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Libros sobre el tema "Manhattan Opera Company (New York)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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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9

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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10

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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11

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98, Tuesday, January 18th, Klaw & Erlanger present the New York Casino Company in their third annual review, a kaleidoscopic retrospect of the hour, in three acts, entitled In gay New York .. [London, Ont.?: s.n., 1986.

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12

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont.: Wednesday ev'g, Nov. 30th, 1892, programme : first appearance in London of Ramsay Morris's Comedy Company (from New York), presenting the great Parisian laughing success, Joseph .. [London, Ont.?: s.n., 1986.

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13

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1897-98, Friday, Febrary 25th, Hoyt & McKee's musical comedy company will present Hoyt's illustration of the possible adventures of A stranger in New York .. [S.l: s.n., 1986.

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14

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ontario: [play and players, programme, three nights and two matinees commencing Thursday, Nov. 23rd, Thanksgiving matinee : Baird's Dramatic Company will present the New York success, Queen's evidence ...]. [London, Ont.?: s.n., 1986.

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15

Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Season 1898-9, week commencing Monday evening, Sept. 12th, matinee Saturday, limited engagement of the comedienne, Miss Dorothy Lewis and her own company, direction of W.O. Edmunds presenting the sensational melodrama, Alone in greater New York, by J.A. Fraser .. [London, Ont.?: s.n., 1986.

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16

Grand Opera House, London, Ontario: [programme, Monday, April 2nd, the New York, London and Paris success Glorianna, with Emily Bancker and company of comedians, under the direction of Thos. W. Ryley, the performance will commence with the one-act play Sweet will, by Henry Arthur Jones]. [London, Ont.?: s.n., 1986.

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17

Smith, Christopher J. Long Island and the Lower East Side. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037764.003.0003.

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This chapter examines the creolizing maritime cultures of Long Island and Manhattan, two New York islands that directly shaped William Sidney Mount's personal and musical world. It reconstructs the environments that Mount knew and by which he was shaped, as a child and young adult in antebellum America. To this end, the chapter considers how influences from Long Island and Manhattan play out in the life of Mount, in that of his uncle and musical mentor Micah Hawkins, and in Hawkins's 1824 ballad opera The Saw-Mill, or, A Yankee Trick. It begins with a discussion of evidence of blackface minstrelsy's creole synthesis in the antebellum period by describing two festival performances, Pinkster and 'Lection Day, and during the Federalist period. It then assesses the creole synthesis in black Manhattan by focusing on the “African Grove” Theater, along with Mount's first works and new career path following the death of Hawkins. It concludes with a review of Mount's scenic painting Rustic Dance after a Sleigh Ride.
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18

Skeel, Sharon. Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.001.0001.

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Born in Philadelphia in 1905, Catherine Littlefield first learns dancing from her mother, Caroline (called Mommie), who was an expert pianist, and from a local dancing master, C. Ellwood Carpenter. As a teenager, Catherine becomes a Ziegfeld dancer and takes lessons from Luigi Albertieri in New York. She returns home in 1925 to help Mommie teach at the Littlefield School (among her students is Zelda Fitzgerald) and stage dances for women’s musical clubs and opera companies. William Goldman hires Catherine to produce routines in commercial theaters throughout Philadelphia and becomes her boyfriend. Catherine, Mommie, and Catherine’s sister, Dorothie, travel to Paris so the sisters can study ballet with Lubov Egorova. They become friendly with George Balanchine in Paris and help him establish his first American school and company when he comes to the United States in 1933. Catherine marries wealthy Philadelphia attorney Philip Leidy and founds her Philadelphia Ballet Company in 1935. She choreographs—and her company presents—the first full-length, full-scale production of Sleeping Beauty in the United States as well as popular ballet Americana works such as Barn Dance and Terminal. Her company’s European tour in 1937 is the first ever by an American classical ballet troupe. Catherine loses some of her protégées to the newly formed Ballet Theatre and disbands her company after the United States enters World War II; she then choreographs Broadway musicals, Sonja Henie’s Hollywood Ice Revues, and Jimmy Durante’s NBC television show before dying in 1951 at age forty-six.
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