In essence

1673 Posts
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Avoiding Conscription
Gaetano Donizetti and Marianna Pezzoli-Grattaroli
In April 1818, the impresario of the Teatro San Luca in Venice accepted Enrico di Borgogna by the young and thoroughly ambitious Gaetano Donizetti. The opera met with little success, but it resulted in a further commission for Donizetti. Una
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Princess Edith of England
Ah, you thought you knew all the Princesses of England from Diana on out. Princess Edith comes from a considerably earlier time, being daughter of Edward the Peaceful (943-975) and Wulfthryth, nun at Wilton Abbey, who had been abducted by
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Bringing the Orchestra Home
Until recordings became common in the latter part of the 20th century, the only way to hear some of the great works was to attend a performance or to have your own orchestra. For the rest of the music-loving world,
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Minors of the Majors
Michael Haydn: Symphony No. 11 in B-flat major, Perger 9
“Minors of the Majors” invites you to discover compositions by the great classical composers that for one reason or another have not reached the musical mainstream. Please enjoy, and keep listening!
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Movers and Shakers of Music World
Emanuel Schikaneder (1751-1812): The Original Papageno
He has been called “one of the most talented theatre men of his era,” and we primarily know him for writing the libretto of Wolfgang Amadeus Mozart’s opera The Magic Flute. However, Emanuel Schikaneder was also an impresario, dramatist, actor,
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A War Mass
Haydn’s Mass No. 10 has a nickname that’s understandable, the Paukenmesse (Timpani Mass) due to its use of the timpani. It also has a name written by Haydn into the manuscript, ‘Missa in tempore belli,’ i.e., Mass in Time of
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My Life as a Hero
In 1897, Antonín Dvořák (1841-1904) wrote his last symphonic poem and, in contrast to the preceding four he’d just finished, The Water Goblin, The Noon Witch, The Golden Spinning Wheel, and The Wood Dove, this last work had no story
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Benjamin Britten: A Midsummer Night’s Dream
In August 1959, Jubilee Hall in Aldeburgh was undergoing a complete refurbishment, and to celebrate its reopening a year later, a new opera was definitely required. Since Benjamin Britten already was the artistic director of the Festival at that time,
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