests they get on with the job and call on Czipra as a witness, in the meantime he tells Barinkay of the beautiful Arsena. To pass time Czipra tells their fortunes and reveals to Sándor Barinkay that there is happiness and he will marry a faithful wife who will, in a dream, discover where the treasure is hidden. Carnero is also told that he will recover a treasure that he has lost, Zsupán arrives and tells everyone that he is a highly successful pig-breeder adding that he lives for sausages and wine and has little time for art
5.
Simplicius (operetta)
–
Simplicius is an operetta by Johann Strauss II. The libretto for this work was furnished by Victor Léon who was one of Viennas promising talents of that era, the operetta received its premiere at the Theater an der Wien on 17 December 1887 and was nearly marred by a false fire alert in the theatre. The audience of the first night clearly remembered the theatre tragedy of the Ringtheater inferno in Vienna six years earlier and this waltz song was to later become the first waltz theme of his popular Donauweibchen, Op.427. This operetta is largely forgotten today, although its music is performed at length. Time, In the final years of the Thirty Years War, overview, When Wendelin von Grübben tells his younger brother Bruno that they both love the same woman, Bruno abandons the Catholic faith, joins the heretics and is killed in battle by Wendelin. Full of remorse, Wendelin sends his own son and wife to a house, despite her having just borne Simplicius. Wendelin decides not to himself and Simplicius but to retreat into the forest with his son. Her will declares that the Grübben family fortune can only be inherited with the betrothal of a Grübben, otherwise the entire estate goes to the Church. Arnim leaves the house, and with Wendelin and Simplicius missing, it is eventually assumed that the family has died out. In a dense wood in the foothills of the Sudeten Mountains The Hermit, Wendelin von Grübben, the sound of trumpets can be heard as war rages in the distance. Wendelins meditation is interrupted by the appearance of Melchior, an astrologer and he cannot prove that there are no remaining male descendants of the Grübben family, but he claims that astrologically speaking there is no evidence of any living descendants. In order to be left in peace, Wendelin hands over to Melchior the farewell letter that he wrote when initially planning to kill himself and their exchanges are interrupted by an agitated Simplicius who has seen iron men in the woods and who believes them to be devils. Several soldiers who have lost their way then arrive and assuming the wild and unkempt Simplicius to be a kidnap victim, Wendelin remains behind, confused and broken. In a camp at Olmütz While handing out double rations with her daughter Tilly to the troops before battle, for the past twenty years, she has suspected in every stranger like Melchior, her long lost husband. Meanwhile, Simplicius has been taken up by General von Vliessens entourage, seemingly incapable of comprehending the finer arts of war, he is constantly rebuked by the Sergeant-major. Tilly takes him under her wing, determined to make a soldier out of him. With the expected arrival of a Baron von Grübben now imminent, Hildegarde unsuccessfully pleads with her father not to be made to marry a stranger. Arnim, now a student in Prague and in love with Hildegarde, has followed her to the camp where Simplicius takes him to be an enemy, in order to win Hildegarde over Arnim drops his studies and serves under the General
6.
Waldmeister
–
Waldmeister is an operetta written by Johann Strauss II. It was first performed on 4 December 1895 at the Theater an der Wien
7.
Wiener Blut (operetta)
–
Wiener Blut is an operetta named after the Wiener Blut waltz, supposedly with music by the composer Johann Strauss the Younger, who did not live to witness the première. Strauss did not specifically compose any music for this operetta, although many of his compositions were incorporated for the work. He took no part in the musical arrangement at its conception nor any production work leading up to its première. He was content to delegate tasks to Adolf Müller Jr. as he himself was busy with his ballet. However, Müller did not confine himself to the music of Johann Jr. the new operetta premiéred at the Carltheater on 26 October 1899, almost five months after Strauss demise. Franz Jauner staged the costly project, Jauner anticipated great success at its premiére but was dejected when the work only survived 30 consecutive performances before making way for Sidney Jones critically acclaimed operetta The Geisha. On 23 February 1900, Jauner shot himself at his desk at the Carltheater after his financial gamble with Wiener Blut failed, after five years, however, the famed Theater an der Wien mounted a production of the operetta. With a slightly different libretto and musical arrangement, it caught the eye and has since retained its popularity on stages around the world. In 2007 English Touring Opera performed a new production of Wiener Blut at venues throughout the United Kingdom. In 1942 the operetta was adapted into the film Vienna Blood, notes Sources Mailer, Franz, Josef Strauss, Genius Against His Will, Pergamon Press,1985 Based on original text by Peter Kemp, The Johann Strauss Society of Great Britain
8.
Bat
–
Bats are mammals of the order Chiroptera whose forelimbs form webbed wings, making them the only mammals naturally capable of true and sustained flight. By contrast, other mammals said to fly, such as flying squirrels, gliding possums, Bats do not flap their entire forelimbs, as birds do, but instead flap their spread-out digits, which are very long and covered with a thin membrane or patagium. About 70% of bat species are insectivores, most of the rest are frugivores, or fruit eaters. A few species, such as the bat, feed from animals other than insects, with the vampire bats being hematophagous. Bats are present throughout most of the world, with the exception of cold regions. They perform the vital roles of pollinating flowers and dispersing fruit seeds. Bats are economically important, as they consume insect pests, reducing the need for pesticides, the smallest bat is the Kittis hog-nosed bat, measuring 29–34 mm in length,15 cm across the wings and 2–2.6 g in mass. It is also arguably the smallest extant species of mammal, with the Etruscan shrew being the other contender. The largest species of bat are a few species of Pteropus, the Mexican free-tailed bat is the fastest flying animal in horizontal flight. An older English name for bats is flittermouse, which matches their name in other Germanic languages, middle English had bakke, most likely cognate with Old Swedish natbakka, which may have undergone a shift from -k- to -t- influenced by Latin blatta, moth, nocturnal insect. They were formerly grouped in the superorder Archonta, along with the treeshrews, colugos, genetic studies have now placed bats in the superorder Laurasiatheria, along with carnivorans, pangolins, odd-toed ungulates, even-toed ungulates, and cetaceans. A recent study by Zhang et al. places Chiroptera as a taxon to the clade Perissodactyla. The phylogenetic relationships of the different groups of bats have been the subject of much debate and this hypothesis recognized differences between microbats and megabats and acknowledged that flight has only evolved once in mammals. Most molecular biological evidence supports the view that bats form a single or monophyletic group, in the 1980s, a hypothesis based on morphological evidence was offered that stated the Megachiroptera evolved flight separately from the Microchiroptera. The so-called flying primate hypothesis proposes that, when adaptations to flight are removed, one example is that the brains of megabats show a number of advanced characteristics that link them to primates. Although recent genetic studies support the monophyly of bats, debate continues as to the meaning of available genetic. Genetic evidence indicates that megabats originated during the early Eocene and should be placed within the four lines of microbats. Consequently, two new suborders based on molecular data have been proposed and these two new suborders are strongly supported by statistical tests
9.
