Relevant bibliographies by topics / Manhattan Opera Company (New York)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Manhattan Opera Company (New York)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Manhattan Opera Company (New York)"

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HAMBERLIN, LARRY. "Visions of Salome: The Femme Fatale in American Popular Songs before 1920." Journal of the American Musicological Society 59, no. 3 (2006): 631–96. http://dx.doi.org/10.1525/jams.2006.59.3.631.

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Abstract This article documents representations of Salome, an archetypal exotic femme fatale, in American popular songs of the early twentieth century. The production of Salome songs began shortly after the sensational 1907 U.S. premiere of Richard Strauss's Salome at New York's Metropolitan Opera. Vaudeville performers, beginning with the Met's own prima ballerina, capitalized on the ensuing fad for Salome dances, which the New York Times called “Salomania.” Relevant songs and dances figured in musical comedies and revues until some time after the return of Strauss's opera to the New York stage, in the 1909 Manhattan Opera Company production with Mary Garden in the title role. Through the next decade, musical, lyrical, and illustrative tropes that originated in the Salome songs became disassociated from the figure of Salome, gradually merging into “oriental fox-trots” and exotic romance songs. The topical humor of the Salome songs suggests that American audiences were skeptical of the allure of orientalist fantasy, then at its height in Europe, and that an unwillingness to grant artistic legitimacy to Salome's religious-themed eroticism is an important marker of the American reception of works such as Strauss's.
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Levine, Robert. "La Gran Scena Opera Company di New York." Opera Quarterly 5, no. 1 (1987): 126–27. http://dx.doi.org/10.1093/oq/5.1.126.

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Gibson, Tom. "Bright Bounty." Mechanical Engineering 135, no. 04 (April 1, 2013): 38–42. http://dx.doi.org/10.1115/1.2013-apr-2.

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This article is a case study on BrightFarms, which is a company in Midtown Manhattan that brings fresh, locally grown produce to underserved urban areas by engineering green gardening on a commercial scale. Based in Midtown Manhattan, BrightFarms builds and operates hydroponics greenhouse farms across the United States, mostly at supermarkets. The company tries to use renewable energy sources and waste energy from a host building. BrightFarms now focuses on commercial clients that can handle the high volumes of produce that come out of the greenhouses. The BrightFarms team has expertise spanning horticultural sciences, engineering, ecology, energy analysis, environmental education, and produce marketing. While much of BrightFarms’ work has focused on New York City till date, it is trying to build facilities not only wherever it makes economic sense, but also where it makes sense in the food system.
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Fleming, Anne. "The Borrower's Tale: A History of Poor Debtors inLochnerEra New York City." Law and History Review 30, no. 4 (November 2012): 1053–98. http://dx.doi.org/10.1017/s0738248012000533.

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When asked why he did not read over the loan documents before signing them, John Doherty explained: “I was anxious to get the money, I didn't bother about it.” In February 1910, the twenty-three-year-old railroad clerk walked into the offices of the Chesterkirk Company, a loan-sharking operation with offices in lower Manhattan. He was looking to borrow some money. Repayment was guaranteed by the only security Doherty had to offer: his prospective wages and, in his words, his “reputation.” After a brief investigation of Doherty's creditworthiness, the loan was approved. The office manager placed a cross in lead pencil at the bottom of a lengthy form and Doherty signed where indicated. He received $34.85 in exchange for his promise to repay the loan principal plus $10.15 in combined fees and interest in three months. The interest charged was significantly greater than the 6 percent per year allowed in New York State. Doherty's effective annualized interest rate, including fees, was over 100 percent.
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Horowitz, Joseph. "Music and the Gilded Age: Social Control and Sacralization Revisited." Journal of the Gilded Age and Progressive Era 3, no. 3 (July 2004): 227–45. http://dx.doi.org/10.1017/s1537781400003418.

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Edith Wharton's The Age of Innocence, set in Manhattan in the “early 1870s,” begins with Christine Nilsson singing at the Academy of Music. The opera is Gounod's Faust. The “world of fashion” has assembled in the boxes. In their own eyes the embodiment of “New York,” the fashionables are prisoners of convention: Newland Archer arrives late because “it was ‘not the thing’ to arrive early at the opera; and what was or was not ‘the thing’ played a part as important in Newland Archer's New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago.” Newland takes his place among “all the carefully-brushed, white-waist coated, buttonhole-flowered gentlemen who succeeded each other in the club box, exchanged friendly greetings with him, and turned their opera glasses critically on the circle of ladies who were the product of the system.” That “the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences” seems “as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-baked brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole.” The box opposite belongs to “old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera.” It contains a surprise: the Countess Olenska. This finding is assessed by Laurence Lefferts; the “foremost authority of ‘form’ in New York,” he has devoted long hours to such questions as when to wear a black tie with evening clothes and the matter of pumps versus Oxfords for the feet. The countess is next appraised by Sillerton Jackson, as great an expert on “family” as Leffert is on form.
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Thompson, Brian C. "Henri Drayton, English Opera and Anglo-American Relations, 1850–72." Journal of the Royal Musical Association 136, no. 2 (2011): 247–303. http://dx.doi.org/10.1080/02690403.2011.618722.

