(Guitar, harmonica, vocals, 1910–76) Chester Arthur Burnett was born in White Station, Mississippi. Inspired by Charley Patton, Wolf earned his living as a farmer in the West Memphis, Arkansas area and was strictly a weekend performer until he was almost 40 years old. He got a radio spot in 1948 and the sound of that ...
(Guitar, vocals, 1910–76) Howlin’ Wolf was born Chester Burnett in West Point, Mississippi, and learned the blues from Charley Patton and harmonica from Sonny Boy Williamson, who married his half-sister. After the Army, he began performing around West Memphis, Arkansas, wowing fans with his aggressive vocals and newfangled electric guitar. Promoting himself on ...
(Wôlf’-gäng Am-ä-da’-oos Mot’-särt) 1756–91 Austrian composer The ‘miracle which God let be born in Salzburg’ – to quote his father, Leopold – came into the world on 27 January 1756 and was baptized the next day as Joannes Chrysostomus Wolfgangus Theophilus; he normally used only the last two names, in the forms Wolfgang Amadeus or Wolfgang Amadè. His father, ...
(Hoo’-go Vulf) 1860–1903 German composer A fervent Wagnerian, Wolf worked in Vienna as a music critic. As a composer he was master of the miniature: his songs are mini-dramas which encapsulate Wagnerian expression within a lyrical, intimate form, the subtle vocal melodies matched by an equally important, symphonic piano part. The first collections, settings of poems by ...
(Guitar, vocals, b. 1943) This New Orleans guitarist started out accompanying R&B singers, but as a leader in the 1970s he developed a strong local following and gradually crossed over to wider audiences through appearances at the New Orleans Jazz & Heritage Festival. He debuted on Rounder Records in 1986 with the funky Wolf Tracks, following up ...
1756–91, Austrian Alone of the great Viennese classical ‘trinity’ – Haydn, Mozart and Beethoven – Mozart (1756–91) was a born theatre animal. From boyhood, opera was his greatest passion and he built on existing conventions to enrich and deepen three distinct types of opera: opera seria, opera buffa and German Singspiel. The Child Prodigy Wolfgang Amadeus Mozart ...
Mozart had long admired the inspired synthesis of French and Italian opera in Gluck’s ‘reform’ works. His greatest opera seria, Idomeneo, premiered in Munich on 29 January 1781, draws much from Gluck, especially the hieratic scenes of Alceste (another opera concerned with human sacrifice). Yet its harmonic daring, orchestral richness and lyrical expansiveness are entirely Mozart’s ...
‘The Abduction from the Seraglio’ Premiered on 16 July 1782, Die Entführung aus dem Serail quickly became his most popular work and sealed the composer’s operatic reputation in German-speaking lands. The Viennese expected plenty of laughs from a Singspiel. Mozart obliged with his first great comic creation: the ‘foolish, coarse and spiteful’ (Mozart’s words) harem overseer Osmin, a larger-than-life ...
‘The Marriage of Figaro’ The librettist Lorenzo Da Ponte wrote that Le nozze di Figaro offered ‘a new kind of spectacle … to a public of such assured taste and refined understanding’, and it would be fair to say that after Figaro’s premiere on 1 May 1786, opera buffa was never quite the same again. There were precedents, of ...
Composed in 1787 and triumphantly premiered in Prague on 29 October that year, Don Giovanni reworks the old legend of the serial seducer, drawing on the Spanish play by Tirso de Molina (1630) and Molière’s Don Juan (1665). The opera revolves around the tensions of class and sex that were so central to Figaro. Ensembles and propulsive ‘chain’ finales ...
‘That’s Women for You’ While Don Giovanni was the nineteenth century’s favourite Mozart opera, Così fan tutte, premiered on 26 January 1790, was widely considered frivolous, immoral and (not least by Beethoven) an insult to women. Today we can see it as perhaps the most ambivalent and disturbing of Mozart’s three Da Ponte comedies. In the composer’s ...
‘The Magic Flute’ The librettist of Die Zauberflöte, Emanuel Schikaneder, Mozart’s old friend and fellow freemason, drew on an eclectic variety of sources, including a French novel, Sethos, Paul Wranitzky’s magic opera Oberon (1789) and the oriental fairy tale Lulu. In the bird catcher Papageno, Schikaneder created for himself a character that could exploit ...
‘Titus’ Clemency’ Premiered in Prague on 6 September 1791, Mozart’s last opera is based on an old Metastasio libretto, updated (with added ensembles and choruses) for contemporary taste. Popular in the early nineteenth century, it then went into eclipse. Nowadays, though, La clemenza di Tito is valued on its own terms rather than as a pale ...
1749–1832, German Johann Wolfgang von Goethe, greatest of all German poets and dramatists, created what became almost a genre in its own right with his Faust (1808). The theme captured the imaginations of numerous composers and among the 122 operas based on Goethe’s writings, the Faustian legend formed the plot for 20 of them. Goethe did more ...
1876–1948, Italian Born as Ermanno Wolf, Wolf-Ferrari added his mother’s maiden name to his own when he was 19. He showed ability as both an artist and a musician and initially studied at the Accademia dei Belle Arti in Rome. By the late 1890s, however, he had become a student of Arrigo Boito in Milan and unsuccessfully ...
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