Operetta
–
Operetta is a genre of light opera, light in terms both of music and subject matter. By this time, the part of the genre name had become misleading. With this new connotation, opéra comique had dominated the French operatic stage since the decline of tragédie lyrique, most researchers acknowledge that the credit for creating the operetta form should go to Hervé, a singer, composer, librettist, conductor, and scene painter. In 1842 he wrote the little opérette, LOurs et le pacha, based on the vaudeville show by Scribe. In 1848, Hervé made his first notable appearance on the Parisian stage, with Don Quichotte et Sancho Pança, hervés most famous works are the Gounod-parody Le Petit Faust and Mamzelle Nitouche. Jacques Offenbach further developed and popularized operetta, giving it its enormous vogue during the Second Empire, Offenbachs earliest one-act pieces included Les deux aveugles, Le violoneux and Ba-ta-clan, and his first full-length operetta success was Orphée aux enfers. Offenbachs tradition was carried on by Robert Planquette, André Messager. What characterizes Offenbachs operettas is both the way they portray life, and the extremely frivolous way this is done. The character was modeled after Offenbachs female star Hortense Schneider. Considering how Zolas Nana describes an Offenbach-style operetta performance in Paris, it is not surprising that the mostly male, upper-class audiences in other cities like Vienna and Berlin longed to see these shows in their home towns as well, which inspired worldwide performance of Offenbachs works. The highly erotic way Offenbachs operettas were originally played, with stars like Hortense Schneider created a reaction from certain parts of the general public. Operetta was considered an art form. Indeed, together with its grotesque qualities, frivolity is one of the elements of authentic operetta à la Offenbach. It was only later, when audiences widened and became more middle and lower class, the most significant composer of operetta in the German language was the Austrian Johann Strauss II. His first operetta was Indigo und die vierzig Räuber and his third operetta, Die Fledermaus, became the most performed operetta in the world, and remains his most popular stage work. Its libretto was based on a written by Offenbachs librettists. In all, Strauss wrote 16 operettas and one opera, most with great success when first premiered, many of his lesser operettas are now largely forgotten, since his later librettists were less talented and he often composed independently of the plot. Strausss operettas, waltzes, polkas, and marches often have a strongly Viennese style, the Theater an der Wien never failed to draw huge crowds when his stage works were first performed
10.
Libretto
–
A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata. Libretto, from Italian, is the diminutive of the word libro, sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. The relationship of the librettist to the composer in the creation of a work has varied over the centuries, as have the sources. In the context of a modern English language musical theatre piece, Libretti for operas, oratorios and cantatas in the 17th and 18th centuries generally were written by someone other than the composer, often a well-known poet. Metastasio was one of the most highly regarded librettists in Europe and his libretti were set many times by many different composers. Another noted 18th-century librettist was Lorenzo Da Ponte, who wrote the libretti for three of Mozarts greatest operas, as well as for other composers. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Auber, Bellini, Donizetti, Rossini and Verdi. The French writers duo Henri Meilhac and Ludovic Halévy wrote a number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli, the libretto is not always written before the music. Some composers wrote their own libretti, Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, too, wrote the libretti for two of his works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchners play Woyzeck for the libretto of Wozzeck, sometimes the libretto is written in close collaboration with the composer, this can involve adaptation, as was the case with Rimsky-Korsakov and his librettist Belsky, or an entirely original work. In the case of musicals, the music, the lyrics, thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the book. In rare cases, the composer writes everything except the dance arrangements - music, lyrics and libretto, Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. A famous case of the latter is Wagners 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris, since the late 19th century some opera composers have written music to prose or free verse libretti. The libretto of a musical, on the hand, is almost always written in prose
11.
Farce
–
In theatre, a farce is a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable. Farce is also characterized by humor, the use of deliberate absurdity or nonsense. Farces have been written for the stage and film, furthermore, a farce is also often set in one particular location, where all events occur. M. C. P. C. David Croft & Jeremy Lloyd, Allo Allo, ken Friedman, Claptrap Andrew Norriss and Richard Fegen, Chance in a Million Miles Tredinnick, Laugh. Alan Ayckbourn, A Small Family Business Miles Tredinnick, It’s Now Or Never, tom Kempinski, Sex Please, Were Italian. Ray Cooney, Funny Money Robin Hawdon, Perfect Wedding Steven Moffat, Coupling Miles Tredinnick, La Farce de maître Pierre Pathelin The Liar Molière, Tartuffe Molière, The Miser Labiche, La Cagnotte and other plays. These plays are performed as comic relief during the long, serious Noh plays, following stage shows of Umer Shareef are extremely popular. Archer Chowder The Grim Adventures of Billy & Mandy The Marvelous Misadventures of Flapjack Scooby-Doo, IMDB list of film and television farces Farce films at Allmovie
12.
