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Thematische Bibliographien / Leeds Grand Theatre and Opera House

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Auswahl der wissenschaftlichen Literatur zum Thema „Leeds Grand Theatre and Opera House“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2025

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Zeitschriftenartikel zum Thema "Leeds Grand Theatre and Opera House"

1

Fraser, Kathleen. "London's Grand: An Opera House on the Michigan-Ohio-Canadian Circuit, 1881-1914." Theatre Research in Canada 9, no. 2 (1988): 129–46. http://dx.doi.org/10.3138/tric.9.2.129.

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This article discusses the two Grand Opera Houses in London, Ontario during the period 1881 to 1914 by surveying the development of four generations of theatre buildings beginning with the early garrison theatre. The second Opera House is London's current Grand Theatre. The relationship of civic pride and business interest in the theatre, encompassing the development of theatre as a business itself, is also considered.

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2

Milhous, Judith, and Robert D. Hume. "James Lewis's Plans for an Opera House in the Haymarket (1778)." Theatre Research International 19, no. 3 (1994): 191–202. http://dx.doi.org/10.1017/s030788330000660x.

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In 1780 James Lewis published the first of two magnificent folios, entitledOriginal Designs in Architecture. The title page explains that it consists of ‘Plans, Elevations, and Sections, for Villas, Mansions, Town-Houses, &c. and a New Design for a Theatre. With Descriptions, and Explanations of the Plates, and an Introduction’. Plates XIX-XXII are for ‘a New Theatre, designed for the Opera’. In fact, the designs are for a new opera house intended to occupy the site on which John Vanbrugh's Queen's/King's Theatre in the Haymarket had stood since 1705. The building would consume all the exi

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3

Price, Curtis, Judith Milhous, and Robert D. Hume. "A Royal Opera House in Leicester Square (1790)." Cambridge Opera Journal 2, no. 1 (1990): 1–28. http://dx.doi.org/10.1017/s0954586700003086.

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The King's Theatre, Haymarket, was destroyed by fire in June 1789. Shortly thereafter some wealthy and powerful patrons – notably the Prince of Wales (the future George IV), the Duke of Bedford and the Marquis of Salisbury – launched an ambitious scheme to build a fabulously expensive Royal Opera House in Leicester Square. The venture was designed to re-establish London as a major centre for Italian opera and ballet, to reform the wayward financial and artistic management of the King's Theatre and to give the capital city a grand opera house of modern design that would rival any in Europe. Bec

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4

SEMIDOR, C., and A. BARLET. "OBJECTIVE AND SUBJECTIVE SURVEYS OF OPERA HOUSE ACOUSTICS: EXAMPLE OF THE GRAND THEATRE DE BORDEAUX." Journal of Sound and Vibration 232, no. 1 (2000): 251–61. http://dx.doi.org/10.1006/jsvi.1999.2697.

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5

Döhring, Sieghart. "Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien." Studia Musicologica 52, no. 1-4 (2011): 341–50. http://dx.doi.org/10.1556/smus.52.2011.1-4.24.

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The chief representative of cosmopolitan grand opéra as the composer of an opera for Prussia — this uncomfortable phenomenon owes its origin to an unusual historical situation. Giacomo Meyerbeer was invited to succeed Gaspare Spontini as the chief director of music in Berlin, the city of his birth, and he could not evade the honour of being commissioned to compose a festive opera for the re-opening of the Berlin Opera after its destruction in a fire, even though he considered Paris, now as before, to be his artistic home and the future headquarters of his work as a composer for the theatre. To

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6

Safonova, Alexandra A. "La molinara in the Theatre of Stepan S. Apraksin (Based on the Note Manuscripts of the Apraksin & Golitsyn’s Collection in the Russian State Library)." Contemporary Musicology 9, no. 1 (2025): 79–104. https://doi.org/10.56620/2587-9731-2025-1-079-104.

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The article considers the features of the Russian version of Giovanni Paisiello’s opera La molinara. The Moscow premiere by the Russian Imperial Troupe took place in 1816 in the house of Stepan S. Apraksin on Bolshaya Znamenka. The Apraksin & Golitsyn’s Collection in the Department of Manuscripts of the Russian State Library (F. 11/III) has preserved manuscript materials of the combined part of the performers with the Russian text underlay for two acts of the opera (Unit of st. 7. 147 l.). Some conclusions can be drawn from a comparative analysis of these materials with the autograph from

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Gmys, Marcin. "Archeologia partytury. O przywracaniu autorskiej wersji Legendy Bałtyku Feliksa Nowowiejskiego." Copernicus. De Musica 1, no. 1 (2022): 27–37. http://dx.doi.org/10.15804/cdm.2022.1.03.

