Theater Playbill for Theresa Titiens and the Strakosch Grand Italian Opera Company at National Theater, Washington, Commencing April 3, 1876 PDF Download

Author: National Theater (Washington, D.C. : 1873-1885)
Publisher:
ISBN:
Category : Opera programs
Languages : en
Pages : 1

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National Theatre. Positively 4 nights only commencing Monday, April 3, 1876. Farewell performances of M'lle Theresa Titiens. The Strakosch grand Italian Opera comprising M'lle Theresa Titiens! (Who will make her first appearance in Grand Italian Opera in Washington) M'me Eugenie Pappenheim (Her first appearance in Italian Opera) Miss Beaumont, M'me Carreno-Sauret, Signor P. Brignoli, (His first appearance after an absence of three years) Mr. Tom Karl, Signor Tagliapietra, Signor Orlandini, Signor Reina, Miss Cooney, Barberis, Barili in the secondary roles. Full chorus and grand orchestra. Max Maretzek & G. Carlberg, musical directors and conductors. Monday evening, April 3d, "Norma", Tuesday evening, April 4th, "La Traviata" Wednesday evening, April 5th, "Il Trovatore!" Thursday evening, April 6th, "Don Giovanni!" ...

Author: Maretzek Italian Opera Company
Publisher:
ISBN:
Category : Opera programs
Languages : en
Pages : 1

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Washington Theatre. Lessee Mr. Stuart, Stage manager: Mr. S. Eytinge, prompter: Mr. T. Price ... Last night of the season and of Max Maretzek's renowned Italian Opera Troupe. Signora Gazzaniga, Signorina Cairoli, Signorina Ada Phillips (her first appearance), Signor Brignoli, Signor Amodio, Signor Gasparoni. Saturday evening, April 17, '58, will be presented, in the most perfect manner possible, and with still larger orchestral force, detailed from the Academy of Music Philadelphia, Verdi's great composition of the "Trovatore" cast in the following superb manner ...

Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 444

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Author: Joseph Horowitz
Publisher: Univ of California Press
ISBN: 0520323041
Category : Biography & Autobiography
Languages : en
Pages : 414

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As never before or since, Richard Wagner's name dominated American music-making at the close of the nineteenth century. Europe, too, was obsessed with Wagner, but—as Joseph Horowitz shows in this first history of Wagnerism in the United States—the American obsession was unique. The central figure in Wagner Nights is conductor Anton Seidl (1850-1898), a priestly and enigmatic personage in New York musical life. Seidl's own admirers included the women of the Brooklyn-based Seidl Society, who wore the letter "S" on their dresses. In the summers, Seidl conducted fourteen times a week at Brighton Beach, filling the three-thousand-seat music pavilion to capacity. The fact that most Wagnerites were women was a distinguishing feature of American Wagnerism and constituted a vital aspect of the fin-de-siècle ferment that anticipated the New American Woman. Drawing on the work of such cultural historians as T. Jackson Lears and Lawrence Levine, Horowitz's lively history reveals an "Americanized" Wagner never documented before. An entertaining and startling read, a treasury of operatic lore, Wagner Nights offers an unprecedented revisionist history of American culture a century ago. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1994.

Author:
Publisher:
ISBN:
Category : Transportation, Automotive
Languages : en
Pages : 20

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Author: John Koegel
Publisher: University Rochester Press
ISBN: 1580462154
Category : Music
Languages : en
Pages : 626

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A history -- the first ever -- of the abundant traditions of German-American musical theater in New York, and a treasure trove of songs and information.

Author: Katherine K. Preston
Publisher: Oxford University Press
ISBN: 0199371652
Category : Music
Languages : en
Pages : 649

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Book Description
Opera for the People is an in-depth examination of a forgotten chapter in American social and cultural history: the love affair that middle-class Americans had with continental opera (translated into English) in the 1870s, 1880s, and 1890s. Author Katherine Preston reveals how-contrary to the existing historiography on the American musical culture of this period-English-language opera not only flourished in the United States during this time, but found its success significantly bolstered by the support of women impresarios, prima-donnas, managers, and philanthropists who provided financial backing to opera companies. This rich and compelling study details the lives and professional activities of several important players in American postbellum opera, including manager Effie Ober, philanthropist Jeannette Thurber, and performers/artistic directors Caroline Richings, Euphrosyne Parepa-Rosa, Clara Louise Kellogg, and "the people's prima donna" Emma Abbott. Drawing from an impressive range of primary sources, including contemporaneous music and theater periodicals, playbills, memoirs, librettos, scores, and reviews and commentary on the performances in digitized newspapers, Preston tells the story of how these and other women influenced the activities of some of the more than one hundred opera companies touring the United States during the second half of the 19th century, performing opera in English for a diverse range of audiences. Countering a pervasive and misguided historical understanding of opera reception in the United States-unduly influenced by modern attitudes about the genre as elite, exclusive, expensive, and of interest only to a niche market-Opera for the People demonstrates the important (and hitherto unsuspected) place of opera in the rich cornucopia of late-century American musical theatre, which would eventually lead to the emergence of American musical comedy.

Author: Jessica C. E. Gienow-Hecht
Publisher: University of Chicago Press
ISBN: 0226292177
Category : Music
Languages : en
Pages : 353

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The German-American relationship was special long before the Cold War; it was rooted not simply in political actions, but also long-term traditions of cultural exchange that date back to the nineteenth century. Between 1850 and 1910, the United States was a rising star in the international arena, and several European nations sought to strengthen their ties to the republic by championing their own cultures in America. While France capitalized on its art and Britain on its social ties and literature, Germany promoted its particular breed of classical music. Delving into a treasure trove of archives that document cross-cultural interactions between America and Germany, Jessica Gienow-Hecht retraces these efforts to export culture as an instrument of nongovernmental diplomacy, paying particular attention to the role of conductors, and uncovers the remarkable history of the musician as a cultural symbol of German cosmopolitanism. Considered sexually attractive and emotionally expressive, German players and conductors acted as an army of informal ambassadors for their home country, and Gienow-Hecht argues that their popularity in the United States paved the way for an emotional elective affinity that survived broken treaties and several wars and continues to the present.

Author: Max Graf
Publisher:
ISBN:
Category :
Languages : en
Pages : 331

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Author: John Spitzer
Publisher: University of Chicago Press
ISBN: 0226769763
Category : History
Languages : en
Pages : 504

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Book Description
Studies of concert life in nineteenth-century America have generally been limited to large orchestras and the programs we are familiar with today. But as this book reveals, audiences of that era enjoyed far more diverse musical experiences than this focus would suggest. To hear an orchestra, people were more likely to head to a beer garden, restaurant, or summer resort than to a concert hall. And what they heard weren’t just symphonic works—programs also included opera excerpts and arrangements, instrumental showpieces, comic numbers, and medleys of patriotic tunes. This book brings together musicologists and historians to investigate the many orchestras and programs that developed in nineteenth-century America. In addition to reflecting on the music that orchestras played and the socioeconomic aspects of building and maintaining orchestras, the book considers a wide range of topics, including audiences, entrepreneurs, concert arrangements, tours, and musicians’ unions. The authors also show that the period saw a massive influx of immigrant performers, the increasing ability of orchestras to travel across the nation, and the rising influence of women as listeners, patrons, and players. Painting a rich and detailed picture of nineteenth-century concert life, this collection will greatly broaden our understanding of America’s musical history.