Roderich Benedix
–
Julius Roderich Benedix was a German dramatist and librettist, born in Leipzig, where he was educated there at Thomasschule. He joined the stage in 1831, his first engagement being with the company of H. E. Bethmann in Dessau, Köthen, Bernburg. Subsequently he was tenor in several theatres in Westphalia and on the Rhine, and became manager of the theatre at Wesel, where he produced a comedy, Das bemooste Haupt, which met with great success. After an engagement in Cologne, he managed the new theatre at Elberfeld, in 1855 he was appointed intendant of the municipal theatre in Frankfurt-on-Main, but retired in 1861, and died in Leipzig in 1873. The chief characteristics of his farces are a plot and bright, easy. Benedixs Gesammelte dramatische Werke appeared in 27 vols, a selection under the title Volkstheater in 20 vols. and a collection of smaller comedies as Haustheater in 2 vols. See Benedixs autobiography in the Gartenlaube for 1871 and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Benedix, Julius Roderich. Works by Roderich Benedix at Project Gutenberg Works by or about Roderich Benedix at Internet Archive
13.
Henri Meilhac
–
Henri Meilhac was a French dramatist and opera librettist. Meilhac was born in the 1st arrondissement of Paris in 1830, as a young man, he began writing fanciful articles for Parisian newspapers and comédies en vaudevilles, in a vivacious boulevardier spirit which brought him to the forefront. About 1860, he met Ludovic Halévy, and their collaboration for the stage lasted twenty years and their most famous collaboration is the libretto for Georges Bizets Carmen. However, Meilhacs work is most closely tied to the music of Jacques Offenbach, for whom he wrote over a dozen librettos, the most successful collaborations with Offenbach are La belle Hélène, Barbe-bleue, La Vie parisienne, La Grande-Duchesse de Gérolstein, and La Périchole. Other librettos by Meilhac include Jules Massenets Manon, Hervés Mamzelle Nitouche, and Rip and their vaudeville play Le réveillon was the basis of the operetta Die Fledermaus. In 1888 he was elected to the Académie française and he died in Paris in 1897. Works by or about Henri Meilhac at Internet Archive
14.
Jacques Offenbach
–
Jacques Offenbach was a German-born French composer, cellist and impresario of the romantic period. He is remembered for his nearly 100 operettas of the 1850s–1870s and he was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr. and Arthur Sullivan. His best-known works were revived during the 20th century. The Tales of Hoffman remains part of the opera repertory. Born in Cologne, the son of a cantor, Offenbach showed early musical talent. At the age of 14, he was accepted as a student at the Paris Conservatoire but found academic study unfulfilling, from 1835 to 1855 he earned his living as a cellist, achieving international fame, and as a conductor. His ambition, however, was to compose pieces for the musical theatre. Finding the management of Paris Opéra-Comique company uninterested in staging his works, there he presented a series of his own small-scale pieces, many of which became popular. In 1858, Offenbach produced his first full-length operetta, Orphée aux enfers, during the 1860s, he produced at least 18 full-length operettas, as well as more one-act pieces. His works from this period included La belle Hélène, La Vie parisienne, La Grande-Duchesse de Gérolstein, Offenbach became associated with the Second French Empire of Napoleon III, the emperor and his court were genially satirised in many of Offenbachs operettas. Napoleon III personally granted him French citizenship and the Légion dHonneur, with the outbreak of the Franco-Prussian War in 1870, Offenbach found himself out of favour in Paris because of his imperial connections and his German birth. He remained successful in Vienna and London, however and he re-established himself in Paris during the 1870s, with revivals of some of his earlier favourites and a series of new works, and undertook a popular U. S. tour. In his last years he strove to finish The Tales of Hoffmann, but died before the premiere of the opera, Offenbach was born Jacob or Jakob Offenbach to a Jewish family, in the German city of Cologne, which was then a part of Prussia. His birthplace in the Großen Griechenmarkt was a distance from the square that is now named after him. He was the son and the seventh of ten children of Isaac Juda Offenbach né Eberst and his wife Marianne. Isaac, who came from a family, had abandoned his original trade as a bookbinder and earned an itinerant living as a cantor in synagogues. He was generally known as der Offenbacher, after his native town, Offenbach am Main, in 1816 he settled in Cologne, where he became established as a teacher, giving lessons in singing, violin, flute and guitar, and composing both religious and secular music. When Jacob was six years old, his father taught him to play the violin, within two years the boy was composing songs and dances, and at the age of nine he took up the cello
15.
So This Is Paris (1926 film)
–
So This is Paris is a 1926 American silent comedy film produced and distributed by Warner Bros. and directed by Ernst Lubitsch. It is based on the 1872 stage play Le Reveillon by Henri Meilhac and it stars Monte Blue and Patsy Ruth Miller. The film is preserved in many archival holdings including the Library of Congress, Paul Giraud is happily married to Suzanna, and together they live in a quiet neighborhood. As Suzanna notices that their new neighbors are expressive dancers with revealing outfits, as Paul knocks on his neighbors door, he finds out that the woman is an old flame, Georgette Lalle. They reunite happily, and Georgette even attempts to kiss Paul, Paul does not answer Georgettes displays of affection, and instead introduces himself to Maurice. Back at home, Paul lies about his meeting with the Lalles, Paul overhears their flirtatious conversation, but pretends to be asleep. Somewhat later, Paul is on his way for a meeting with Georgette. After insulting the officer, Paul is charged with three days in prison, Suzanna, under the impression that Paul was speeding due to a patient crisis, does not understand why Paul does not gather witnesses to prove that he was speeding because of an emergency. She decides to call up the patient on the phone herself, Paul goes out to celebrate his death at the Artists Ball with Georgette. As he dresses up for an out, he convinces Suzanna that he is heading to jail to serve his three-day sentence. While Paul and Georgette are enjoying themselves at a wild party and they are caught by a detective, who is at the mansion to arrest Paul. Fearing a scandal, Suzanna convinces Maurice to pose as her husband, meanwhile, she overhears through the radio that Paul and Georgette are the winners of a Charleston contest at the Artists Ball. She dresses up and comes over to confront her drunken husband, the comedy in this film had, up to that time, kept the audience in constant explosions of laughter, but the startling dissolving scenic effects and varied shots elicited a hearty round of applause. [So This Is Paris at the Internet Movie Database So This Is Paris at the TCM Movie Database So This Is Paris at AllMovie lobby poster
16.
