Search results
Results from the WOW.Com Content Network
The Queen's Theatre, London, where Il Pastor Fido had its first performance. It was composed in 1712 and first performed on 22 November of the same year under the composer. The opera opened to a largely hostile reception, probably due to disappointment after the success of Rinaldo: one diarist noted critically that "the scene represented only the Country of Arcadia; the Habits [costumes] were ...
The vocal line would, in Gutman's words, "interpret the text emotionally through artificially calculated juxtapositions of rhythm, accent, pitch and key relationships". [23] The orchestra, as well as providing the instrumental colour appropriate to each stage situation, would use a system of leitmotifs , each representing musically a person, an ...
Rousseau probably wrote his text in 1762, but hesitated to put on a production of it, complaining of his lack of skill (in Pygmalion's case in life-giving, in Rousseau's in music-writing). The merchant and amateur composer Horace Coignet allowed him to realise it by writing a score and an overture, and the complete work was put on by amateurs ...
Since he was attracted to secular, dramatic music (by meeting the Italians Bononcini and Attilio Ariosti and through the influence of Telemann), Hamburg, a free city with an established opera company, was the logical choice. [76] The question remains, however, why Handel rejected the King's offer, given that Italy was the centre of opera.
Berlioz allowed text to dictate symphonic form in Roméo but allowed the music to supplant the text wordlessly. If, in the famous garden and cemetery scenes the dialogue of the two lovers, Juliet's asides, and Romeo's passionate outbursts are not sung, if the duets of love and despair are given to the orchestra, the reasons are numerous and ...
The work has been described as the height of his accomplishments in the realm of dramatic music. [1] The work was written between 1844 and 1853 and is scored for SATB chorus, boys' chorus, orchestra, and a number of solo parts which, even with doubling, require seven solo singers, although eight (three sopranos, two mezzos, one tenor, one ...
Cantatas were Rameau's first contact with dramatic music. The modest forces the cantata required meant it was a genre within the reach of a composer who was still unknown. Musicologists can only guess at the dates of Rameau's six surviving cantatas, and the names of the librettists are unknown. [36] [37]
It remains popular with audiences, though less frequently performed than in the first half of the 20th century. One reason for its survival in the repertoire is the lyrical-dramatic music provided by Giordano for the tenor lead, which gives a talented singer opportunities to demonstrate his skills and flaunt his voice.