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The article presents a complex history of the opera The Legend of the Baltic to a libretto of Waleria Szalay-Groele which enjoyed great popularity already during Feliks Nowowiejski’s lifetime. The author argues that subsequent versions of the opera, made by the composer since its successful world premiere in Poznań in 1924, were, at least partially, a result of unfavorable criticism, not devoid of nationalistic traits, expressed or inspired by a respected ethnomusicologist Łucjan Kamieński, his adversary from the time of Berlin studies under Max Bruch. On the other hand, the new edition of the

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Zabalueva, Tatiana, and Arkady Zakharov. "Formation of adaptive spaces: a technological transformation of theater architecture." Revista Gestão & Tecnologia 24, Special (2024): 39–59. https://doi.org/10.20397/2177-6652/2024.v24i00.2761.

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Objective: The article explores the historical evolution and technological transformation of theater architecture. The primary goal is to analyze how technological advancements and changing societal needs have impacted the design and functionality of theaters across different periods and regions. Methods: The study uses a historical retrospective approach, comparative analysis, and architectural documentation to trace the transformation of theater architecture. Data was gathered through the examination of historical records, architectural plans, and modern theater projects. The integration of

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9

Chrenowicz, Jakub. "Walerian Bierdiajew, dyrektor Państwowej Opery im. S. Moniuszki w Poznaniu i profesor Państwowej Wyższej Szkoły Muzycznej w Poznaniu." Konteksty Kształcenia Muzycznego 4, no. 1 (2017): 29–35. http://dx.doi.org/10.5604/01.3001.0010.5348.

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Niniejszy artykuł ma na celu usystematyzowanie wiedzy na temat poznańskiego okresu działalności Waleriana Bierdiajewa. Punktem wyjścia dla rozważań o słynnym dyrygencie są materiały archiwalne zgromadzone w Archiwum Teatru Wielkiego im. S. Moniuszki w Poznaniu oraz w Archiwum Akademii Muzycznej im. I. J. Paderewskiego w Poznaniu. Na podstawie analizy archiwaliów omówione zostały osiągnięcia Waleriana Bierdiajewa w dwóch nurtach jego aktywności: dyrygenckiej i pedagogicznej. Autor artykułu zaprezentował fakty dotyczące premier operowych i baletowych, poprowadzonych przez Waleriana Bierdiajewa w

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Brackley du Bois, Ailsa. "Repairing the Disjointed Narrative of Ballarat's Theatre Royal." M/C Journal 20, no. 5 (2017). http://dx.doi.org/10.5204/mcj.1296.

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IntroductionBallarat’s Theatre Royal was the first permanent theatre built in inland Australia. Upon opening in 1858, it was acclaimed as having “the handsomest theatrical exterior in the colony” (Star, “Editorial” 7 Dec. 1889) and later acknowledged as “the grandest playhouse in all Australia” (Spielvogel, Papers Vol. 1 160). Born of Gold Rush optimism, the Royal was loved by many, yet the over-arching story of its ill-fated existence has failed to surface, in any coherent fashion, in official history. This article takes some first steps toward retrieving lost knowledge from fragmented archiv

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Mehr Quellen

Bücher zum Thema "Leeds Grand Theatre and Opera House"

1

Lennon, Patricia. Grand memories: The life and times of the Grand Theatre and Opera House, Leeds. Great Northern Books, 2006.

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2

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., season 1899-1900, programme: Monday, November 27th, Anderson theatre Co., in the great play, The world .. s.n., 1986.

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3

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ontario: [programme, Thursday, May 10th, matinee and night, the great laugh provoker, Dr. Bill, from the Garden Theatre, New York]. s.n., 1986.

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4

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98, Christmas only, The Cummings Stock Co., direct from Princess Theatre, Toronto, presenting "All the comforts of home" .. s.n., 1986.

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5

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Wednesday and Thursday, September 18 and 19, the New York Empire Theatre success, "Sowing the wind", by Sidney Gundy, direction of Gustave Frohman. s.n., 1986.

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6

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont.: Friday, February 24th, 1893 : programme, first time in London, Wm. Fleron's original New York Standard Theatre production of the famous play, the Clemenceau case .. s.n., 1986.

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7

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98, week beginning Monday, Jan. 10, the Cummings Stock Co. from the Princess Theatre, Toronto, presenting their greatest comedy successes, Monday evening, Dr. Bill, Tuesday evening, Pink Dominoes .. s.n., 1986.

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8

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98, week beginning Monday, Jan. 10, the Cummings Stock Co. from the Princess Theatre, Toronto, presenting their greatest comedy successes, Monday evening, Dr. Bill, Tuesday evening, Pink Dominoes .. s.n., 1986.

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9

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Tuesday, November 14th, Mr. Daniel Frohman presents, with the talented romantic actor, Mr. Howard Gould, the great New York Lyceum Theatre success, A colonial girl ... by Grace L. Furniss and Abby Sage Richardson. s.n., 1986.

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10

Transformation: The restoration of Leeds Grand Theatre and the creation of a permanent home for Opera North. Leeds Grand Theatre Board, 2005.

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