Ernst Lubitsch
–
Ernst Lubitsch was a German American film director, producer, writer, and actor. His urbane comedies of manners gave him the reputation of being Hollywoods most elegant and sophisticated director, as his prestige grew, in 1946, he received an Honorary Academy Award for his distinguished contributions to the art of the motion picture. Ernst Lubitsch was born on January 29,1892 in Berlin, Germany, the son of Anna and Simon Lubitsch and his family was Ashkenazi Jewish, his father born in Grodno in the Russian Empire and his mother from Wriezen, outside Berlin. He turned his back on his fathers tailoring business to enter the theater, in 1913, Lubitsch made his film debut as an actor in The Ideal Wife. He gradually abandoned acting to concentrate on directing and he appeared in approximately thirty films as an actor between 1912 and 1920. His last film appearance as an actor was in the 1920 drama Sumurun, opposite Pola Negri and Paul Wegener, in 1918, he made his mark as a serious director with Die Augen der Mumie Ma, starring Pola Negri. Lubitsch alternated between escapist comedies and large-scale historical dramas, enjoying international success with both. His reputation as a master of world cinema reached a new peak after the release of his spectacles Madame Du Barry. Both of these films found American distributorship by early 1921 and they, along with Lubitschs Carmen were selected by The New York Times on its list of the 15 most important movies of 1921. With glowing reviews under his belt, and American money flowing his way, Lubitsch formed his own production company, however, with World War I still fresh, and with a slew of German New Wave releases encroaching on American movie workers livelihoods, Lubitsch was not gladly received. He cut his trip short after little more than three weeks and returned to Germany, but he had already seen enough of the American film industry to know that its resources far outstripped the spartan German companies. Lubitsch finally left Germany for Hollywood in 1922, contracted as a director by Mary Pickford, settling in America, Lubitsch established his reputation for sophisticated comedy with such stylish films as The Marriage Circle, Lady Windermeres Fan, and So This Is Paris. But his films were only marginally profitable for Warner Brothers, and Lubitschs contract was dissolved by mutual consent, with Metro-Goldwyn-Mayer. His first film for MGM, The Student Prince in Old Heidelberg, was well regarded, the Patriot, produced by Paramount, earned him his first Academy Award nomination for Best Directing. Lubitsch seized upon the advent of talkies to direct musicals, with his first sound film, The Love Parade, starring Maurice Chevalier and Jeanette MacDonald, Lubitsch hit his stride as a maker of worldly musical comedies. The Love Parade, Monte Carlo, and The Smiling Lieutenant were hailed by critics as masterpieces of the emerging musical genre. Lubitsch served on the faculty of the University of Southern California for a time and his next film was a romantic comedy, written with Samson Raphaelson, Trouble in Paradise. Later described as amoral by critic David Thomson, the cynical comedy was popular both with critics and with audiences
17.
Maximilian Steiner
–
Maximilian Steiner was an Austrian actor and theater manager. Steiner was manager of Viennas Theater an der Wien from 1869 to 1875 with Marie Geistinger, a Viennese actress, during this period, he is said to have discovered Johann Strauss, and encouraged Jacques Offenbach to drop a lucrative conducting career to write his first operetta. Steiner gradually phased out spoken-word dramas from the Theater program, contributing to the Viennese opera boom, Steiner was born in Ofen, near Budapest in Hungary, and died in Baden, Lower Austria. He had two sons, Franz Steiner, who took over his function in 1880 and remained until 1884, and Gabor Steiner and he was grandfather of Max Steiner, a Hollywood film composer
18.
Theater an der Wien
–
The Theater an der Wien is a historic theatre in Vienna located on the Left Wienzeile in the Mariahilf district. Completed in 1801, the theatre has hosted the premieres of many celebrated works of theatre, opera, since 2006, it has served primarily as an opera house, hosting its own company. Although Wien is German for Vienna, the Wien in the name of the theatre is actually the name of the Wien River, which flowed by the theatre site. In modern times, the river has been covered over in this location and the riverbed now houses the Naschmarkt. The theatre is operated in cooperation with Vereinigte Bühnen Wien which also operates the Raimund Theater, the theatre was the brainchild of the Viennese theatrical impresario Emanuel Schikaneder, who is best known as Mozarts librettist and collaborator on the opera The Magic Flute. Schikaneders troupe had already been performing for several years in Vienna in the smaller Theater auf der Wieden. As the troupes performances often emphasized spectacle and scenery, the librettist felt ready to move to a larger and better equipped venue. He had already granted an imperial licence to build a new theatre in 1786. The building was designed by the architect Franz Jäger in Empire style, the theatre has been described as the most lavishly equipped and one of the largest theatres of its age. The theatre opened on 13 June 1801 with a written by Schikaneder followed by a performance of the opera Alexander by Franz Teyber. The new theatre proved to be a sensation, adolf Bäurle, a local critic, wrote if Schikaneder and Zitterbarth had had the idea. To charge admission simply for looking at the glories of their Theater an der Wien, the Allgemeine musikalische Zeitung called it the most comfortable and satisfactory in the whole of Germany. In 1807 the theatre was acquired by a group of nobles that included Count Ferdinand Palffy von Erdöd. He is accompanied by the Three Boys, characters in the same opera, in the late 19th to early 20th centuries, the theatre experienced a golden age during the flourishing of Viennese operetta, as referenced in the list below. From 1945 to 1955, it was one of the homes of the Vienna State Opera. However, in 1955, the theatre was closed for safety reasons and it languished unused for several years, and by the early 1960s, the threat had emerged that it would be converted to a parking garage. Fortunately, in 1962 the theatre found a new and successful role for itself as a venue for musical theatre. Many English-language musicals had their German premieres there, the musical Cats directed and choreographed by Gillian Lynne played successfully for seven years
19.
