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• Personalities
• Classical
• Conductor
• Contemporary Classical

b. 1941 English conductor Hogwood began his career as a harpsichord player, and was a founding member of the Early Music Consort in 1967. In 1973 he founded a period instrument orchestra, the Academy of Ancient Music, with which he recorded the complete Mozart symphonies and two Mozart operas. He was director of music of the St Paul ...

• Major Operas
• Late Baroque
• Opera

A small number of Handel’s dramatic works are known as the ‘magic operas’, including Rinaldo, Teseo (1712), Amadigi (1715), Orlando (1733) and Alcina. These operas feature protagonists who use sorcery to manipulate love, usually for evil ends. Most common among these operas is the prima-donna sorceress figure, who attempts to compel a castrato hero away from his true ...

• Personalities
• Classical
• Contemporary Classical
• Singer

b. 1967 German countertenor Scholl studied at the Schola Cantorum in Basle. He has worked with many leading Baroque specialists, including William Christie, Philip Herreweghe, Christopher Hogwood and Ton Koopman, singing oratorios and cantatas by J. S. Bach and Handel. His recordings include Handel’s Messiah and Solomon, and Bach’s Christmas Oratorio and B minor Mass. He ...

• Personalities
• Classical
• Conductor
• Contemporary Classical

b. 1929 Austrian conductor Harnoncourt was a cellist in the Vienna Symphony Orchestra 1952–62. He founded the Vienna Concentus Musicus, a period instrument orchestra, in 1953. He conducted and recorded Monteverdi operas in Zürich in the 1970s and Mozart operas in the 1980s; since then he has broadened his repertory and often conducts the Vienna Philharmonic Orchestra. Introduction | ...

• Opera
• Early & Middle Baroque

As part of the Renaissance (literally ‘rebirth’), which began in Italy in around 1450, the Baroque era was a revolution within a revolution. It saw a break from the Medieval view of humanity as innately sinful. Instead, Renaissance thinking cast individuals as a dynamic force in their own right and gave free rein to human imagination, ingenuity and ...

• Classical
• Early Baroque

The word ‘Baroque’ is derived from the Portuguese barrocco, a term for a misshapen pearl, and it was still with this sense of something twisted that it was first applied – to the period between about 1600 and 1750 – in the nineteenth century. In 1768, Jean-Jacques Rousseau wrote: ‘a Baroque music is that in which the harmony ...

• Classical
• Renaissance

‘Renaissance’ is a French word meaning ‘rebirth’. It has been used since the nineteenth century to describe the period between c. 1300 and 1600. Three hundred years is a long time for a single historical or cultural period, and the strain shows in any attempt to define the term ‘Renaissance’. The cultural phenomenon central to the Renaissance was a revival ...

• Classical
• Early Baroque

The revival and imitation of ancient theatrical genres in sixteenth-century Italy bore fruit in seventeenth-century England and France in the works of the great dramatists of those countries: William Shakespeare and Christopher Marlowe, Pierre Corneille and Jean Racine. In Italy, however, the sixteenth-century innovations in spoken drama were followed in the next century not by a great national ...

• Classical
• Renaissance

Classical ideals began to emerge and take shape in musical treatises in the late fifteenth century. One of the most famous exponents of this was Johannes Tinctoris (1430–after 1511), who, in his writings, claimed that music had been reborn in the works of John Dunstaple (c. 1390–1453) and his followers around 1440. Also central to Renaissance thinking about music ...

• Major Operas
• Modern Era
• Opera

Composed: 1974–75 Premiered: 1976, Avignon Libretto by Christopher Knowles, Lucinda Childs and Samuel M. Johnson Einstein on the Beach is divided into four acts, separated by five intermezzi, which allow for set changes. The performance is continuous and the audience are at liberty to leave and return as they wish. There is no plot, but there ...

• Major Operas
• Early & Middle Baroque
• Opera

‘Orpheus, a Legend in Music’ L’Orfeo, favola in musica consists of a prologue and five acts – a prolonged performance for its time. Monteverdi used several devices to extend the action of the opera. He wrote recitatives to be performed between the duets, as well as polyphonic madrigals, of which he was a master. Further additions included ...

• Major Operas
• Modern Era
• Opera

Janáček referred to this opera’s protagonist, Emilia Marty, as ‘the icy one’. Perhaps he was thinking of Kamila Stösslová, the opera singer in Capek’s comedy who so fascinated Janáček that he immediately requested the rights for a libretto. Capek was sceptical that the elderly composer could understand his play, yet the final result was superlative and Capek had ...

• Classical
• Contemporary Classical

European culture lay in ruins after the end of World War II. There were many who, in company with the philosopher Theodor Adorno, felt that Nazi atrocities such as Auschwitz rendered art impossible, at least temporarily. Others, though, felt that humanity could only establish itself anew by rediscovering the potency of art, including opera. On ...

• Personalities
• Classical
• Composer
• Early Romantic

1781–1861 American composer Heinrich was one of the most important figures in American musical life in the nineteenth century. Born in Bohemia to a German family, he tried unsuccessfully to set up business in America, and in 1817 he settled there to embark on a musical career, becoming the country’s first professional composer, and being dubbed by ...

• Personalities
• Blues
• Guitar Heroes
• Jazz
• Prog Rock

Defying categorization with his blend of rock, blues, country and melodic pop styles, Eric Johnson is highly revered by guitarists of all genres for his skill and perfectionism on stage and in the studio, and for his uniquely rich, overdriven tone. Born in 1954, Johnson grew up in Austin, Texas. Encouraged by his parents ...