Robert Adelson
Biographic Data
| ID | 4207907 |
|---|---|
| NAME | Robert Adelson |
| GIVEN NAMES | Robert |
| FAMILY NAME | Adelson |
| SIGNATURE | ADELSON R |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2004 |
| H-INDEX | 1 |
The Legacy of a One-woman Show
Recent research has demonstrated that a central feature of many women's operatic creations from late eighteenth-century and early nineteenth-century France was a marked autobiographical element. Although this autobiographical style resulted in numerous box-office successes, it also limited the lifespan of these successes because it linked the works too closely with their authors. This article will discuss a work that appears to be an exception to…
Candeille, (Amélie) [Emilie] Julie
French Women Opera Composers and the Aesthetics of Rousseau
With these words, Julie Candeille (1767-1834), one of the most popular women in French Revolutionary theater, expressed the frustration of a woman prohibited from pursuing her vocation. Having begun her career as a singer at the Opdra, a pianist at the Concert Spirituel (the primary venue for public concerts in lateeighteenth-century Paris), and an actress at the Comidie-Fran<aise, Candeille became an opera composer and librettist in the 1790s wh…
Reading between the (Ledger) Lines
RILM abstract: "The basset horn came into being around 1788. Mozart used it for his concerto K.622 and quintet K.581, and for certain arias in Cosi fan tutte and La clemenza di Tito. Other works of Mozart may have been realized with the basset horn, particularly in performances by Anton Stadler."
French Women Opera Composers and the Aesthetics of Rousseau
With these words, Julie Candeille (1767-1834), one of the most popular women in French Revolutionary theater, expressed the frustration of a woman prohibited from pursuing her vocation. Having begun her career as a singer at the Opdra, a pianist at the Concert Spirituel (the primary venue for public concerts in lateeighteenth-century Paris), and an actress at the Comidie-Fran<aise, Candeille became an opera composer and librettist in the 1790s wh…
Reading between the (Ledger) Lines
RILM abstract: "The basset horn came into being around 1788. Mozart used it for his concerto K.622 and quintet K.581, and for certain arias in Cosi fan tutte and La clemenza di Tito. Other works of Mozart may have been realized with the basset horn, particularly in performances by Anton Stadler."
French Women Opera Composers and the Aesthetics of Rousseau
With these words, Julie Candeille (1767-1834), one of the most popular women in French Revolutionary theater, expressed the frustration of a woman prohibited from pursuing her vocation. Having begun her career as a singer at the Opdra, a pianist at the Concert Spirituel (the primary venue for public concerts in lateeighteenth-century Paris), and an actress at the Comidie-Fran<aise, Candeille became an opera composer and librettist in the 1790s wh…
Candeille, (Amélie) [Emilie] Julie
The Legacy of a One-woman Show
Recent research has demonstrated that a central feature of many women's operatic creations from late eighteenth-century and early nineteenth-century France was a marked autobiographical element. Although this autobiographical style resulted in numerous box-office successes, it also limited the lifespan of these successes because it linked the works too closely with their authors. This article will discuss a work that appears to be an exception to…
Art (4 works) · Art history (3 works) · Historical and Literary Studies (2 works) · Historical Studies and Socio-cultural Analysis (2 works) · Humanities (2 works) · Visual arts (2 works) · Acoustics (1 work) · Aesthetics (1 work) · Concerto (1 work) · Diverse Musicological Studies (1 work)