Alhambra Theatre
–
The Alhambra was a popular theatre and music hall located on the east side of Leicester Square, in the West End of London. It was built originally as The Royal Panopticon of Science and Arts opening on 18 March 1854 and it was closed after two years and reopened as the Alhambra. The building was demolished in 1936, the name was also adopted by many other British music hall theatres located elsewhere, in Bradford, in Hull and in Glasgow etc. The name comes from association with the Moorish splendour of the Alhambra palace in Granada and this lasted for two years, and then the decision to add a circus ring was taken. When it reopened on 3 April 1858 it was renamed The Alhambra, the 1858 building conversion to the Alhambra Circus, was also by T. Hayter Lewis. It had a 104 feet frontage and was tall for the time. It was built in a Moorish style, with lavish fenestration and it was a complete contrast with the neighbouring buildings. Inside there was a central rotunda 94 feet in diameter and 94 feet high, There was a secondary entrance to the rear on Charing Cross Road. The Leicester Square theatres name was changed frequently, but usually reflected the buildings stylistic associations with the celebrated Alhambra in Granada, by 1864, the circus had become the Alhambra Music Hall. Rebuildings occurred in 1866 and 1881, by Perry and Reed, from 1871, when it obtained a licence, an equestrian ballet was performed. The Alhambra was destroyed by fire in 1882, and was rebuilt in a restrained style by Reed. Further rebuildings were in 1888 by Edward Clark,1892 by Clark and Pollard,1897 by W. M. Brutton, and in 1912 by the prolific theatre architect, Frank Matcham. Other names used during the life of the theatre were the Royal Alhambra Palace, Alhambra Theatre of Varieties, Theatre Royal, Alhambra, Great United States Circus, londons Alhambra was predominantly used for the popular entertainment of the day, music hall. The usual music hall acts were performed, as well as the début of Jules Léotard performing his aerial act, other entertainments included patriotic demonstrations celebrating the British Empire and British military successes. The theatre also staged ballet and light opera, in the 1860s, John Hollingshead took over management at the Alhambra and made it famous for its sumptuous staging, alluring corps de ballet and the notorious front-of-house Promenade bar. At its bars, the attractions of the Alhambras ballet were not merely artistic, You must please imagine yourself a man about town, with money in your pocket and it is early in the year 1870. You find a companion with similar inclination, and after a leisurely dinner at the club you find yourself looking at the Alhambra. You are purposely too late for the strident variety with which the programme opens, the interval is one of the main features of the show, for the huge basement canteen is open to any of the audience who think a visit worth while
20.
Hamilton Clarke
–
James Hamilton Siree Clarke, better known as Hamilton Clarke, was an English conductor, composer and organist. Clarke began as an organist, pianist and theatre conductor, becoming a director for Gilbert and Sullivan. While conducting at London theatres, he composed a tremendous volume of church music, organ solos, songs, operettas. Beginning in the late 1870s, he composed music as musical director for many of Henry Irvings spectacular productions at the Lyceum Theatre. He also composed music for many of the German Reed Entertainments, clark published a Manual of Orchestration and music criticism, as well as some fiction. In 1889, he took charge of the Victorian National Orchestra in Australia, returning to England in 1892, Clarke was born in Birmingham, the son of an amateur organist. He began playing the piano at age four, and by six had improvised a tune that he reused in one of his mature works forty years later and he took up the violin when he was eight and played in an orchestra at twelve. In the same year, he became the organist at his church and was composing music by age 19 and his parents did not approve of his taking music up as a profession, and he was sent to work first with an analytical chemist and then with a land surveyor. According to The Musical Times, he did not take up music as a profession until he was in his twenties, in 1864 he was awarded the first prize for anthems by the College of Organists. Clarke held posts as organist in Ireland and was conductor of the Belfast Anacreontic Society, from 1866 he was organist at Queens College, Oxford, where he also conducted the Queens College Musical Society. He left that post soon, however, to become a theatrical conductor, Clarke was Richard DOyly Cartes musical director and conductor at the Opera Comique in 1874 for The Broken Branch adapted from La Branche Cassée. Clarke interpolated into the operetta a ballet of his own composition, Clarke then moved with the production to the Opera Comique in January 1876, where it ran until May. In 1876 Clarke was reported to be suffering from a long and painful illness, by December of that year, Clarke was working again, adapting the score and providing new choruses and ballet music for the first English performances of Die Fledermaus at the Alhambra Theatre. In 1877, Clarke participated in an early experiment with telephony. The Times reported this concert thus, Amateurs know that Mr Clarke is a composer of more than ordinary promise, and were, therefore, not surprised to hear a work of more than ordinary merit. The Symphony is in four movements, the first of which, allegro molto appassionato, the third, molto grazioso, is a minuet, so graceful and tuneful that a more fitting designation could hardly be applied to it. It has also a most engaging alternativo equally noticeable, the whole terminates effectively with a reference to the opening phrase of the allegro appassionato. The symphony was played under the direction of its composer, to whom Mr Sullivan
21.
