Yet many of the major German composers of the time, including Handel himself, as well as Graun, Hasse and later Gluck, chose to write most of their operas in foreign languages, especially Italian.

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.

), later set to music by more than 40 other composers, including Johann Adolph Hasse ( 1735 ), Giuseppe Arena ( 1738 ), Francesco Corradini ( 1747 ), Christoph Willibald Gluck ( 1752 ), Andrea Adolfati ( 1753 ), Niccolò Jommelli ( 1753 ), Ignaz Holzbauer ( 1757 ), Vincenzo Legrezio Ciampi ( 1757 ), Gioacchino Cocchi ( 1760 ), Marcello Bernardini ( 1768 ), Andrea Bernasconi ( 1768 ), Pasquale Anfossi ( 1769 ), and Wolfgang Amadeus Mozart ( 1791 ).

Gluck later wrote:

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 ).

His musical heir in Paris was the composer Antonio Salieri, who had been Gluck's protégé since he arrived in Vienna in 1767, and later had made friends with Gluck.

On 15 November 1787, in Vienna, Gluck suffered another stroke and died a few days later.

Rameau had used accompanied recitatives, and the overtures in his later operas reflected the action to come, so when Gluck arrived in Paris in 1774 to produce a series of six French operas, he could be seen as continuing in the tradition of Rameau.

All his later works were successful ; but the directors of the Grand Opera conceived the idea of deliberately opposing him to Gluck, by persuading the two composers to treat the same subject-Iphigénie en Tauride-simultaneously.

It can be found near " Truču " homestead and it stands in honour of a girl, born in an indentured family who later ran away and was adopted by the clergyman Ernst Gluck and became the ruler of Russia.

Christoph Willibald Gluck was later to compose his own music for the work.

These composers included Hasse ( who later settled in Naples ) Haydn, Johann Christian Bach and 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.

Gluck later married violinist Efrem Zimbalist and had two children, Efrem Zimbalist, Jr. and Maria.

Offenbach, a frequent parodist ( of among others Gluck, Donizetti and Meyerbeer ), was himself parodied by later composers from Saint-Saëns to Sondheim.

( Gluck was later a partner in competitor WSOC, and was the first president of WSOC-TV when it launched in 1957.

In his free time he liked to play the violin and cello, listened to Christoph Willibald Gluck, and often met with his longtime friend Tobias Schmidt, a well-regarded German maker of musical instruments who would later build Sanson's guillotine.

Three days later, she appeared as Orfeo in Gluck ’ s Orfeo ed Euridice at the Lyceum Theatre.

For Caffarelli Gluck composed the famous, but notoriously difficult, aria " Se mai senti spirarti sul volto ," which provoked admiration and vituperation in equally large measures.

Beginning with Orfeo ed Euridice, Gluck drastically cut back on the possibilities for vocal virtuosity afforded to singers, abolished secco recitative ( thereby heavily reducing the delineation between aria and recitative ), and took great care to unify drama, dance, music, and theatrical practice in the synthesis of Italian and French traditions.

At the concert, Mozart opened matters with the first three movements of this symphony, an aria from Idomeneo ( described in his letter to his father of March 29 that year as his Munich opera ), a piano concerto, a scena ( a genre related to the concert aria ), the concertante movements of one of his recent serenades, his piano concerto K. 175 ( with a new finale )— and another scena ( from an opera he'd composed for Milan ); at this point he improvised a fugue " because the Emperor was present " and then two sets of variations ( K. 398 on an aria by Paisiello and K. 455 on an aria by Gluck ).

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.

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.

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.

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

* 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.

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.

) 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.

** Iphigénie en Aulide, opera by Christoph Willibald Gluck.

** Iphigénie en Tauride, opera by Christoph Willibald Gluck.

Gluck also wrote Armide ( 1777 ), Iphigénie en Tauride ( 1779 ) and Echo et Narcisse for Paris.

* Rushton, J., " Iphigénie en Tauride: the Operas of Gluck and Piccinni ", Music & Letters, liii ( 1972 ), pp. 411 – 30.

* Rushton, J., "“ Royal Agamemnon ”: the Two Versions of Gluck " s Iphigénie en Aulide ", Music and the French Revolution, ed.

Iphigénie en Tauride ( Iphigenia in Tauris ) is an opera by Christoph Willibald Gluck in four acts.

With Iphigénie, Gluck took his operatic reform to its logical conclusion.

* Christoph Willibald Gluck – Iphigénie en Tauride

The previous theater ( the " Neues Theater ") was inaugurated on January 28, 1868, with Jubilee Overture by Carl Maria von Weber and the overture for Iphigénie en Aulide by Gluck and Goethe's play Iphigenia in Tauris.

* Christoph Willibald Gluck: Iphigénie en Aulide conducted by John Eliot Gardiner ( 1990 ) Erato

* Gluck Iphigénie en Tauride ( 1779 ), the most famous operatic version of the story

Rarities performed in the 1960s included operas by Handel and Janáček ( neither composer's works being as common in the opera house then as now ), and works by Gluck ( Iphigénie en Tauride ), Poulenc ( The Carmelites ), Ravel ( L ' heure espagnole ) and Tippett ( King Priam ).

Kelly played in both, being Pylades to Bernasconi's Iphigénie and the Oreste of the tenor Ademberger, in all of which they were coached by Gluck in person.