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Pages from an 1859 libretto for Ernani, with the original Italian lyrics, English translation and musical notation for one of the arias. 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 Vladimir Belsky, or an entirely original work ...
[1] [2] Art, according to Schopenhauer, also provides essential knowledge of the world's objects in a way that is more profound than science or everyday experience. [3] Schopenhauer's aesthetic theory is introduced in Book 3 of The World as Will and Representation, Vol. 1, and developed in essays in the second volume.
Mark Campbell is a New York-based librettist and lyricist whose operas have received both a Pulitzer Prize in Music [1] and a GRAMMY Award. [2] Mark began writing for the stage as a musical theatre lyricist, but turned to libretto-writing after he premiered Volpone, his first full-length opera in 2004 at Wolf Trap Opera Company.
When the operas of Christoph Willibald Gluck and Wolfgang Amadeus Mozart—focusing more on psychology and less on virtuoso singing—came into vogue, a new style of libretto was needed (Mozart did use an old Metastasio libretto for his renowned opera La clemenza di Tito, but, it was substantially re-written for the purpose). The demise of ...
McClatchy's poetic work was wide-ranging. He authored six collections of poetry, the fifth of which, Hazmat, was a finalist for the 2003 Pulitzer Prize. [5] He wrote texts for musical settings, including ten opera libretti, for such composers as Michael Dellaira, Elliot Goldenthal, Daron Hagen, Lowell Liebermann, Lorin Maazel, Tobias Picker, Bernard Rands, Ned Rorem, Bruce Saylor, William ...
Louis Gallet in 1892. Louis Gallet (14 February 1835 in Valence, Drôme – 16 October 1898) was a French writer of operatic libretti, plays, romances, memoirs, pamphlets, and innumerable articles, who is remembered above all for his adaptations of fiction —and Scripture— to provide librettos of cantatas and opera, notably by composers Georges Bizet, Camille Saint-Saëns and Jules Massenet.
He is most famous for the libretto of Die Fledermaus, Johann Strauss II's most famous operetta. He co-wrote the libretto without having met top-billed librettist Karl Haffner, who constructed the new story based on a play by Henri Meilhac and Ludovic Halévy, which was considered too shocking to perform outside Paris.
Boito's literary powers never waned. As well as writing the libretti for his own operas, he wrote them for greater operas by two other composers. As "Tobia Gorrio" (an anagram of his name), he provided the libretto for Amilcare Ponchielli's La Gioconda. [citation needed] Collaboration with Verdi