Which English composer produced the operas 'Artaxerxes', 'Love in a Village' and the 'Fairy Prince' in the decade 1761 to 1771?
"of Shakespeare and his compatriots; ""the bears in ""Mucedorus,"" ""Oberon,"" and ""The Winter's Tale"" were all connected..."" Thomas Arne and George Colman the Elder also used the work as the basis for their masque ""The Fairy Prince"", which premiered at the Royal Opera House, Covent Garden on 12 November 1771. An extremely rare modern production of ""Oberon, the Faery Prince"" occurred in Cleveland, Ohio in 1993, organized by personnel from Case Western Reserve University and Cleveland State University. The production, based on surviving stage designs and music, supplemented with adaptations of Jacobean songs and choreography, was recorded and released on"
"the first English composer to experiment with Italian-style all-sung comic opera, with his greatest success being ""Thomas and Sally"" in 1760. His opera ""Artaxerxes"" (1762) was the first attempt to set a full-blown opera seria in English and was a huge success, holding the stage until the 1830s. Although Arne imitated many elements of Italian opera, he was perhaps the only English composer at that time who was able to move beyond the Italian influences and create his own unique and distinctly English voice. His modernized ballad opera, ""Love in a Village"" (1762), began a vogue for pastiche opera that"
"was the first English composer to experiment with Italian-style all-sung comic opera, unsuccessfully in ""The Temple of Dullness"" (1745), ""Henry and Emma"" (1749) and ""Don Saverio"" (1750), but triumphantly in ""Thomas and Sally"" (1760). His opera ""Artaxerxes"" (1762) was the first attempt to set a full-blown opera seria in English and was a huge success, holding the stage until the 1830s. His modernized ballad opera, ""Love in a Village"" (1762), was equally novel and began a vogue for pastiche opera that lasted well into the 19th century. Arne was one of the few English composers of the era who, although"
"and Sally"" (1760). His opera ""Artaxerxes"" (1762) was the first attempt to set a full-blown opera seria in English and was a huge success, holding the stage until the 1830s. Arne played a major role in moving the ballad opera into a more pastoral form, together with Isaac Bickerstaffe producing ""Love in a Village"" (1763) using more original music that imitated, rather than reproduced, existing ballads. It was followed by other works like William Shield's ""Rosina"" (1781). Although the form declined in popularity towards the end of the eighteenth century, it was maintained into the nineteenth century by figures such"
"most popular full-length English opera before the 20th century. In a 1791 visit to London, Joseph Haydn was impressed by a performance of ""Artaxerxes"" he attended and admitted that he had no idea such an opera existed in the English language.I In 1769 Arne composed the song ""Soft Flowing Avon"", with lyrics by Garrick, for the Shakespeare Jubilee held by Garrick in Stratford-upon-Avon to commemorate the life of William Shakespeare. In 1777, shortly before his death, Arne and his wife were reconciled. They had one son, Michael Arne who was also a composer. Arne is buried at St Paul's, Covent"
"in ""Artaxerxes"", is in the Mathews collection of the Garrick Club, which contains an anonymous portrait. A Miss Stephens, possibly an elder sister, made, as Polly in the ‘Beggar's Opera,’ a successful first appearance on the stage on 29 November 1799, and played in 1800 and 1801 Sophia in ‘Of Age To-morrow,’ Violetta in the ‘Egyptian Festival,’ Blanche in Mrs. Plowden's ‘Virginia,’ Rosetta in ‘Love in a Village,’ and other parts. Catherine Stephens, Countess of Essex Catherine Stephens, Countess of Essex (18 September 1794 – 22 February 1882) was an English operatic singer and actress. Stephens was the daughter of"
