How are the lovers Vrechen and Sali described in the title of a 1906 opera by Delius?
"Cuckoo in Spring"" (1912), of which McVeagh comments, ""These exquisite idylls, for all their composer's German descent and French domicile, spell 'England' for most listeners."" In 1910, Beecham put on an opera season at the Royal Opera House in London. Having access to the Beecham family's considerable fortune, he ignored commercial considerations and programmed several works of limited box-office appeal, including ""A Village Romeo and Juliet"". The reviews were polite, but ""The Times"", having praised the orchestral aspects of the score, commented, ""Mr. Delius seems to have remarkably little sense of dramatic writing for the voice"". Other reviewers agreed that"
"A Village Romeo and Juliet A Village Romeo and Juliet is an opera by Frederick Delius, the fourth of six operas. The composer himself, with his wife Jelka, wrote the English-language libretto based on the short story ""Romeo und Julia auf dem Dorfe"" by the Swiss author Gottfried Keller. The first performance was at the Komische Oper Berlin on 21 February 1907, as Romeo und Julia auf dem Dorfe. Thomas Beecham conducted the British premiere at the Royal Opera House, Covent Garden in London on 22 February 1910. The US premiere was on 26 April 1972 in Washington, D.C. While"
"lack the deep personal involvement of the later works. ""Paris"", the final work of Delius's apprentice years, is described by Foss as ""one of the most complete, if not the greatest, of Delius's musical paintings"". In each of the major works written in the years after ""Paris"", Delius combined orchestral and vocal forces. The first of these works was ""A Village Romeo and Juliet"", a music drama which departs from the normal operatic structure of acts and scenes and tells its story of tragic love in a series of tableaux. Musically it shows a considerable advance in style from the"
"Opéra Royal de Versailles in a concert version with Christophe Rousset conducting Les Talens Lyriques. The title role was sung by Andrew Foster-Williams with Veronique Gens as Déjanire. A recording of the performance was released the following year on the Aparté label. ""Scene: the palace of Hercules"" <br> Deianara awaits the return of her husband Hercules from completing his Twelve Labours. Hercules sends captives from his expedition in advance. His son Hyllus immediately falls in love with one of them, Iole. Meanwhile, Hercules' arch-enemy the goddess Juno sends Jealousy to make trouble for him with the help of Deianara's maid"
"Samson and Delilah (opera) Samson and Delilah (), Op. 47, is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. It was first performed in Weimar at the (Grand Ducal) Theater (now the Staatskapelle Weimar) on 2 December 1877 in a German translation. The opera is based on the Biblical tale of Samson and Delilah found in Chapter 16 of the Book of Judges in the Old Testament. It is the only opera by Saint-Saëns that is regularly performed. The second act love scene in Delilah's tent is one of"
"the orchestra."" In an all-Delius concert in June 1911 Beecham conducted the premiere of ""Songs of Sunset"". He put on Delius Festivals in 1929 and 1946 and presented his concert works throughout his career. He conducted the British premieres of the operas ""A Village Romeo and Juliet"" in 1910 and ""Koanga"" in 1935, and the world premiere of ""Irmelin"" in 1953. However, he was not an uncritical Delian: he never conducted the ""Requiem"", and he detailed his criticisms of it in his book on Delius. Another major 20th-century composer who engaged Beecham's sympathies was Sibelius, who recognised him as a"
"her that his love is genuine; he proposes, and she accepts him. They are joined by the others, Lycomedes now content to surrender Achilles to the Greek cause. Ulysses joins the hands of Deidamia and Achilles, and the final chorus encourages them, and us, to take our fleeting pleasures while we may. Libretto] in Italian/English of ""Deidamia"" https://www.naxosmusiclibrary.com/sharedfiles/booklets/ALY/booklet-TROY460.pdf Deidamia (opera) Deidamia (HWV 42) is an opera in three acts composed by George Frideric Handel to an Italian libretto by Paolo Antonio Rolli. It premiered on 10 January 1741 at Lincoln's Inn Fields Theatre, London. A ballad opera on the same"
"der Vogelweide, while Heidenröslein most clearly shows how well Goethe knew to follow the character of the popular ballad and, at the same time, most lively and concisely represents the poet's adventure with Friederike. Friederike was the prototype of the figures of Maria, the sister of the hero of Goethe's drama ""Goetz von Berlichingen"" (1773), and of Marie Beaumarchais in the poet's five-act tragedy ""Clavigo"" (1774). The figure of Margarete in Goethe's tragic play ""Faust"" has even more directly been given Friederike's traits outwardly and inwardly. Franz Lehár has composed an operetta ""Friederike"" on the foundation of the love-affair (1928)."
