Opera
- 1904-1905: Anna Karenina by Italian composer Edoardo Granelli, composed in years 1904-1905.
- 1905: Anna Karenina by Italian composer Salvatore Sassano on libretto by Antonio Menotti. Opera won a prize at the contest of the Institute for the Advancement of Music, Naples and was premièred by Mercadante Theater in Naples in 1905.
- 1907: Leoš Janáček begun, but never finished the opera.
- 1914: Anna Karénine by French composer Edmond Malherbe, unperformed.
- 1914: Karenina Anna by Hungarian composer Jenő Hubay on libretto by Sándor Góth and Andor Gábor based on 1907 Edmond Guiraud's French dramatical adaptation. Premièred in 1923.
- 1924: Anna Karenina by Italian verismo composer Igino Robbiani on libretto by Arturo Rosatto, premièred 1924 at the Teatro Costanzi in Rome.
- 1930: Anna Karenina, op. 18 by Czech composer Stanislav Goldbach on libretto by Dalibor Chalupa, composed 1927-1930.
- 1970: Anna Karenina by Ukrainian composer Yuly Sergeyevich Meytus.
- 1978: Anna Karenina by British composer Iain Hamilton on his own libretto, premièred by ENO at the London Coliseum in 1981.
- 2007: Anna Karenina, an American opera with music by David Carlson on a libretto by Colin Graham which premiered in 2007 at Florida Grand Opera. Second version with an added scene on text by Mark Streshinsky was premièred in 2010 by Opera San Jose.
Read more about this topic: Adaptations Of Anna Karenina
Famous quotes containing the word opera:
“Opera once was an important social instrument—especially in Italy. With Rossini and Verdi people were listening to opera together and having the same catharsis with the same story, the same moral dilemmas. They were holding hands in the darkness. That has gone. Now perhaps they are holding hands watching television.”
—Luciano Berio (b. 1925)
“The opera isn’t over till the fat lady sings.”
—Anonymous.
A modern proverb along the lines of “don’t count your chickens before they’re hatched.” This form of words has no precise origin, though both Bartlett’s Familiar Quotations (16th ed., 1992)
“The real exertion in the case of an opera singer lies not so much in her singing as in her acting of a role, for nearly every modern opera makes great dramatic and physical demands.”
—Maria Jeritza (1887–1982)