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• Personalities
• Classical
• Composer
• Late Romantic

(Zden’-yek Fe’-bikh) 1850–1900 Czech composer Fibich was conductor of the National Theatre in Prague and later of the Russian Orthodox Choir. Trained in Prague and Leipzig, he deployed Wagnerian techniques in his seven Czech operas, including The Bride of Messina (1884). The librettist of his opera Sárka (1897) was Anezka Schulzová, a pupil with whom he had a love affair ...

• Personalities
• Opera
• Turn of the Century

1850–1900, Czech Although little known today, during his lifetime Fibich was fêted as the successor to Smetana and certainly commanded operatic attention equal to Dvořák. He studied initially with his mother in Prague, then in Leipzig, Paris and Mannheim. His early adult life was far from easy, with the death of his wife less than a ...

• Personalities
• Classical
• Composer
• Late Romantic

de Villerville, soloists, Chapelle Royale, Petits Chanteurs de Saint-Louis, Ensemble Musique Oblique (cond) Philippe Herreweghe (Harmonia Mundi) Introduction | Late Romantic | Classical Personalities | Zdenek Fibich | Late Romantic | Classical ...

• Personalities
• Opera
• Turn of the Century

, during the New York premiere of Madama Butterfly, was not the only one to express serious concerns. Introduction | Turn of the Century | Opera Personalities | Zdenek Fibich | Turn of the Century | Opera Houses & Companies | The Birth of the Metropolitan Opera | Turn of the Century | Opera ...

• Opera
• High Romantic

his 15 operas to Russian themes, infusing many of his scores with the seductive oriental harmonies that typified the Eurasian character of his vast country. In Czechoslovakia, Zdenek Fibich (1850–1900) promoted a Czech idiom in opera, and his work was furthered by the first of the country’s great nationalist composers, Bedřich Smetana (1824–84). Traditions, national heroes and ...