"Europa riconosciuta Europa riconosciuta (; meaning ""Europa revealed"" or ""Europa recognized"") is an opera in two acts by Antonio Salieri, designated as a ""dramma per musica"", set to an Italian libretto by Mattia Verazi. The opera takes place in Tyre in Phoenicia and tells a story of love, violence and political discord in ancient times. The central character, Europa, was once the lover of Zeus and helps resolve all disagreements after she discloses her identity – thus the title ""Europa Revealed"". Though a traditional opera seria, the work differentiates itself from several of the typical characteristics of the genre. For"
"opera concludes with all the subjects praising the extreme generosity of Titus, while he himself asks that the gods cut short his days when he ceases to care for the good of Rome. Marriages are proclaimed between Vitellia and Sesto and between Annio and Servilia. Act I, scene 2 - Aria of Vitellia, ""Deh, se piacer mi vuoi"" <br> Act I, scene 4 - Aria of Sesto, ""Opprimete i contumaci"" <br> Act I, scene 6 - Aria of Annio, ""Ah, perdona al primo affetto"" <br> Act I, scene 7 - Aria of Servilia, ""Amo te solo"" <br> Act I, scene"
"its instrumental texture. Delius began writing ""Fennimore und Gerda"" in 1908; he finished in 1910, but the premiere, intended for the Cologne Opera, was delayed by the First World War and did not take place until 21 October 1919, and then at the Opernhaus in Frankfurt. It was the composer's last opera. The United States premiere of the work was staged by the Opera Theatre of Saint Louis in June 1981 with Kathryn Bouleyn as Fennimore and Kathryn Gamberoni as Gerda. Two cousins, the writer Niels Lyhne and the painter Erik Refstrup, are in love with the consul's daughter, Fennimore."
"at that moment Hajduk's attack Velimir's estate and capture him, Obren and Ljubica. Velimir admits that he forced Ljubica to write letter to Obren. Vukosav gloats over the prisoners. Bunch of peasants led by Ljudevit suddenly show up. Vukosav tries to kill Ljubica with a knife, but Ljudevit shoots him down. At the end, all actors kneel down and start to pray. Love and Malice Love and Malice () is an opera in two acts composed by Vatroslav Lisinski to a libretto by Dimitrija Demeter. It premiered on 28 March 1846 in Zagreb and is considered to be the first"
"two separate sopranos in the 1932 premiere, a single soprano sang all these roles in the 1995 Decca recording and in the 2006 staged production in Vienna. The opera is not a straight narrative, but rather a loosely connected set of ten scenes, each with its own name. Don Juan is in love with Death personified by La Morte, the only woman he has not been able to seduce. The Shadows (six women) function as a Greek chorus, commenting on the action and on Don Juan's past life. The Shadows sing of Don Juan's sexual exploits and La Morte's passion"
"dell'arte. In this play, Arlequin and Trivelin are featured. Silvia is a young peasant girl who loves and is loved by Arlequin. Prior to the opening of the play, the prince meets her and instantly falls in love with her. He pretends to be a simple officer of the prince and befriends her. He is required by law to marry a commoner, so he sends his forces to kidnap her. The play opens with Silvia in the palace, pining for her lover, Arlequin, who has also been brought to court. A female servant of the prince, Flaminia, devises a plan"
"Compiègne (2006) and Dijon (2007). The setting is Naples. The opera opens with musicians serenading Marianne beneath her balcony. Coelio is a young man desperately trying to win the love of Marianne, who is already married to Claudio, a Napolitan magistrate. Not daring to declare himself to her, Coelio appeals to his friend Octave, a libertine, and cousin of Claudio. She refuses to love Coelio but, as a result of her husband’s rebukes, on a whim, announces her decision to take a lover, and offers Octave an assignation. However, Octave, after a certain amount of hesitation, decides to let Coelio"
"to hand over his sword in response to his accusers. However, the real assassin is arrested and found to be an agent of the Duke of Burgundy. Valentina's identity is revealed and she declares her love for Louis. The couple are married. Valentine de Milan Valentine de Milan (""Valentina of Milan"") is an opera by the French composer Étienne Méhul with a libretto by Jean-Nicolas Bouilly. It takes the form of a ""drame lyrique"" in three acts. Méhul began work on the score in 1807, revising it in 1815, but it was left incomplete when he died in 1817. His"
"given a happy ending centred on the transformation scene after the murder of Acis as the pair declare their undying love. Johann Gottlieb Naumann was to turn the story into a comic opera, ""Aci e Galatea"", with the subtitle ""i ciclopi amanti"" (the amorous cyclops). The work was first performed in Dresden in 1801 and its plot was made more complicated by giving Polifemo a companion, Orgonte. There were also two other lovers, Dorinda and Lisia, with Orgonte Lisia's rival for Dorinda's love. After John Gay's libretto in Britain, it was not until the 19th century that the subject was"