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AbstractThis article explores aspects of transatlantic culture through the career and works of the baritone, librettist and impresario Henri Drayton (1822–72). Using the published operas as well as reviews from period newspapers, the author retraces the events of the Philadelphia-born Drayton's professional life. Concentrating on the creative works, the author shows how Drayton went from playing stock roles at London's Drury Lane Theatre to collaborating with composers such as Joseph Duggan and Edward James Loder. With his wife, the soprano Susanna Lowe, Drayton performed in what he termed ‘drawing-room’ operas. Their popularity attracted the attention of visiting US impresario P. T. Barnum, who brought Drayton to New York in 1859. When his success in the USA was cut short by the outbreak of the Civil War, Drayton returned to London and created a one-man ‘entertainment’, Federals and Confederates. Spending what would be his final years as a member of the Richings English Opera Company, Drayton returned to New York in 1869.
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Silva Contreras, Mónica. "Arquitectos y contratistas modernos en México: vínculos internacionales entre De Lemos & Cordes y Milliken Brothers, 1898-1910." Cuaderno de Notas, no. 20 (July 31, 2019): 101. http://dx.doi.org/10.20868/cn.2019.4264.

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ResumenEs sabido que durante la primera década del siglo XX en México se construyó un gran número de edificaciones, tanto públicas como privadas, que significaron la difusión de materiales y técnicas constructivas modernas. Además del sentido moderno de sus funciones, muchas resultaron de procesos de gestión de la construcción novedosos, pues su realización implicó la importación de estructuras complejas, de grandes dimensiones, con gran variedad de materiales. Más que en sus aspectos técnico-constructivos, este artículo busca hacer énfasis en la incorporación de los mecanismos de gestión que estos implicaron. Los proyectos de los arquitectos Theodore De Lemos y August Cordes, construidos por el ingeniero mexicano Gonzalo Garita, con estructuras de acero de la empresa de Edward y Foster Milliken, también con sede en Nueva York, fueron resultado del desarrollo de un mercado en el cual aparecieron los primeros empresarios de la construcción modernos del país. El trabajo se centra en la realización en la Ciudad de México de los edificios para la Casa Boker y para la Mutual Insurance Company of New York en el contexto de las obras realizadas por los proyectistas y contratistas en Manhattan, Ciudad del Cabo o Johannesburgo. De ese modo se entiende una gestión moderna de proyectos y obras que se adelantaba a la globalización de nuestros días.AbstractIt is known that during the first decade of the twentieth century in Mexico was built a large number of buildings, both public and private, which meant the dissemination of modern building materials and techniques. Many of them were the results from new construction management processes, since their implementation implied the importation of complex and large structures which included different materials. More than about their technical-constructive aspects, this article seeks to emphasize the incorporation of the management mechanisms that these implied. The projects of the architects Theodore De Lemos and August Cordes, built by Mexican engineer Gonzalo Garita, with Edward and Foster Milliken’s steel structures company, also based in New York, were the result of the development of a market in which appeared the first entrepreneurs of modern construction in the country. The work focuses on the realization in Mexico City of the buildings for Casa Boker and for the Mutual Insurance Company of New York, in the context of the works of the designers and contractors in Manhattan, Cape Town or Johannesburg. In this way we understand a modern management of projects and works in advance of our day’s globalization.
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Armandi, Barry, Adva Dinur, and Herbert Sherman. "Abandoning ship at Scandia, Inc.: Part A." New England Journal of Entrepreneurship 13, no. 2 (March 1, 2010): 89–95. http://dx.doi.org/10.1108/neje-13-02-2010-b007.

