Thematische Bibliographien / Leeds Grand Theatre and Opera House / Zeitschriftenartikel
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Zeitschriftenartikel 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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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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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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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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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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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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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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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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Giordano, Silvia. "“Originated in China”: Western opera and international practices in the Beijing National Centre for the Performing Arts." European Journal of Cultural Management and Policy 7 (December 1, 2017). http://dx.doi.org/10.3389/ejcmp.2023.v7iss1-article-3.

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The international reputation of Western operas – with artists and producers moving across the world’s opera houses – has become even more global in recent years. Nevertheless, the field of opera has never been analyzed in terms of strategies to foster this vocation in line with the development of the emerging markets outside Europe. China is one of the most flourishing among them in terms of the creation of grand theaters able to perform Western opera together with a strong indigenous opera tradition. Due to the novelty of such appealing context, a case study analysis would provide an evidence
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Dwyer, Simon. "Highlighting the Build: Using Lighting to Showcase the Sydney Opera House." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1184.

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IntroductionThe Sydney Opera House is Australia’s, if not the world’s, most recognisable building. It is universally recognised as an architectural icon and as a masterpiece of the built environment, which has captured the imagination of many (Commonwealth of Australia 4). The construction of the Sydney Opera House, between 1959 and 1973, utilised many ground-breaking methods and materials which, together, pushed the boundaries of technical possibilities to the limits of human knowledge at the time (Commonwealth of Australia 36, 45). Typical investigations into the Sydney Opera House focus on
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De Ornellas, Kevin, and Kelly McCloy. "Review of Shakespeare’s Women (Directed by Ben Gould for Commedia of Errors) at the Studio Theatre, Grand Opera House, 9 November 2024 (Afternoon Performance)." Shakespeare, December 12, 2024, 1–4. https://doi.org/10.1080/17450918.2024.2436387.

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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each
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Mudie, Ella. "Unbuilding the City: Writing Demolition." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1219.

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IntroductionUtopian and forward looking in tenor, official narratives of urban renewal and development implicitly promote normative ideals of progress and necessary civic improvement. Yet an underlying condition of such renewal is frequently the very opposite of building: the demolition of existing urban fabric. Taking as its starting point the large-scale demolition of buildings proposed for the NSW Government’s Sydney Metro rail project, this article interrogates the role of literary treatments of demolition in mediating complex, and often contradictory, responses to transformations of the b
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