Jean-Vital Jammes
–
Jean-Vital Jammes was a French opera singer. During a stage career spanning 40 years, he created many leading roles, including Zurga in Bizets Les pêcheurs de perles. Born in Le Passage dAgen near the town of Agen, he was largely self-taught, after singing in a several provincial theatres, he was engaged by the Théâtre Lyrique in Paris and later by the Opéra-Comique. Following his retirement from the stage, Ismaël lived in Marseille where he died at the age of 68, Ismaël was born Jean-Vital Jammes, the son of an illiterate tailor in Le Passage near the town of Agen. He showed an early interest in singing and as a developed a beautiful baritone voice. He then set off for Paris hoping to further his training as a singer, instead, he taught himself to read and write and took a few singing lessons, although it is not clear who the teacher was. He worked largely on his own to learn the music of the baritone roles of his day and managed to secure a position singing baritone. He appeared there with success in a series of leading roles between 1862 and 1863 and came to the attention of the impresario Léon Carvalho. In 1862, Ismaël was engaged by Carvalho for his Théâtre Lyrique company in Paris, ismaëls time with the company marked the peak of his career. His debut on 30 September 1863 was as Zurga in the premiere of Bizets Les pêcheurs de perles and he also created the role of Ourrias in Gounods Mireille and sang the title role in Verdis Macbeth for the premiere of its revised version on 21 April 1865. Other roles included the role in Donizettis Don Pasquale, Falstaff in Nicolais The Merry Wives of Windsor. Ismaël stayed with the Théâtre Lyrique until Carvalho went bankrupt in 1868, in the mid-1870s, vocal problems attributed to laryngitis caused him to retire from the Opéra-Comique. He was appointed Professor of Lyric Declamation at the Paris Conservatoire on 1 February 1874, Ismaël repeatedly, but unsuccessfully, asked for a public investigation into the affair. He went on to appear in two world premieres at the Théâtre de la Renaissance—Lecocqs La jolie persane in 1879 and Planquettes Les voltigeurs de la 32ème in 1880. Amongst his performances at the Théâtre du Casino in Monte Carlo was the role in Planquettes Le chevalier Gaston for its world premiere in 1879. His pupils included Max Bouvet and Jean Delvoye, Ismaël married twice, first at the age of 27 to the soprano Alceste Anastasie Hortense Cœuriot. The couple were both singing at the Grand Théâtre de Lyon at the time of their marriage in 1852 and they were divorced in 1885 after years of living apart, and shortly thereafter he married Marie Garcin, a young opera singer who had been one of his pupils. The following year, he brought a lawsuit against his first wife to prevent her from continuing to perform under his last name but was unsuccessful, Ismaël spent the last years of his life with Marie at his villa in Marseille and gave private singing lessons
22.
Zulma Bouffar
–
Aged only 6 Bouffar appeared in La fille bien gardée in Marseille, and followed this with successful performances in Lyon. Her father then toured with her around western Europe and Scandinavia, after her father’s death in 1854 she continued travelling, bringing into her repertoire some of the contemporary songs of Offenbach, who heard her sing in Hamburg in 1864. The same year Bouffar appeared at Bad Ems in Offenbachs Lischen et Fritzchen, from this time for about 12 years Bouffar was probably Offenbachs mistress – his longest extra-marital liaison. In 1873 Bouffar was reported in the Parisian press to have been considered for the role of Bizets new opera. Although the composer refuted the story, the singer did attend the premiere of the piece in 1875, from 1891-93 Bouffar became the manager of the Théâtre de lAmbigu-Comique. In the latter part of her career, Bouffar appeared in operettas by Lecocq and Strauss. She announced her retirement from the stage in 1902
23.
Royal Opera House
–
The Royal Opera House is an opera house and major performing arts venue in Covent Garden, central London. The large building is referred to as simply Covent Garden. It is the home of The Royal Opera, The Royal Ballet, originally called the Theatre Royal, it served primarily as a playhouse for the first hundred years of its history. In 1734, the first ballet was presented, a year later, Handels first season of operas began. Many of his operas and oratorios were written for Covent Garden and had their premieres there. The current building is the theatre on the site following disastrous fires in 1808 and 1856. The façade, foyer, and auditorium date from 1858, the main auditorium seats 2,256 people, making it the third largest in London, and consists of four tiers of boxes and balconies and the amphitheatre gallery. The proscenium is 12.20 m wide and 14.80 m high, the main auditorium is a Grade I listed building. The letters patent remained in the possession of the patentees heirs until the 19th century, in 1728, John Rich, actor-manager of the Dukes Company at Lincolns Inn Fields Theatre, commissioned The Beggars Opera from John Gay. In addition, a Royal Charter had created a fruit and vegetable market in the area, at its opening on 7 December 1732, Rich was carried by his actors in processional triumph into the theatre for its opening production of William Congreves The Way of the World. Despite the frequent interchangeability between the Covent Garden and Drury Lane companies, competition was intense, often presenting the plays at the same time. Rich introduced pantomime to the repertoire, himself performing and a tradition of seasonal pantomime continued at the modern theatre, in 1734, Covent Garden presented its first ballet, Pygmalion. Marie Sallé discarded tradition and her corset and danced in diaphanous robes, george Frideric Handel was named musical director of the company, at Lincolns Inn Fields, in 1719, but his first season of opera, at Covent Garden, was not presented until 1734. His first opera was Il pastor fido followed by Ariodante, the première of Alcina, there was a royal performance of Messiah in 1743, which was a success and began a tradition of Lenten oratorio performances. From 1735 until his death in 1759 he gave regular seasons there and he bequeathed his organ to John Rich, and it was placed in a prominent position on the stage, but was among many valuable items lost in a fire that destroyed the theatre on 20 September 1808. In 1792 the architect Henry Holland rebuilt the auditorium, within the shell of the building but deeper and wider than the old auditorium. Rebuilding began in December 1808, and the second Theatre Royal, the Old Price Riots lasted over two months, and the management was finally forced to accede to the audiences demands. During this time, entertainments were varied, opera and ballet were presented, kemble engaged a variety of acts, including the child performer Master Betty, the great clown Joseph Grimaldi made his name at Covent Garden
24.
