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The government-enforced isolation of Native Americans in the United States has fostered cultural independence, in contrast to the marked musical acculturation between the Hispanic-speaking and Amerindian societies in South America. But in modern times, North American groups have tended to set aside tribal differences and seek a pan-tribal cultural unity. The ‘Ghost Dance’, a religious cult led by Jack ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Almost no Texan musicians have ever herded cattle, but most like to think of themselves as cowboys nonetheless. They imagine themselves pulling out an acoustic guitar after dinner and singing a song about the adventures and frustrations they have known. And not just any old song – it has to be one they wrote and it has to be more ...

Source: The Definitive Illustrated Encyclopedia of Country Music, consultant editor Bob Allen

The Romantic period in opera, music, literature and art lasted more than a century overall, from around 1790 – the year after the French Revolution – to 1910, four years before the outbreak of the First World War. In this context, the meaning of ‘romantic’ went far beyond the usual amorous connotations: it stood for the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Free-shooter’ The Faustian theme, with its connotations of the black arts, was not new to opera when Weber wrote Der Freischütz. Since 1796 there had already been eight operas based on the sixteenth-century legend as composers responded to one of the most seductive themes of the early Romantic era: a pact with the devil for personal gain or ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Composed: 1927–28 Premiered: 1934, Hartford, Connecticut Libretto by Gertrude Stein with scenario by Maurice Grosser Background The saints are introduced. Note that St Teresa of Avila is sung by two performers (soprano and contralto). Act I Seven tableaux involving St Teresa II, described as a ‘Pageant, or Sunday School Entertainment’, are revealed behind a curtain on the ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘The Trojans’ Composed: 1856–58 Premiered: 1890, Karlsruhe Libretto by the composer, after the Aeneid by Virgil Act I The Trojans celebrate peace and admire the wooden horse left by the Greeks after the siege. Cassandre (Cassandra), King Priam’s daughter, forsees the fall of Troy. Her husband Chorèbe (Coroebus) urges her to join the celebrations, but she begs ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

While writing Lucia di Lammermoor, Donizetti observed a common custom of the 1830s; tailoring his music to the voices of the original cast. For example, Fanny Tacchinardi-Persiani (1812–67), who created the role of Lucia, was technically brilliant and Donizetti’s writing reflected her outstanding abilities. Matching music to performers was a shrewd move: the formula increased the popularity of ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Verdi was an enthusiastic admirer of Shakespeare and Macbeth was the first opera based on his work. It premiered at the Teatro della Pergola in Florence on 14 March 1847, with Verdi himself conducting. Performances followed throughout Europe, including Madrid (1848), Vienna (1849), and New York (1858). For the premiere in Paris, at the Théâtre Lyrique on 21 ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

Premiered: 1705, Hamburg Libretto by Barthold Feind Act I King Tiridates of Armenia and his queen, Ormoena, have been captured and brought to Rome, where Nero falls in love with the beautiful Ormoena. Before he can marry her, however, Nero must first rid himself of his own virtuous wife, Octavia. Act II Nero orders ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

The Queen of Spades, based on another story by Pushkin, was Tchaikovsky’s penultimate opera and one in which western influences were particularly evident. It was first produced at the Maryinsky Theatre in St Petersburg on 19 December 1890. However, 20 years passed before it was staged at the Metropolitan Opera, New York on 5 March 1910 and ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

First performed in Venice on 14 September 1954 at Il Teatro La Fenice, this chilling ghost tale is based on Henry James’s short story, with a libretto written by Myfanwy Piper. The action ignites as a new governess arrives at Bly House to take care of two children, Miles and Flora. Depending on the stage director’s interpretation, ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1913–76, English Lord Edward Benjamin Britten was one of England’s most important composers. Britten was a musical ambassador who, working with a close-knit group of collaborators, helped develop a thriving and vital British opera scene. Indeed, Peter Grimes (1945) heralded a new era for British music and for the post-war performing arts in general. A Musical Start ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

‘What I Am’, 1989 Late 1980s folk rockers, Edie Brickell And The Bohemians were really riding on the talent of chief songwriter Edie Brickell. ‘What I Am’ was a Top 10 hit from their debut LP, Shooting Rubberbands At The Stars, though the group disbanded after its 1990 follow-up, Ghost Of A Dog, failed to perform ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(E’-gor Strvin’-ske) 1882–1971 Russian composer Stravinsky was a Russian composer, naturalized to French citizenship, then ultimately became American. He was one of the most formative influences on twentieth-century music. He came from a musical background (his father was principal bass singer at the Imperial Opera in St Petersburg) and studied with Rimsky-Korsakov, from whom he acquired a mastery ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

February Barrett Resurfaces With Stars Like the banquet ghost at Shakespeare’s Macbeth, Syd Barrett continued to manifest himself at unlikely times, even appearing one day at Abbey Road Studios in 1971 when Ron Geesin was working on sections of ‘Atom Heart Mother’. In 1972, he was encouraged by former Tomorrow drummer ‘Twink’ to form a three-piece band including ...

Source: Pink Floyd Revealed, by Ian Shirley
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