"be attractive, warm-hearted, spontaneous, and amorous."" It is generally believed that during this period he contracted the syphilis that caused the collapse of his health in later years. Delius's Paris years were musically productive. His symphonic poem ""Paa Vidderne"" was performed in Christiania in 1891 and in Monte Carlo in 1894; Gunnar Heiberg commissioned Delius to provide incidental music for his play ""Folkeraadet"" in 1897; and Delius's second opera, ""The Magic Fountain"", was accepted for staging at Prague, but the project fell through for unknown reasons. Other works of the period were the fantasy overture ""Over the Hills and Far"
"on a full-time career as a composer in Paris and then in nearby Grez-sur-Loing, where he and his wife Jelka lived for the rest of their lives, except during the First World War. Delius's first successes came in Germany, where Hans Haym and other conductors promoted his music from the late 1890s. In Delius's native Britain, his music did not make regular appearances in concert programmes until 1907, after Thomas Beecham took it up. Beecham conducted the full premiere of ""A Mass of Life"" in London in 1909 (he had premiered Part II in Germany in 1908); he staged the"
"The libretto was written in German by Claus H. Henneberg, based on a 1920 play of the same name by Yvan Goll, which was again based on ""Mélusine"", a French-language libretto written by Goll for an earlier – possibly unperformed – opera by Marcel Mihalovici in 1920. The title refers to the legendary water-spirit. Derived from French legend and later a German folk book by Thüring von Ringoltingen, the topic is transposed to modern everyday life (""modernes Alltagsleben"") in France before World War I. The main character is married to a real estate agent, but still a virgin, focused on"
"Dimitri (Joncières) Dimitri is an 1876 French-language grand opera in five acts by Victorin de Joncières to a libretto by Henri de Bornier and Paul Armand Silvestre after Schiller's incomplete play ""Demetrius"", a story based on the life of the Russian pretender False Dmitriy I (reigned 1605–1606). Dvořák's 1881 opera ""Dimitrij"" was also based on Schiller's play. Act 1: Vasili (Dimitri) returns to a Polish monastery on the Don and greets the Abbot who raised him. He recounts how he was helped by Vanda, cousin of the Polish King, and fell in love with Marina. A gypsy troupe come and"
"sends the castle up in flames. Heinrich is mortified by his killing of his own brother but is strengthened by Eva’s love and the pair look forward to a new and brighter future together. Irrelohe Irrelohe is an opera in three acts by the Austrian composer Franz Schreker, libretto by the composer. Schreker wrote the libretto in a very short time (just a few days) in 1919. The work takes its name from a train station called Irrenlohe which Schreker passed through during a journey to Nuremberg in March 1919. Composition occupied Schreker from 1920 until 1922. The score was"
"taste. He offered the libretto to Franz Liszt who also declined it. The libretto was eventually adapted by O. Schlemm for the composer Jan Levoslav Bella who composed an opera on it between 1880 and 1890. (See ""Wieland der Schmied (opera)"".) This was eventually produced in Bratislava, Czechoslovakia in 1926. Revivals were produced in Slovak, under the title ""Kováč Wieland"". Swanhilde is the daughter of a marriage between a mortal woman and a fairy king, who forbids his wife to ask about his origins; on her asking him he vanishes. Swanhilde and her sisters are however able to fly as"
"Der Kuhreigen Der Kuhreigen is an opera (called a 'musikalisches Schauspiel' or 'musical play') in three acts by the Austrian composer Wilhelm Kienzl. The libretto, by Richard Batka, is after Rudolf Hans Bartsch's novel ""Die kleine Blanchefleur"". It was first performed at the Volksoper in Vienna on 23 November 1911. Set in revolutionary France, this is the love story of the Swiss Sergeant Primus Thaller, condemned for singing the banned Swiss 'Kuhreigen' folksong, and Blanchefleur, wife of the Marquis Massimelle, who saves him and then herself becomes a victim of the revolution. Richard Tauber, who was a favourite of the"
"the score contained passages of great beauty, but was ineffective as drama. During the First World War, Delius and Jelka moved from Grez to avoid the hostilities. They took up temporary residence in the south of England, where Delius continued to compose. In 1915, ""The Musical Times"" published a profile of him by his admirer, the composer Philip Heseltine (known as ""Peter Warlock""), who commented: [H]e holds no official position in the musical life of the country [i.e. Britain]; he does not teach in any of the academies, he is not even an honorary professor or doctor of music. He"
