English Opera from 1834 to 1864 with Particular Reference to the Works of Michael Balfe

This chapter shows how selections from English operas composed between the 1730s and the 1790s—chiefly by Thomas Arne, Charles Dibdin, William Shield, and Stephen Storace—became standard repertory in concerts throughout the nineteenth century. Such pieces were performed at benefit concerts organized by individual musicians and at events given by local ensembles that blended songs with virtuoso pieces and orchestral numbers. Critical commentary on such songs justified their aesthetic legitimacy as groups separate from pieces deemed part of classical music. By 1900, songs by Arne, Storace, and even Dibdin were often sung in recitals along with German lieder and pieces from seventeenth- or eighteenth-century Italy or France. The solidity of this tradition contributed to the revival of the operas themselves from the 1920s, most often Arne’s Artaxerxes (1762). This chapter is paired with Rutger Helmers’s “National and international canons of opera in tsarist Russia.”

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Arthur Benjamin's Operas

Tempo ◽

10.1017/s0040298200043229 ◽

1950 ◽

pp. 15-18

Author(s):

Dennis Arundell

Keyword(s):

Seventeenth Century ◽

Royal College ◽

Practical Knowledge ◽

Good Work ◽

National Opera ◽

School Girls ◽

First Time ◽

The Devil ◽

English Opera ◽

Vaughan Williams

Ever since the seventeenth century composers of English operas have been handicapped by the snob-preference for foreign works irrespective of their merits. In Purcell's day a second-rate French composer, whose past is still shrouded in Continental mystery, was so boosted in London even by Dryden that it was only through an open-air performance by Mr. Priest's school-girls at Chelsea that Dido and Aeneas convinced both London theatre managers and eventually Dryden himself that Purcell was “equal with the best abroad.” In this century, when the usual opera favourites were established, it has been even more difficult for English opera-composers to get a showing (at one time it had not been unheard of for English operas to be translated into Italian or German for production in this country): but twenty-five years ago the Royal College of Music followed the example of Mr. Priest by producing for the first time Vaughan Williams' Hugh the Drover, which was afterwards given publicly by the British National Opera Company, and in 1931 under the auspices of the Ernest Palmer Opera Fund, introduced The Devil Take Her, the first opera by the Australian composer Arthur Benjamin. The enthusiasm of the singers, headed by Sarah Fischer and Trefor Jones, the cunning skill of the conductor, Sir Thomas Beecham and the practical knowledge of the producer, John B. Gordon, who had had so much experience at Cologne and who was at the time doing such good work for opera at the Old Vic, all combined to make the performance outstanding.

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'Foundations of English Opera'

The Musical Times ◽

10.2307/915732 ◽

1928 ◽

Vol 69 (1030) ◽

pp. 1101

Author(s):

K. E. E. ◽

Edward J. Dent

Keyword(s):

English Opera

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Opera in eighteenth-century England: English opera, masques, ballad operas

The Cambridge Companion to Eighteenth-Century Opera ◽

10.1017/ccol9780521873581.012 ◽

2009 ◽

pp. 202-213

Author(s):

Michael Burden

Keyword(s):

Eighteenth Century ◽

English Opera

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The Austrian Osteopathic Practitioners Estimates and RAtes (OPERA): a cross-sectional survey

10.21203/rs.3.rs-1140980/v1 ◽

2021 ◽

Author(s):

Patrick L.S. van Dun ◽

Lorenzo Arcuri ◽

Johan Verbeeck ◽

Jorge E. Esteves ◽

Francesco Cerritelli

Keyword(s):

Median Number ◽

Diagnostic Techniques ◽

Cervical Region ◽

Cross Sectional Survey ◽

Cross Sectional ◽

Policy Makers ◽

Treatment Techniques ◽

New Information ◽

Almost All ◽

English Opera

Abstract Background: Since the previous survey of the osteopathic profession in Austria was almost a decade ago, an update was necessary. The Osteopathic Practitioners Estimates and RAtes (OPERA) project was developed as a Europe-based survey, whereby an updated profile of the profession not only provides new data for Austria, but also allows for a clear comparison with other European countries. Methods: A voluntary, online-based, closed-ended survey was distributed across Austria in the period between April and August 2020. The original English OPERA-questionnaire, composed of 52 questions in seven sections, was formally translated in German and adapted to the Austrian situation. Recruitment was performed through social-media and an e-based campaign.Results: The survey was completed by 338 individuals, of which 239 (71%) were female, and the median age was 40-49 years. Almost all respondents had preliminary healthcare training, mainly in physiotherapy (72%). The majority of respondents were self-employed (88%) and working as sole practitioners (54%). The median number of consultations per week was 21-25 and the majority of respondents scheduled 46-60 minutes for each consultation (69%). The most commonly used diagnostic techniques were: palpation of position/structure, palpation of tenderness and visual inspection. The most commonly used treatment techniques were cranial, visceral and articulatory/mobilisation techniques. The majority of patients estimated by respondents consulted an osteopath for musculoskeletal complaints mainly localised in the lumbar and cervical region. Although the majority of respondents experience a strong osteopathic identity, only a small proportion (17%) advertise themselves exclusively as osteopaths. Conclusions: This study represents the first published document to determine the characteristics of the osteopathic practitioners in Austria using large, national data. It provides new information on where, how, and by whom osteopathic care is delivered. The information provided may contribute to the evidence used by stakeholders and policy makers for the future regulation of the profession in Austria.

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