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Scandia, Inc., is a commercial vessel management company located in the New York Metropolitan area and is part of a family of firms including Scandia Technical; International Tankers, Ltd.; Global Tankers, Ltd.; Sun Maritime S.A.;Adger Tankers AS; Leeward Tankers, Inc.; Manhattan Tankers, Ltd.; and Liuʼs Tankers, S.A. The companyʼs current market niche is the commercial management of chemical tankers serving the transatlantic market with a focus on the east and gulf coast of the United States and Northern Europe. This three-part case describes the commercial shipping industry as well as several mishaps that the company and its President, Chris Haas, have had to deal with including withdrawal of financial support by creditors, intercorporate firm conflict, and employee retention. Part A presents an overview of the commercial vessel industry and sets the stage for Parts B and C (to be published in the Spring 2011 issue) where the firmʼs operation is discussed.
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Sherman, Herbert, Barry Armandi, and Adva Dinur. "Abandoning ship at Scandia, Inc.: Parts B and C." New England Journal of Entrepreneurship 14, no. 1 (March 1, 2011): 79–87. http://dx.doi.org/10.1108/neje-14-01-2011-b006.

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Scandia, Inc., is a commercial vessel management company located in the New York Metropolitan area and is part of a family of firms including Scandia Technical; International Tankers, Ltd.; Global Tankers, Ltd.; Sun Maritime S.A.;Adger Tankers AS; Leeward Tankers, Inc.; Manhattan Tankers, Ltd.; and Liuʼs Tankers, S.A. The companyʼs current market niche is the commercial management of chemical tankers serving the transatlantic market with a focus on the east and gulf coast of the United States and Northern Europe. This three-part case describes the commercial shipping industry as well as several mishaps that the company and its President, Chris Haas, have had to deal with including withdrawal of financial support by creditors, intercorporate firm conflict, and employee retention. Part A, which was published in the Fall 2010 issue, presented an overview of the commercial vessel industry and set the stage for Parts B and C where the firm℉s operation is discussed.
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THOMPSON, BRIAN C. "Journeys of an Immigrant Violinist: Jacques Oliveira in Civil War–Era New York and New Orleans." Journal of the Society for American Music 6, no. 1 (February 2012): 51–82. http://dx.doi.org/10.1017/s175219631100040x.

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AbstractThis article explores the U.S. career of the Dutch immigrant violinist Jacques Oliveira. Following successful performances in Britain, Oliveira sailed for the United States in the fall of 1859. Under P.T. Barnum's management, the twenty-three-year-old became a fixture on New York's theatrical scene, as an instrumental soloist with Tom Thumb's company, with the Drayton Parlor Opera troupe, and with Hooley and Campbell's Minstrels. After a year, he traveled south, settling in occupied New Orleans, where he had family connections. Despite the economic difficulties of the time, he soon became an important figure in the city's cultural life, only to die during an outbreak of cholera and yellow fever in the summer of 1867.In the absence of letters or diaries, the article relies heavily on close examination of period newspapers, city directories and census data to reconstruct Oliveira's world. Oliveira's activities, his successes and struggles, offer insights into the place of the working musician, newly arrived in the Unites States in the late 1850s. Examining the events of his life enables us to contrast cultural life in New York and New Orleans at the time of the Civil War. The article illuminates the place of the instrumentalist in the theater, reveals how attitudes toward music were influenced by a cultural hierarchy, provides insights into the place of the violin in the musical life of the United States, and examines the impact of the Civil War on musical life in New Orleans.
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Dissertations / Theses on the topic "Manhattan Opera Company (New York)"

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Goncalves, De Aranjo Passos Stéphanie. "Une guerre des étoiles: les tournées de ballet dans la diplomatie culturelle de la Guerre froide, 1945-1968 /cStéphanie Gonçalves de Aranjo-Passos." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209106.

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Ma thèse de doctorat explore les tournées de ballet des « six grandes » compagnies mondiales pendant la Guerre froide (1945-1968) :ballet de l’Opéra de Paris, Royal Ballet de Covent Garden, Bolchoï et Kirov, New York City Ballet et American Ballet. Elle envisage le ballet comme un outil de diplomatie culturelle transnationale, avec un focus particulier sur les acteurs, qu’ils soient institutionnels, artistiques ou commerciaux. Outre un aspect quantitatif qui nous a amené à cartographier les tournées, il s’agit d’une histoire incarnée par des femmes et des hommes − les danseurs − dont le métier est de tourner sur les scènes internationales, encadrés par des administrateurs et des gouvernements, qui n’ont pas les mêmes priorités et agendas les uns et les autres.

Cette recherche met justement en avant les tensions, les difficultés et les dynamiques entre les différents acteurs. La thèse se construit autour de tournées représentatives du lien ténu entre danse et politique, des épisodes qui mettent en valeur les points chauds de cette Guerre froide, ayant comme point de départ ou d’arrivée Londres et Paris.