"La scuola de' gelosi La scuola de' gelosi (""The School of Jealousy"") is a ""dramma giocoso"" in two acts by Antonio Salieri, set to a libretto by Caterino Mazzolà. It was first performed at the Teatro San Moisè in Venice on 27 December 1778. In 1783 it was given in Vienna, to inaugurate the reestablishment of the Italian Opera troupe. Salieri revised the score for the 1783 performances, creating new arias and expanding the role of woodwinds and brass in the scoring of the work. The cast including Francesco Benucci as Blasio and Nancy Storace as the countess, the original"
"Mozart and Salieri (opera) Mozart and Salieri (, ""Motsart i Salyeri"") is a one-act opera in two scenes by Nikolai Rimsky-Korsakov, written in 1897 to a Russian libretto taken almost verbatim from Alexander Pushkin's 1830 verse drama of the same name. The story follows the apocryphal legend that Antonio Salieri poisoned Wolfgang Amadeus Mozart out of jealousy over the latter's music. Rimsky-Korsakov incorporated quotations from Mozart's ""Requiem"" and ""Don Giovanni"" into the score. Richard Taruskin has placed this opera in the historical context of the development of the realistic tradition in Russian opera. The first performance took place at the"
"The Tale of Tsar Saltan (opera) The Tale of Tsar Saltan (, ""Skazka o Tsare Saltane"") is an opera in four acts with a prologue (a total of seven scenes) by Nikolai Rimsky-Korsakov. The libretto was written by Vladimir Belsky, and is based on the poem of the same name by Aleksandr Pushkin. The opera was composed in 1899–1900 to coincide with Pushkin's centenary, and was first performed in 1900 in Moscow, Russia. The lengthy full title of both the opera and the poem is ""The Tale of Tsar Saltan, of his Son the Renowned and Mighty Bogatyr Prince Gvidon"
"dice to do the marrying. Fortunately, he has already fallen in love with a girl in a lilac domino. However, Georgine learns of the dice game, believes that André is wooing her only for her money, and breaks things off with him even though she returns his love. A gypsy violinist helps to solve the complications and unite the lovers. All ends happily. The Lilac Domino Der lila Domino (The Lilac Domino) is an operetta in three acts by Charles Cuvillier. The original German libretto is by Emmerich von Gatti and , about a gambling count who falls in love"
"modest fortune from her distinguished Schleswig-Holstein family and her wealth gave Delius financial security. Through her parental heritage, Jelka was widely read and spoke a number of languages, and it was she who often suggested texts her husband could set to music. She identified the works of Ernest Dowson for his ""Songs of Sunset"", and Walt Whitman for ""Songs of Farewell"". Her German translations of these texts were often published along with the music. Her artistic skills were also invaluable in sketching designs for the scenery in Beecham's 1920 revival of ""A Village Romeo and Juliet"". Her own artwork appeared"
"Scala and to undertake a tour of Italy. Salieri's Italian tour of 1778–80 began with the production of ""Europa riconosciuta"" (""Europa Recognized"") for La Scala (revived in 2004 for the same opera house's re-opening following extensive renovations). From Milan, Salieri included stops in Venice and Rome before returning to Milan. During this tour he wrote three new comic operas and he collaborated with Giacomo Rust on one opera, """" (""The Talisman""). Of his Italian works one, ""La scuola de' gelosi"" (""The School for Jealousy""), a witty study of amorous intrigue and emotion, would prove a popular and lasting international success."
"command of the General, are to boost camp morale by singing. But the prisoners' destiny reminds all of their own sacrifices and losses during this war. Simplicius retreats into the forest. Others follow him. They meet with a peasant (Wendelin) who had all but given up hope of ever being reunited with his son. The fact that Wendelin is still alive negates the will made so many years before by his wife, the Countess von Vliessen. Finally, Tilly and Simplicius as well as Hildegarde and Arnim find their happiness in each other. Simplicius (operetta) Simplicius is an operetta by Johann"
"of love, subdues Mars, god of war, with the help of Minerva. In the 1754 revision, the prologue was eliminated. Background note: Castor and Pollux are famous heroes. Despite being twin brothers, one of them (Pollux) is immortal and the other (Castor) is mortal. They are both in love with the princess Telaira (Télaïre), but she loves only Castor. The twins have fought a war against an enemy king, Lynceus (Lyncée) which has resulted in disaster: Castor has been slain. The opera opens with his funeral rites. Telaira expresses her grief to her friend Phoebe (Phébé) in ""Tristes apprêts"", one"