The principal female role of Esmeralda was created by Marie Gutheil-Schoder.Oxford Journals The work was popular till the early 1920s, then faded from view. It has been revived in Vienna and Dresden, and has been recorded at least twice. The opera is best known for its orchestral Intermezzo, which was first performed, along with the Carnival Music,Notre Dame Classical Archives on 6 December 1903 in Vienna, as Zwischenspiel aus einer unvollständigen romantischen Oper.
|
|
The show, held on 8 October, was a double bill: the final Paris performance of Meyerbeer's Il crociato in Egitto followed by another revival of Le rossignol. Meyerbeer's opera had previously been staged at the Théâtre italien and was performed by an almost entirely Italian company led by Pasta and Domenico Donzelli. In Le rossignol, Lays once more played his favourite character of the bailiff, while the principal female role of Philis was taken by Laure Cinti-Damoreau,Theatre programme and Macedoine, "La Lorgnette", II, n. 598, 8 October 1825, pp.
|
|
During the 1980s, Lawrence carved out a career as one of the leading female musical theatre performers in London. She left Evita to create the title role of Marilyn Monroe in Marilyn! the Musical, which won her outstanding reviews and the Best Actress of the Year Award from the Variety Club of Great Britain as well as a nomination from the Society of West End Theatre Awards (now the Laurence Olivier Awards). She was then cast as Pearl, the principal female role, in the original London production of Starlight Express, in which she performed on roller-skates.
|
|
Louise Beaudet played Paresina in the opera Apollo; or the Oracle of Delphi with Lillian Russell, Toffana in the adaptation of the burlesque opera Indigo, then again Christel in The Tyrolean, co-starring Marie Tempest and also Frinke in The Jolly Students. In 1892, she accepted the principal female role of Elizabeth in Pauline Hall's production of the comic opera in two acts Puritania, or the Earl and the Maid of Salem. In 1893, Beaudet starred in the eight-month run of Imre Kiralfy's America during the World's Columbian Exposition in Chicago, then began her own touring opera company, performing repertoire of French Opéra bouffe.
|
|
The prelude is written to sound as mechanical as possible, with dissonant combinations of instruments colliding against each other rhythmically to portray the mechanised movements of the soldiers on stage. As with Alban Berg's operas Wozzeck and Lulu, the individual scenes are built on strict musical forms; strophes, chaconnes, ricercare, toccatas, etc.Edward Rothstein, "Classical View; In Soldaten, Apocalypse Fizzles Out", The New York Times, 20 October 1991: "Zimmermann even used a formal logic resembling Berg's, writing each scene as a musical form –a chaconne, a ricercar, a toccata, a nocturne– creating an ironic tension between the horrors expressed and the manners of musical forms." Musically, the work makes extensive use of twelve-tone technique, and expresses debts to Berg's Wozzeck, such as in the shared name of the principal female role (Marie) and in the number of scenes (15).
|
|