"Sally"" and Mandane in his 1762 opera ""Artaxerxes"". Eventually Brent and Arne went their separate ways and she married a violinist named Thomas Pinto in 1766. During the 1760s Arne frequently collaborated with the Irish writer Isaac Bickerstaffe. ""Thomas and Sally"" was the first English comic opera to be sung throughout (it contained no dialogue). ""Artaxerxes"" was one of the most successful and influential English operas of the 18th century and is the only known attempt to write an Italianate, Metastasian ""opera seria,"" in the English language. It was frequently performed in London into the 1830s and it was the"
"by Parisian vaudeville and the burlesques and musical plays of Thomas d'Urfey (1653–1723), a number of whose collected ballads they used in their work. Gay produced further works in this style, including a sequel under the title ""Polly"". Henry Fielding, Colley Cibber, Arne, Dibdin, Arnold, Shield, Jackson of Exeter, Hook and many others produced ballad operas that enjoyed great popularity. Ballad opera was attempted in America and Prussia. Later it moved into a more pastoral form, like Isaac Bickerstaffe's ""Love in a Village"" (1763) and Shield's ""Rosina"" (1781), using more original music that imitated, rather than reproduced, existing ballads. Although"
"1762, Thomas Arne's ""Love in a Village"" presented a new form of ballad opera, with mainly new music and much less reliance on traditional tunes. It was followed in similar style by Charles Dibdin's ""Lionel and Clarissa"" in 1768. ""The Disappointment"" (1762) represents an early American attempt at such a ballad opera. In 1736 the Prussian ambassador in England commissioned an arrangement in German of a popular ballad opera, ""The Devil to Pay"", by Charles Coffey. This was successfully performed in Hamburg, Leipzig and elsewhere in Germany in the 1740s. A new version was produced by C. F. Weisse and"
"for the Royal Fireworks"". His opera, including ""Rinaldo"" (1711, 1731), ""Orlando"" (1733), ""Ariodante"" (1735), ""Alcina"" (1735) and ""Serse"" (1738, also known as ""Xerxes""), helped make Britain second only to Italy as a centre of operatic production. His sacred drama and choral music, particularly the coronation anthem ""Zadok the Priest"" (written for the inauguration of George II in 1727) which has remained part of the ceremony for British monarchs, and above all, the ""Messiah"", helped set the British taste in music for the next 200 years. He was a major influence on future classical composers including Haydn, Mozart and Beethoven. Ballad"
"no equal to him"". His ""Wild Oats"" has been revived in 1976, 1995 and 2012 by the Royal Shakespeare Company, the Royal National Theatre and the Bristol Old Vic respectively. John O'Keeffe (writer) John O'Keeffe (24 June 1747 – 4 February 1833) was an Irish actor and dramatist. He wrote a number of farces, amusing dramatic pieces and librettos for pasticcio operas, many of which had great success. Among these are ""Tony Lumpkin in Town"" (1778), ""Love in a Camp"" (1786), and ""Omai"" (1785), an account of the voyages of the Tahitian explorer Omai, and ""Wild Oats"" (1791). O'Keeffe was"
"by Marcos Portugal in 1806 for Lisbon and many other times. The text was often altered. Thomas Arne's 1762 ""Artaxerxes"" is set to an English libretto that is based on Metastasio's. Mozart's aria for soprano and orchestra ""Conservati fedele"" (K. 23, 1765) is set to the parting verses of Mandane (Artaserse's sister) at the end of the first scene. The opera was famously performed in 1734 as a pastiche of songs by various composers such as Johann Adolf Hasse, Attilio Ariosti, Nicola Porpora and Riccardo Broschi. It was in this that Broschi's brother, Farinelli, sang one of his best-known arias,"
"Brunswick, an exiled German aristocrat and London character, lent Maddox the cash to tide him over during the first few months of his management. His first productions at the Princesses were the opera ""La Sonnambula"" and an Oriental burlesque. The chief feature of Maddox's reign were English versions of Italian operas, with productions of Anna Bolena, Lucia di Lammermoor, ""Otello"", ""I puritani"" and ""Lucrezia Borgia"". Maddox prospered, and gradually enlarged his sphere of operations. The first English version of the French vaudeville, L'homme Blesse, was brought out at the Princesses in 1842-43, after which he staged Christmas, Easter, and Whitsuntide"