La description de la danse comme un langage, une pratique physique et un métier permet de comprendre en quoi la danse peut être un outil de communication politique et comment il a été utilisé comme tel dans la longue durée et en particulier pendant la guerre froide. Les différentes échelles – le passage régulier de la macro-histoire à la micro-histoire et inversement ainsi que les flux d’échanges culturels multiples à l’échelle internationale – ont permis de mettre en avant une multiplicité d'acteurs (artistiques, gouvernementaux, commerciaux). La constitution du mythe de la danseuse étoile, et ses représentations, résonne également avec d’autres figures mythiques construites dans la Guerre froide, comme celle de l’astronaute.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Thomas, Naymond Elijah. "Robert McFerrin the first black man to sing at the Metropolitan Opera Company /." 1988. http://catalog.hathitrust.org/api/volumes/oclc/24507622.html.

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Books on the topic "Manhattan Opera Company (New York)"

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The Manhattan Company: Managing a multi-unit corporation in New York, 1799-1842. New York: Garland Pub., 1989.

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Frank K. Hain and the Manhattan Railway Company: The elevated railway, 1875-1903. Jefferson, N.C: McFarland, 2011.

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Rogers, David. The future of American banking: Managing for change. New York: McGraw-Hill, 1993.

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Manhattan Company: Managing a Multi-Unit Corporation in New York, 1799-1842. Taylor & Francis Group, 2017.

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Forsyth, Frederick. Phantom of Manhattan. Penguin Random House, 2000.

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Forsyth, Frederick. Fantasma de Manhattan. Nuevas Ediciones de Bolsillo, 2000.

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Forsyth, Frederick. THE PHANTOM OF MANHATTAN. London: Bantam Press, 1999.

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Hunter, Gregory S. The Manhattan Company: Managing a Multi-Unit Corporation in New York, 1799-1842 (Studies in Entrepreneurship). Taylor & Francis, 1990.

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Preston, Katherine K. The American Opera Company. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371655.003.0007.

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This chapter focuses on the philanthropist Jeannette Thurber, who founded the American (National) Opera Company (1885) to encourage high-caliber performances of continental operas translated into English. Her company was heavily subsidized by New York society and supported by establishment music critics. But both Thurber and her musical director Theodore Thomas misunderstood the American opera audience, and mounted serious works designed for cultural uplift, to the neglect of Italian and French operas that were popular among the general public. Society members were not interested in English-language opera because it was not sufficiently exclusive; middle-class operagoers were repelled both by the trappings of elitism and the expensive tickets. A close reinterpretation of the company’s failure reveals much about American operatic taste; it is also important in the context of this book because scholars have blamed the company’s spectacular demise on a general lack of support for English-language opera.
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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont.: Wednesday evening, April 8th, 1885 : the McDowell Comedy Company ... will present New York and London, laughing success, entitled The private secretary .. [London, Ont.?: s.n., 1986.

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Book chapters on the topic "Manhattan Opera Company (New York)"

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Hunter, Gregory S. "Managing The Manhattan Company’s Bank In New York City." In The Manhattan Company, 144–222. Routledge, 2017. http://dx.doi.org/10.4324/9781315165400-4.

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Tamte, Roger R. "Career Realities." In Walter Camp and the Creation of American Football, 76–81. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041617.003.0015.

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Camp fails his final medical school exams and seeks other employment, first in the watch business in New York (Manhattan Watch Company) and then, at the invitation and support of Yale graduates and students, as a supervisor and instructor or “coach” of student-managed sports at Yale.
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Plotch, Philip Mark. "From a Compact City into a Metropolis." In Last Subway, 10–26. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9780801453663.003.0002.

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This chapter discusses how the creation of an urban transportation system transformed New York City. After private railroad companies built tracks for elevated railroads (Els) above the city's streets in the 1870s, the city's population spread out and grew rapidly from Lower Manhattan. To continue growing, however, the city had to build electric-powered rail lines, underground, that would travel faster and further and would accommodate even more people than the Els. Thus, the City of New York paid the construction costs for its first subway and in 1900 entered into a long-term lease with the Interborough Rapid Transit Company (IRT) to build and operate it. In 1913, the City of New York entered into contracts with two companies—the IRT and the Brooklyn Rapid Transit Company (BRT)—to build more lines in Manhattan, Brooklyn, Queens, and the Bronx. However, in the early twentieth century, New York's politicians took a shortsighted approach to the transit system. Instead of raising fares, they raised false expectations that New Yorkers could have high-quality subway service with low fares. The repercussions would last for generations. The chapter then looks at the establishment of the Office of Transit Construction Commissioner, the construction of a city-owned and city-operated “Independent” (IND) subway system, and the planning for a Second Avenue subway.
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Preston, Katherine K. "The 1850s." In George Frederick Bristow, 44–65. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0005.

