An Account of the Theatre Royal English Opera House

2020 ◽  
pp. 273-278
Author(s):  
C. Dibdin
Keyword(s):  
Tempo ◽  
1944 ◽  
pp. 145-145 ◽  
Author(s):  
Leslie A. Boosey

The news that Boosey & Hawkes, Ltd. had acquired the lease of Govent Garden doubtless caused some surprise in musical circles; and those who asked (a little contemptuously, perhaps) what experience the firm possessed of running opera, were quite justified in so doing. The answer to that question is—to speak quite frankly—“All too little.” But since the firm has no intention of attempting to run the Opera House by its own unaided efforts and, on the contrary, is anxious to secure the collaboration of those with the requisite experience of operatic policy, management and production, the anxiety rightly felt on this account will I hope, be somewhat alleviated. It is well understood that the foundation of a permanent English Opera of the highest standard is a matter of paramount concern to every genuine music-lover in this country; and the project will be approached with the seriousness and determination which it demands.


1921 ◽  
Vol VII (1) ◽  
pp. 104-117
Author(s):  
W. J. LAWRENCE

2004 ◽  
Vol 1 (1) ◽  
pp. 115-142 ◽  
Author(s):  
Christina Fuhrmann

22 July 1824. Many Londoners had waited years for this night. They thronged to the English Opera House, filling the boxes and cramming the benches in the pit and gallery. It was worth the heat, the expense, the danger from pickpockets. After hearing of its success for three years, after glimpsing snatches of it in concert and sheet music excerpts, and after enduring weeks of advertising for the English Opera House production, they would finally be the first in London to witness the most celebrated German opera of the time: Weber's Der Freischütz.


1986 ◽  
Vol 11 (1) ◽  
pp. 13-31 ◽  
Author(s):  
Steven Earl Forry

On 22 July 1823 William Godwin addressed the following in a letter to Mary Shelley, who was returning to London after five years on the Continent:It is a curious circumstance that a play is just announced, to be performed at the English Opera House in the Strand next Monday, entitled, Presumption, or the Fate of Frankenstein. I know not whether it will succeed. If it does, it will be some sort of feather in the cap of the author of the novel, a recommendation in your future negociations with booksellers.


1907 ◽  
Vol s10-VIII (195) ◽  
pp. 228-228
Author(s):  
Robert Pierpoint
Keyword(s):  

2011 ◽  
Vol 52 (1-4) ◽  
pp. 457-484
Author(s):  
Arne Stollberg

In order to overcome the persistent cliché of a “land without music,” considerable efforts were made in Great Britain at the end of the 19th century to establish what is now labelled the English Musical Renaissance. One of the movement’s main concerns was to establish both institutionally and artistically a National Opera for the production of English works. In this context, the opening of a newly built opera house, the Royal English Opera, by the impresario Richard D’Oyly Carte in 1891 created a great stir. The Royal English Opera was inaugurated with Arthur Sullivan’s “Romantic Opera” Ivanhoe. Sullivan tried to give his score an especially English flavour without using folksongs or other overtly national musical characteristics. His composition can be seen as a synthesis of German, French and Italian influences, which intentionally mirrors the fusion of the Anglo-Saxon and Norman elements to form the English nation under King Richard the Lionheart as presented in the opera’s plot. Unfortunately the story of D’Oyly Carte’s enterprise was a short one and Sullivan’s opera quickly passed into oblivion.


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