"They subsequently worked together on ""Judith"", an oratorio first performed at Drury Lane in February 1760. He went on to produce many successful comedies based on Marivaux and other French playwrights and opera librettos. In 1762 he and Arne wrote ""Love in a Village"" considered the first English comic opera. His ""The Maide of the Mill"" (1765), with music by Samuel Arnold and others, was also very successful. Bickerstaffe also wrote bowdlerised versions of plays by William Wycherley and Pedro Calderon de la Barca. His ""Love in the City"" (1767), ""The Padlock"" (1768), based on ""The Jealous Husband"" in Cervantes'"
"at the Royal Opera, Covent Garden in London on 8 December 1762. One of its best known songs is the ""Miller of Dee"". ""Love in a Village"" was received enthusiastically at its premiere and became one of Arne's more popular operas, enjoying 40 performances in its first season alone. The work's success began a vogue for pastiche opera in England that lasted well into the 19th century. The opera has subsequently been revived numerous times, both during Arne's lifetime and after. A notable revival occurred at the Lyric Hammersmith in London in 1928, using an adaptation by Alfred Reynolds. The"
"November 1757 and October 1762. After a new organ had been installed at St Werburgh's, he returned there for the period April 1767 to September 1769. In late 1769, following a London repetition of the Dublin production of ""Amintas"" by George Rush (died 1780), to which Carter had written a new overture, he moved to London, obviously attempting to gain a foothold in operatic work, which initially met with little success. In 1787, he became the musical director of the newly built Royalty Theatre, and in 1789 of the private theatre of the Duke of Barrymore at Wargrave. The most"
"set English texts to music had at first been more limited; he had spent the years 1717 to 1719 as composer in residence to the wealthy Duke of Chandos where he had written church anthems and two stage works, ""Acis and Galatea"" and ""Esther""; and had composed vocal music to English words for various royal occasions, including a set of Coronation anthems for George II in 1727, which had made a huge impact. In 1731, a performance of the 1718 version of ""Esther"", a work in English based on a Biblical drama by Jean Racine, was given in London without"
"Purcell's operas and masques in the revivals, at Drury Lane in 1703–08, of ""The Fairy-Queen"", ""Timon of Athens"", ""Amphitrion"", ""Libertine Destroyed"", ""Tempest"", ""King Arthur"", ""Indian Queen"", and ""Œdipus"". He also participated in the introduction of opera in the Italian style from 1705, appearing in ""Arsinoë"" (1705), ""Camilla"" (1706), ""Rosamond"" (1707), ""Thomyris"" (1707), and ""Love's Triumph"" (1708). Some of these productions had mixed English and Italian singers (bilingual performances), but when the fashion became entirely Italian Leveridge was replaced in the bass roles by the Italian basso Giuseppe Maria Boschi. He then began a short association with Handel, in 1713 to"
"John Fletcher. ""Injur'd Love, or the Cruel Husband"" (1707), altered from Webster's ""The White Devil"", seems never to have been acted. In 1682 Tate collaborated with John Dryden to complete the second half of his epic poem ""Absalom and Achitophel"". Tate wrote the libretto for Henry Purcell's opera ""Dido and Aeneas""; its first known performance was in 1689. He also wrote the text for Purcell's Birthday Ode ""Come Ye Sons of Art"" in 1694. Tate also translated ""Syphilis sive Morbus Gallicus"", Girolamo Fracastoro's Latin pastoral poem on the subject of the disease of syphilis, into English heroic couplets. Tate's name"
"best company that perhaps ever were together, Quinn, Garrick, Mrs.Pritchard, and Mrs. Cibber. Letters and other literature of the period attest to the vast financial losses suffered by producers of opera. Lord Middlesex had a passion for producing operas, and he was willing to sacrifice his own fortune and the fortunes of others to bring new works to the stage. He invited Terradellas to come to London for the 1746-47 season. His arrival was celebrated by the inclusion of one of his arias, Merope II,12 (Artaserse II,7) in the pasticcio, Anibale in Capua. This opera was the first of four"