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Bristow married Harriet Crane (1853) and began to teach in the New York Public Schools (1854). He was conductor of the New York Harmonic Society (1851-1863) and organist for several churches. Three major works were premiered: his opera Rip Van Winkle (1855, by the Pyne and Harrison Company) and his symphonies nos. 2 and 3 (1856 and 1859, both by the Philharmonic Society). He also wrote the Winter’s Tale Overture (1855). During the 1850s Bristow’s activities as a teacher, performer, and composer grew apace, as did his reputation. He was awarded an honorary Doctor of Music degree (1858) and enjoyed a testimonial concert (1859).
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Meisner, Nadine. "The Travelling Dancer." In Marius Petipa, 37–54. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659295.003.0003.

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Focusing on Petipa’s professional life before his arrival in Russia, this chapter deals with his time in the French provincial theatres of Nantes and Bordeaux, describing the conditions there, listing his early ballets and roles, outlining the importance of national or folk dance on the ballet stage. It follow this with his adventures—on stage and off—in Spain; he fought a duel and eloped with a young Spanish noblewoman, events described in his memoirs that appear, according to the evidence, to have really happened. The chapter also touches upon two other members of the Petipa family: his brother Lucien, star of the Paris Opera; and his father Jean, an eminent ballet master, who briefly joined a company on tour to New York.
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Skeel, Sharon. "“An enormous macédoine of musical comedy, patriotism, and burlesque, spangled with American history—that is ‘American Jubilee.’ ”." In Catherine Littlefield, 197–222. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0013.

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Joan McCracken leaves the Littlefields to perform at Radio City Music Hall and eventually on Broadway. Catherine stages dances for the large-scale “American Jubilee” pageant at the World’s Fair in New York in 1940. Her innovative bicycle ballet in the pageant is a tremendous hit. Al Jolson hires her for his comeback show on Broadway, Hold On to Your Hats. She is then enlisted to choreograph ice-skating routines for New York’s Center Theatre, which has been converted into an ice theater by Chicago entrepreneur Arthur Wirtz and his business partner, Olympic skating champion Sonja Henie. Wirtz soon installs Catherine as choreographer for Henie’s touring Hollywood Ice Revues as well. She takes her Littlefield Ballet on an eight-week national tour. She and Philip officially separate, although they remain friends and business associates. She and her Littlefield Ballet return to Chicago for the 1941 opera season. The company disbands after Pearl Harbor is bombed and many of Catherine’s male dancers, including Carl, enlist in the military.
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Fox, Michael H. "The Quest for Uranium." In Why We Need Nuclear Power. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199344574.003.0018.

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The name rises as a phantom from the heart of the Congo. The dawn of the nuclear age began there, though no one knew it at the time. King Leopold II of Belgium claimed the Congo as his colony during the surge of European colonization in the 1870s, promising to run the country for the benefit of the native population. Instead, he turned it into a giant slave camp as he raped the country of its riches. Leopold didn’t care much about mineral wealth, preferring the easy riches of rubber, but aft er he died in 1909, the Belgium mining company Union Minière discovered ample resources of copper, bismuth, cobalt, tin, and zinc in southern Congo. The history-changing find, though, was high-grade uranium ore at Shinkolobwe in 1915. The real interest at the time was not in uranium—it had no particular use—but in radium, the element the Curies discovered and made famous. It was being used as a miracle treatment for cancer and was the most valuable substance on earth—30,000 times the price of gold. Radium is produced from the decay of uranium aft er several intermediates (see Figure 8.3 in Chapter 8), so it is inevitable that radium and uranium will be located together. The true value of the uranium would not be apparent until the advent of the Manhattan Project to build the atomic bomb during World War II. Edgar Sangier, the director of Union Miniere, which owned the mine at Shinkolobwe, hated the Nazis and was afraid—correctly, as it turned out—that they would invade Belgium. In 1939, as Europe was sliding into war, Sangier learned that uranium could possibly be used to build a bomb. He secretly arranged to transfer 1,250 tons of the uranium ore out of the Congo to a warehouse in New York City. There it sat until 1942, when General Leslie Groves, the man whom President Roosevelt put in charge of the Manhattan Project, found out about it and arranged to purchase it.
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