Gustav Mahler
–
Gustav Mahler was an Austrian late-Romantic composer, and one of the leading conductors of his generation. As a composer he acted as a bridge between the 19th century Austro-German tradition and the modernism of the early 20th century, born in Bohemia as a German-speaking Jew of humble circumstances, Mahler displayed his musical gifts at an early age. During his ten years in Vienna, Mahler—who had converted to Catholicism to secure the regular opposition. Late in his life he was director of New Yorks Metropolitan Opera. Mahlers œuvre is relatively limited, for much of his composing was necessarily a part-time activity while he earned his living as a conductor. Some of Mahlers immediate musical successors included the composers of the Second Viennese School, notably Arnold Schoenberg, Alban Berg, dmitri Shostakovich and Benjamin Britten are among later 20th-century composers who admired and were influenced by Mahler. The International Gustav Mahler Institute was established in 1955 to honour the composers life, the Mahler family came from eastern Bohemia and were of humble circumstances, the composers grandmother had been a street pedlar. Bohemia was then part of the Austrian Empire, the Mahler family belonged to a German-speaking minority among Bohemians, from this background the future composer developed early on a permanent sense of exile, always an intruder, never welcomed. Bernhard Mahler, the son and the composers father, elevated himself to the ranks of the petite bourgeoisie by becoming a coachman. He bought a modest house in the village of Kalischt, halfway between Prague in Bohemia and Brno in Moravia, in the center of todays Czech Republic. Bernhards wife, Marie, gave birth to the first of the couples 14 children, a son Isidor, two years later, on 7 July 1860, their second son, Gustav, was born. In December 1860, Bernhard Mahler moved with his wife and infant son, Gustav, to the town of Iglau,25 km to the south-east, the family grew rapidly, but of the 12 children born to the family in Iglau only six survived infancy. All of these elements would later contribute to his musical vocabulary. When he was four years old, Gustav discovered his grandparents piano and he developed his performing skills sufficiently to be considered a local Wunderkind and gave his first public performance at the town theatre when he was ten years old. Although Gustav loved making music, his reports from the Iglau Gymnasium portrayed him as absent-minded. In 1871, in the hope of improving the results, his father sent him to the New Town Gymnasium in Prague. In 1874 he suffered a personal loss when his younger brother Ernst died after a long illness. Mahler sought to express his feelings in music, with the help of a friend, Josef Steiner, he work on an opera
25.
Hamburg State Opera
–
The Hamburg State Opera is one of the leading opera companies of Germany. The theatre near the square of Gänsemarkt was founded in 1678, Opera in Hamburg dates back to 2 January 1678 when the Oper am Gänsemarkt was inaugurated with a performance of a biblical Singspiel by Johann Theile. It was not a theatre but the first public opera house in Germany established by the art-loving citizens of Hamburg. The Hamburg Bürgeroper resisted the dominance of the Italianate style and rapidly became the musical center of the German Baroque. In 1703, George Friedrich Handel was engaged as violinist and harpsichordist, in 1705, Hamburg gave the world première of his opera Nero. To replace the wooden structure, the first stone was laid on 18 May 1826 for the Stadt-Theater on the present-day site of the Hamburg State Opera. The new theater, with seating for 2,800 guest, was inaugurated less than a year later with Beethovens incidental music to Egmont. The building was renovated in 1873, when both the exterior and interior remodeled in the reigning Gründerzeit style of the time, and again in 1891, under the direction of Bernhard Pollini, the house mounted its first complete Ring Cycle in 1879. In 1883, the year of Wagners death, a cycle comprising nine of his operas was commenced, the musical directors Hans von Bülow and Gustav Mahler also contributed to the fame of the opera house. In the beginning of the 20th century, opera was an important part of the theatres repertoire, ferruccio Busonis Die Brautwahl and Erich Wolfgang Korngolds Die tote Stadt both had their world premieres in Hamburg. In the 1930s, after Hitler came to power, the house was renamed Hamburgische Staatsoper. The current Staatsoper was opened on 15 October 1955 with Mozarts Die Zauberflöte, in 1967, under the direction of Joachim Hess, the Hamburg State Opera became the first company to broadcasts its operas in color on television, beginning with Die Hochzeit des Figaro. Ten of these productions have been released on DVD by ArtHaus Musik as Cult Opera of the 1970s. All of these were performed in German regardless of the original language, more recently, Hamburg gave the world premières of Wolfgang Rihms The Conquest of Mexico and Helmut Lachenmanns The Little Match Girl, for which it received much international acclaim. The company has won the Opera House of the Year award by the German magazine Opernwelt in 1997, the Australian conductor Simone Young became both general director and chief conductor of the Hamburg State Opera at the start of 2005/06 season. She is succeeded, from the 2015/16 season, by Georges Delnon as Intendant and Kent Nagano as chief conductor, list of opera houses Opera world premieres at the Hamburg State Opera Handels lost Hamburg operas Media related to Hamburgische Staatsoper at Wikimedia Commons Hamburg State Opera website
26.
Vienna State Opera
–
The Vienna State Opera is an opera house – and opera company – with a history dating back to the mid-19th century. It is located in the centre of Vienna, Austria and it was originally called the Vienna Court Opera. In 1920, with the replacement of the Habsburg Monarchy by the First Austrian Republic, the members of the Vienna Philharmonic are recruited from its orchestra. The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese city expansion fund, work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect, the somewhat coarser-grained Kelheimerstein was intended as the main stone to be used in the building of the opera house, but the necessary quantity was not deliverable. Breitenbrunner stone was suggested as a substitute for the Kelheimer stone, the staircases were constructed from polished Kaiserstein, while most of the rest of the interior was decorated with varieties of marble. The decision was made to use dimension stone for the exterior of the building, due to the monumental demand for stone, stone from Sóskút, widely used in Budapest, was also used. Three Viennese masonry companies were employed to supply enough masonry labour, Eduard Hauser, Anton Wasserburger, the foundation stone was laid on 20 May 1863. The building was, however, not very popular with the public, on the one hand, it did not seem as grand as the Heinrichshof, a private residence which was destroyed in World War II. Eduard van der Nüll committed suicide, and barely ten weeks later Sicardsburg died from tuberculosis so neither architect saw the completion of the building, the opening premiere was Don Giovanni, by Mozart, on May 25,1869. Emperor Franz Josef and Empress Elisabeth were present, towards the end of World War II, on March 12,1945, the opera was set alight by an American bombardment. The front section, which had been walled off as a precaution, remained intact including the foyer, with frescoes by Moritz von Schwind, the stairways, the vestibule. The auditorium and stage were, however, destroyed by flames as well as almost the entire décor, the State Opera was temporarily housed at the Theater an der Wien and at the Vienna Volksoper. Eventually the decision was made to rebuild the house as it had been. The Austrian Federal Chancellor Leopold Figl made the decision in 1946 to have an opera house again by 1949. An architectural competition was announced, which was won by Erich Boltenstern, in order to achieve a good acoustic, wood was the favoured building material, at the advice of, among others, Arturo Toscanini. In addition, the number of seats in the parterre was reduced, and the fourth gallery, the façade, entrance hall and the Schwind foyer were restored and remain in their original style. In 1947, the company went on tour to London, due to the appalling conditions at Theater an der Wien, the opera company leadership tried to raise significant quantities of money to speed up reconstruction of the original opera house
27.