"to present operas, including ""Artaxerxes"" by Thomas Arne, with Gaetano Guadagni in a leading role. Operatic performances were illegal without a royal licence; Madame Cornelys claimed unsuccessfully that they were charity benefits, as reported by Horace Walpole:To avoid the Act, she pretended to take no money, and had the assurance to advertise that the subscription was to provide coals for the poor. ... I concluded she would open a bawdy house next for the interests of the Foundling Hospital, and I am not quite mistaken, for they say one of her maids, gained by Mr. Hobart, affirms that she could"
"Raymond and Agnes Raymond and Agnes is an opera in 3 (originally 4) acts by the composer Edward Loder to an English libretto by Edward Fitzball. It is very loosely based on elements from Matthew Lewis's classic Gothic novel, ""The Monk"" (1796) and also includes elements of Lewis's The Castle Spectre (1797). The opera's plot contains elements of love and revenge, brigandry, incarceration, a shooting match and the supernatural. The opera is considered to be among the most important serious operas of the British Victorian era. The opera was first performed on 14 August 1855 at the Theatre Royal, Manchester."
"Opera House, 1808; ‘Free Knights,’ with the popular duet, ‘When a little farm we keep,’ 1810; and in collaboration with Reeve, who wrote the lighter airs, ‘Ramah Droog,’ 1798; ‘The Turnpike Gate,’ 1799; ‘Paul and Virginia,’ 1800; ‘The Blind Girl,’ 1801; and ‘Chains of the Heart,’ which gave much pleasure to George III, 1802. Mazzinghi's concertanti were played at the Professional Concerts (Pohl, Haydn in London), and his miscellaneous compositions were popular, especially those for the pianoforte. He taught the pianoforte to many influential pupils, among them the Princess of Wales, afterwards Queen Caroline. He was entrusted with the arrangement"
"when Britten once again encountered the music of the Balinese gamelan and saw for the first time Japanese Noh plays, which he called ""some of the most wonderful drama I have ever seen."" These eastern influences were seen and heard in the ballet ""The Prince of the Pagodas"" (1957) and later in two of the three semi-operatic ""Parables for Church Performance"": ""Curlew River"" (1964) and ""The Prodigal Son"" (1968). By the 1960s, the Aldeburgh Festival was outgrowing its customary venues, and plans to build a new concert hall in Aldeburgh were not progressing. When redundant Victorian maltings buildings in the"
"He returned to the House of Commons as Member for East Grinstead from 1761 until 1765. In that year, he succeeded his father as Duke of Dorset, and also as Lord Lieutenant of Kent, and was made a Privy Councillor in 1766. However, he did not long enjoy the ducal honours. Upon his death in 1769 in London, he was succeeded by his nephew, John Sackville. After a second grand tour to continental Europe in 1737 and 1738, he returned to England in January 1739 and staged an opera, Angelico e Medoro, with music by Giovanni Battista Pescetti from a"
"music, including 'Façade Suite' by William Walton for 'Northern News', Ravel -Mussorgsky's 'Pictures at an Exhibition' for 'The Verdict Is Yours', 'English Dances' by Malcolm Arnold for 'What the Papers Say' and many other highly successful and recognisable soundtracks. Probably the most famous piece he commissioned was called 'Lancashire Blues' by Eric Spear for a new soap opera with the working title of 'Florizel Street'. The story goes that a tea lady named Agnes remarked that 'Florizel' sounded like a brand of disinfectant, so the name of the soap opera was changed. Since it first aired in 1960, the 'Lancashire"
