Spelling suggestions: "subject:"[een] OPERA"" "subject:"[enn] OPERA""
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Take the high road : A case study of Scottish Television's continuous drama serial based on participant observation and textual analysis to ascertain the function of its classic realist form ..........Watt, J. M. January 1986 (has links)
No description available.
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Magnetism, muteness, magic : Spectacle and the Parisian lyric stage c1830Hibberd, Sarah January 1998 (has links)
No description available.
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Constructions of gender and musical style, 1790-1830Garnett, Elizabeth Ann January 1995 (has links)
No description available.
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Arts for everyone? : the distribution of arts lottery funds by region and genre 1995-98Webb, Elizabeth Ruth January 2000 (has links)
No description available.
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Louis Veron and the finances of the Academie Royale de Musique 1827 to 1835Drysdale, John Duncan January 2000 (has links)
No description available.
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'Le progres des arts' : Nicolas-Etienne Framery's contribution to late eighteenth-century musical and theatrical life in FranceDarlow, Mark January 2000 (has links)
No description available.
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Chan Ka Nin's "Iron road" : Chinese elements in a Canadian operaHung, Ya Lin. 10 April 2008 (has links)
No description available.
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Examining the Canadian Opera Company's role in opera education in Ontario schools, 1950-1990Smith, Donnalee. 10 April 2008 (has links)
No description available.
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Zur Aufführungsgeschichte italienischer Opern am städtischen Theater in Frankfurt am Main während des 19. Jahrhunderts.Ackermann, Peter 15 February 2017 (has links) (PDF)
Als spezielles Korpus innerhalb des umfangreichen Gesamtbestands
an Werken des Musiktheaters der Stadt- und Universitätsbibliothek
Frankfurt am Main umfaßt die sogenannte \"Frankfurter
Opernsammlung\" die erhaltenen Aufführungsmaterialien des Frankfurter
Stadttheaters aus einem Zeitraum von mehr als anderthalb
Jahrhunderten, der von der Eröffnung des "Comödienhauses" im Jahre 1782 bis zur Zerstörung des Opernhauses im März 1944 reicht.
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MatadorPatino, Julio 05 1900 (has links)
Matador is an opera scored for orchestra, mixed chorus and soloists (mezzosoprano, 3 tenors, 2 baritones). The work is in one act divided into two main sections. Each of these sections is divided into subsections. The libretto is aphoristic in nature and dictates the form of each of these subsections. The division into two parts also serves as a means to evoke a sense of hopelessness of emotions in the first and a transforming disposition that culminates in a jubilant song in the second.
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