LaGuardia's sister, Gemma LaGuardia Gluck ( 1881-1962 ), and brother-in-law, Herman Gluck ( a Hungarian Jew whom she met while teaching English in Europe ), were living in Hungary and were arrested by the Gestapo on 7 June 1944, when the Nazis took control of Budapest.

Gluck and Haydn followed suit in the 1750s, and the first English horn concertos were written in the 1770s.

Orfeo ed Euridice ( French version: Orphée et Eurydice ; English translation: Orpheus and Eurydice ) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de ' Calzabigi.

Peter, a Young English Girl ( 1923 – 1924 ), a portrait of the artist Gluck

Although her initial success came at the Metropolitan Opera in New York City, Gluck later concertized widely in America and became an early recording artist.

Truman Capote, who toured Brooks's studio in the late 1940s, may have been exaggerating when he called it " the all-time ultimate gallery of all the famous dykes from 1880 to 1935 or thereabouts ", but she did paint Elisabeth de Clermont-Tonnerre ; Barney's lover Elizabeth Eyre de Lanux ; her own lover Renata Borgatti ; Una, Lady Troubridge, the partner of Radclyffe Hall ; and the artist Gluck ( Hannah Gluckstein ).

But while many of her early paintings show sad and withdrawn figures " consumed by petticoats, veiled hats and other period trappings of femininity ", Gluck is self-possessed and quietly intense — an artist who insists on being taken seriously.

The cover art is a detail from a painting by Gluck ( Hannah Gluckstein ) | Gluck, a lesbian artist active in the 1920s and ' 30s.

Among the most successful composers of his time, Gluck spawned many emulators, one of whom was Antonio Salieri.

However, he did respond favorably to an approach from the composer Gluck, whom he met in 1774.

Others taken into her confidence at this time included her husband's brother, the comte d ' Artois ; their youngest sister, Madame Élisabeth ; her sister-in-law, the comtesse de Provence ; and Christoph Willibald Gluck, her former music teacher, whom she took under her patronage upon his arrival in France.

) He began to take advantage of the institutions he now had access to in the city, including his first visit to the Paris Opéra, where he saw Iphigénie en Tauride by Christoph Willibald Gluck, a composer whom he came to admire above all, jointly alongside Ludwig van Beethoven.

In the Gluck – Piccinni controversy he was an eager partisan of Piccinni with whom he collaborated in Didon ( 1783 ) and Penelope ( 1785 ).

With his encyclopaedic mind and devotion to literature, the Poland-born Russian-Jewish immigrant is not only tolerated but liked and admired by both the owner of his local Café Gluck and the cultured Viennese clients with whom he interacts in the pre-war period.

Women like Gluck, Troubridge, and Brooks used variations of the masculine mode, not to pass as men, but as a signal — a way of making their sexuality visible to others.

" Performing the Picture or Painting the Other: Romaine Brooks, Gluck and the Question of Decadence in 1923.

" Performing the Picture or Painting the Other: Romaine Brooks, Gluck and the Question of Decadence in 1923 ".

As a student of Florian Leopold Gassmann, and a protégé of Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages.

However, in 1778 Gluck turned down an offer to compose the inaugural opera for La Scala in Milan ; upon the suggestion of Joseph II and with the approval of Gluck, Salieri was offered the commission, which he gratefully accepted.

The original commission that reached Salieri in 1783 – 84 was to assist Gluck in finishing a work for Paris that had been all but completed ; in reality, Gluck had failed to notate any of the score for the new opera and gave the entire project over to his young friend.

Gluck feared that the Parisian critics would denounce the opera by a young composer known mostly for comic pieces and so the opera was originally billed in the press as being a new work by Gluck with some assistance from Antonio Salieri, then shortly before the premiere of the opera the Parisian press reported that the work was to be partly by Gluck and partly by Salieri, and finally after popular and critical success were won on stage the opera was acknowledged in a letter to the public by Gluck as being wholly by the young Antonio.

Ironically, Salieri's music was much more in the tradition of Gluck and Gassmann than of the Italians like Paisiello or Cimarosa.

Another important break with the past was the radical overhaul of opera by Christoph Willibald Gluck, who cut away a great deal of the layering and improvisational ornament and focused on the points of modulation and transition.

Opera seria was the most prestigious form of Italian opera, until Gluck reacted against its artificiality with his " reform " operas in the 1760s.

The first to succeed however, was Gluck.

After Rameau's death, the German Gluck was persuaded to produce six operas for the Parisian stage in the 1770s.

He was succeeded by Fiorello La Guardia ( 1 April to 31 December 1946 ), former mayor of New York-who later learned that that his sister, Gemma LaGuardia Gluck, and other relatives had been imprisoned in Nazi concentration camps.

However, it was ultimately decided to perform operas by Gluck instead, giving Mozart more time.

Yet during much of the 17th and 18th centuries German-language opera would struggle to emerge from the shadow of its Italian-language rival, with leading German-born composers such as Handel and Gluck opting to work in foreign traditions such as opera seria.

Kurt Kramer has suggested that Varesco was familiar with Calzabigi and therefore the work of Gluck, especially the latter's Alceste ; much of what we see in Varesco's most dramatic passages is the latest French style, mediated by Calzabigi.

In addition to Mozart and Rossini, Bartoli has spent much of her time performing and recording baroque and early classical era music of such composers as Gluck, Vivaldi, Haydn and Salieri.

However, his time at home in Vienna would be quickly brought to a close when an opportunity to write an opera for Paris arose, again through the patronage of Gluck Salieri traveled abroad to fulfill an important commission.

* Christoph Willibald Gluck ( 1714 – 1787 ) was Kapellmeister starting 1754 for Maria Theresa of Austria in Vienna.

During this period, Ingres formed friendships with musicians including Paganini, and regularly played the violin with others who shared his enthusiasm for Mozart, Haydn, Gluck, and Beethoven.

It was scored for by Gluck, in his opera Orfeo ed Euridice ( he suggested the soprano trombone as an alternative ) and features in the TV theme music Testament by Nigel Hess, released in 1983.

Next to those of Beethoven, Berlioz showed deep reverence for the works of Gluck, Mozart, Méhul, Weber and Spontini, as well as respect for some of those of Rossini, Meyerbeer and Verdi.

After many years at the Habsburg court at Vienna, Gluck brought about the practical reform of opera's dramaturgical practices that many intellectuals had been campaigning for over the years.

Fusing the traditions of Italian opera and the French national genre into a new synthesis, Gluck wrote eight operas for the Parisian stages.

Nevertheless, Gluck composed an opera for each of the next four Carnivals at Milan, with renowned castrato Giovanni Carestini appearing in many of the performances, so the reaction to Artaserse is unlikely to have been completely unfavourable.

For the remainder of 1748 and 1749 Gluck travelled with Mingotti's troupe, contracting a venereal disease from the prima donna and composing the opera La contesa de ' numi for the court at Copenhagen.

The year 1752 brought another major commission to Gluck, when he was asked to set Metastasio's La clemenza di Tito ( the specific libretto was the composer's choice ) for the nameday celebrations of King Charles VII of Naples ( later Charles III of Spain ).

Gluck later reworked this aria for his Iphigénie en Tauride.

Under the patronage of his former music pupil, Marie Antoinette, who had married the future French king Louis XVI in 1770, Gluck signed a contract for six stage works with the management of the Paris Opéra.

" The composers themselves took no part in the polemics, but when Piccinni was asked to set the libretto to Roland, on which Gluck was also known to be working, Gluck destroyed everything he had written for that opera up to that point.