"based on Shakespeare - ""The Fairies"" (3 February 1755 at the Drury Lane, London), after ""A Midsummer Night's Dream"", and ""The Tempest"" (11 February 1756, Drury Lane, London) - and a successful afterpiece, ""The Enchanter"" (13 December 1760, Drury Lane, London). His successful collaboration with Benjamin Stillingfleet produced his last opera ""Medea"" in 1763. On the oratorio front, ""David's Lamentation over Saul and Jonathan"" on John Lockman's text was performed on 22 February 1740 at the Hickford's Rooms. That same year, he also composed ""The Seasons"" on a poem by James Thomson. Between 1759 and 1768 he directed the annual"
"1828 at the Park Theatre in New York City with a cast that included Elizabeth Austin as Semira. ""Artaxerxes"" remained in the London repertoire for over 70 years with regular revivals including those at the Drury Lane Theatre (1780, 1820, 1827, and 1828), Covent Garden (1813, 1827, and 1828), and the St James's Theatre (1836). The score for ""Artaxerxes"" had been published in 1762. However, it did not contain the recitatives or the final chorus. The original performing version of the score was lost in the fire that destroyed the Theatre Royal in 1808. After that date, performances of the"
"son to discover the virtue of his fiancée. Aceste pronounces an oath of fidelity and loyalty to Venus, who then retires. It only remains for Ascanio to perpetuate the race of Aeneas and guide the city of Alba to prosperity. ""Act 1"" ""Act 2"" Ascanio in Alba Ascanio in Alba, K. 111, is a pastoral opera in two parts ("""") by Wolfgang Amadeus Mozart to an Italian libretto by Giuseppe Parini. It was commissioned by the Empress Maria Theresa for the wedding of her son, Archduke Ferdinand Karl, to Maria Beatrice d'Este on 15 October 1771. It was first performed"
"a tradition of English language opera. Arthur Sullivan, a pupil of Goss, came to public attention in the 1860s with Shakespeare incidental music, ""The Tempest"" (1862), ""The Merchant of Venice"" (1871), his ""Irish Symphony"" (1863–66) and ""In Memoriam"". The period 1835-1865 saw the height of popularity for the Irish born Michael Balfe (1808–70), composer of ""The Bohemian Girl"" (1843), the operas of John Pyke Hullah (1812–84), and the earlier English operas of German-born Sir Julius Benedict (1804–85), including his best-known, ""The Lily of Killarney"" (1862). ""Maritana"" (1845) was the most famous and ballad-rich of the Irish born William Vincent Wallace's"
"the ""balli"" ""Tirsi e Clori"" (1616) and ""Apollo"" (1620), an opera ""Andromeda"" (1620) and an ""intermedio"", ""Le nozze di Tetide"", for the marriage of Ferdinando with Caterina de' Medici (1617). Most of these compositions were extensively delayed in creation – partly, as shown by surviving correspondence, through the composer's unwillingness to prioritise them, and partly because of constant changes in the court's requirements. They are now lost, apart from ""Tirsi e Clori"", which was included in the seventh book of madrigals (published 1619) and dedicated to the Duchess Caterina, for which the composer received a pearl necklace from the Duchess."
"from Samuel Arnold's oratorio ""The Prodigal Son"" without the sheet music, and after not hearing the work for more than 20 years. While working at Covent Garden, Battishill met singing actress Elizabeth Davies who had originated the role of Margery in Thomas Arne's ""Love in a Village"". The two became romantically involved and on 19 December 1765 they married. However the marriage was unsuccessful, and Elizabeth had a publicly known affair with actor Anthony Webster, with whom she eventually moved to Ireland in 1776. Elizabeth died in Cork in October 1777. Battishill also had an affair with a woman who"
"the same year. The Gypsy Prince The Gypsy Prince is a comic opera with a libretto by Thomas Moore and the music written in collaboration between Moore and Michael Kelly. It was premiered on 24 July 1801 in London at the Theatre Royal, Haymarket, under the directorship of George Colman and with Kelly in the title role. The two men were initially happy to collaborate with each other, but Moore objected to Kelly's making corrections to his work – something that Mozart had allowed when Kelly had earlier worked with him. The story is set in Spain where a young"