Bavarian State Opera
–
The Bavarian State Opera is an opera company based in Munich, Germany. Its orchestra is the Bavarian State Orchestra, the opera company which was founded under Princess Henriette Adelaide of Savoy has been in existence since 1653, when Giovanni Battista Maccionis Larpa festante was performed in the court theatre. In 1753 the Residence Theatre was opened as a major stage, while opera performances were also held in the Prinzregententheater, the companys home base is the National Theatre Munich on Max-Joseph-Platz. In 1875 the Munich Opera Festival took place for the first time which nowadays can be viewed as one of the most important opera festivals worldwide, sir Peter Jonas became the Staatsoper Staatsintendant in 1993, the first British Intendant of any major German speaking opera house. In 2008, Nikolaus Bachler became General Director of the opera company, the current Generalmusikdirektor of the company is Kirill Petrenko, since 2013. In October 2015, the announced the extensions of the current respective contracts of Bachler. Petrenko is scheduled to work as a guest conductor with the company in the year of his current contract. Henneberg 28 June 2000, KANON für geschlossene Gesellschaft by Ruedi Häusermann 30 October 2000, Bernarda Albas Haus by Aribert Reimann 27 June 2002, K
28.
Tenor
–
Tenor is a type of classical male singing voice whose vocal range is one of the highest of the male voice types. The tenors vocal range lies between C3, the C one octave below middle C, and A4, the A above middle C, in solo work, this range extends up to C5, or tenor high C. The low extreme for tenors is roughly A♭2, at the highest extreme, some tenors can sing up to two Fs above middle C. The tenor voice type is divided into the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor. The name tenor derives from the Latin word tenere, which means to hold, in medieval and Renaissance polyphony between about 1250 and 1500, the tenor was the structurally fundamental voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, until the late 16th century introduction of the contratenor singers, the tenor was usually the highest voice, assuming the role of providing a foundation. It was also in the 18th century that tenor came to signify the male voice that sang such parts, thus, for earlier repertoire, a line marked tenor indicated the parts role, and not the required voice type. Indeed, even as late as the century, partbooks labelled tenor might contain parts for a range of voice types. The vocal range of the tenor is one of the highest of the voice types. Within opera, the lowest note in the tenor repertoire is probably A♭2 in Rossinis rarely performed La donna del lago in the role of Rodrigo di Dhu. Within more frequently performed repertoire, Mime and Herod both call for an A2, a few tenor roles in the standard repertoire call for a tenor C. Some of the few top Cs in the operatic repertoire are either optional or interpolated by tradition. However, the highest demanded note in the standard operatic repertoire is D5. Some operatic roles for tenors require a darker timbre and fewer high notes, in the leggero repertoire, the highest note is F5, therefore, very few tenors can, given the raising of concert pitch since its composition, have this role in their repertoire without transposition. Within the tenor voice type category are seven generally recognized subcategories, leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, Also known as the tenore di grazia, the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura, the typical leggero tenor possesses a range spanning from approximately C3 to E♭5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3, voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period. Leggero tenor roles in operas, The lyric tenor is a warm voice with a bright, full timbre that is strong but not heavy
29.
Baritone
–
A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice types. It is the most common male voice, the baritone voice type is generally divided into the baryton-Martin baritone, lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone. The first use of the term baritone emerged as baritonans, late in the 15th century, at this early stage it was frequently used as the lowest of the voices, but in 17th-century Italy the term was all-encompassing and used to describe the average male choral voice. Baritones took roughly the range as it is today at the beginning of the 18th century. Indeed, many works of the 18th century have roles marked as bass that in reality are low baritone roles. Examples of this are to be found, for instance, in the operas, the greatest and most enduring parts for baritones in 18th-century operatic music were composed by Wolfgang Amadeus Mozart. They include Count Almaviva in The Marriage of Figaro, Guglielmo in Così fan tutte, Papageno in The Magic Flute and these included the likes of Filippo Galli, Giovanni Inchindi, and Henri-Bernard Dabadie. The basse-taille and the bass were commonly confused because their roles were sometimes sung by singers of either actual voice part. The bel canto style of vocalism which arose in Italy in the early 19th century supplanted the castrato-dominated opera seria of the previous century and it led to the baritone being viewed as a separate voice category from the bass. More often than not, however, baritones found themselves portraying villains, the principal composers of bel canto opera are considered to be, Gioachino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giacomo Meyerbeer, and the young Giuseppe Verdi. Figaro in Il barbiere is often called the first true baritone role, however, Donizetti and Verdi in their vocal writing went on to emphasize the top fifth of the baritone voice, rather than its lower notes—thus generating a more brilliant sound. The major international baritone of the first half of the 19th century was the Italian Antonio Tamburini and he was a famous Don Giovanni in Mozarts eponymous opera as well as being a Bellini and Donizetti specialist. Commentators praised his voice for its beauty, flexibility and smooth tonal emission, Tamburinis range, however, was probably closer to that of a bass-baritone than to that of a modern Verdi baritone. His French equivalent was Henri-Bernard Dabadie, who was a mainstay of the Paris Opera between 1819 and 1836 and the creator of several major Rossinian baritone roles, including Guillaume Tell. Dabadie sang in Italy, too, where he originated the role of Belcore in Lelisir damore in 1832, the most important of Tamburinis Italianate successors were all Verdians. In France, Paul Barroilhet succeeded Dabadie as the Paris operas best known baritone, like Dabadie, he also sang in Italy and created an important Donizetti role, in his case, Alphonse in La favorite. Antonio Pini-Corsi was the standout Italian buffo baritone in the period between about 1880 and World War I, reveling in comic roles by Rossini, Donizetti and Paer. In 1893, he created the part of Ford in Verdis last opera, notable among their contemporaries were the cultured and technically adroit French baritones Jean Lassalle, Victor Maurel, Paul Lhérie, and Maurice Renaud
