The Concise Oxford Dictionary of Opera

By John Warrack; Ewan West | Go to book overview

E

Eaglen, Jane (b Lincoln, 4 Apr. 1960). English soprano. After study at the RNCM appeared with London, ENO from 1984, as Donna Elvira, Elizabeth I ( Maria Stuarda), Eva and Leonora (Travatore). Her ample resources have made her widely admired as Brünnhilde ( Scottish O; Seattle; and Milan, S). Other roles include Matthilde in Guillaume Tell ( London, CG, 1990), Norma Sieglinde, and Fata Morgana ( The Love of the Three Oranges). New York, M, 1995.(R)

Eames, Emma (b Shanghai, 13 Aug. 1865; d New York, 13 June 1952). US soprano. Studied Paris with Marchesi. Début Paris, O, 1889 ( Juliette). London, CG, 1891-1901, arousing Melba's jealousy with her successes as the Countess ( Mozart), Elsa, Sieglinde, Eva, Aida, etc. New York, M, 1891-1909; Boston 1911 (Tosca, Verdi's Desdemona), after which she appeared only in concert. Her voice, thought by some more beautiful than Melba's, was full, even, flexible, and accurate. She was handsome, but somewhat cold: Shaw refers to her 'casting her propriety like a Sunday frock over the whole stage'.(R)

'É amore an ladroncello'. Dorabella's (mez) aria in Act II of Mozart Cosi fan tutte, in which she reflects on how love gives both imprisonment and release.

Easter Hymn. The Resurrection Hymn for the chorus led by Santuzza (sop), 'Inneggiamo, il Signor non è morto', in Mascagni Cavalleria rusticana.

Easton, Florence (b Middlesbrough, 25 Oct. 1882; d New York, 13 Aug. 1955). English soprano. Studied London, RCM, and Paris with Haslam. Début Newcastle 1903 ( Shepherd, Tannhäuser). London, CG, 1903, 1909, 1927 (Turandot), 1932 (Brünnhilde). Henry Savage Co., 1905. Berlin, H, 1907-13; Hamburg 1913-15. New York, M, 1917-29, 1935-6: created Lauretta ( Schicchi) and Aelfrida (in Deems Taylor The Henchman). Had a repertory of over 100 roles in four languages, and was able to take over a part, new or old, at only hours' notice. In one week in 1922 she sang Isolde, Kundry, Fiordiligi, and Sieglinde. Her voice, pure-toned and powerful, was still magnificent at her farewell in 1936. (R)

Ebert, Carl (b Berlin, 20 Feb. 1887; d Santa Monica, 14 May 1980). German producer and manager. Studied acting with Reinhardt, and after engagements in Berlin and Frankfurt became general director of the Darmstadt State T 1927. General director and producer, Berlin, SO, 1931, where his productions came as a revelation to critics and public. Left Germany 1933. Produced opera Florence, Buenos Aires. With Fritz Busch founded *Glyndebourne Opera, where together they established its reputation for the highest international standards. Organized Turkish Nat. T and O, 1936-47; dir. opera dept. U of S California 1948-56. Gly. 194759. Returned to former Berlin post 1956-61. New York, M, 1959-62. His productions of Mozart and Verdi set particularly high standards of intelligent dramatization and faithfulness to the composers' intentions. Staged prem. of The Rake's Progress, Venice 1951. His son Peter (b Frankfurt, 6 Apr. 1918) has also worked at Glyndebourne. Scottish O: dir. of productions 1963-75, general administrator 1977-80; Augsburg 1968-73; Wiesbaden 1975-7.

Eboli. Princess Eboli (conceived as low mez, written as high mez for Lauters-Gueymard), former mistress of King Philip and lady-inwaiting to Elisabeth de Valois in Verdi Don Carlos.

Ebrahim, Omar (b London, 6 Sept. 1956). English baritone. Sang with Gly. Touring O from 1980, after study in London, and joined O Factory in 1982 ( Don Mel Giovanni ( The Knot Garden), and Birtwistle Punch). Created roles in Yan Tan Tethera ( 1986), Gawain ( London, CG, 1991), and The Second Mrs Kong ( 1994). His strong stage presence was also seen to advantage in operas by Osborne ( The Electrification of the Soviet Union), Berio ( Un Re in ascolto, London, CG, 1989) and Tippett ( New Year, Gly. 1990).(R)

Eccles,John(b? London, c. 1668; d. Hampton Wick, 12 Jan 1735). English composer. He rapidly established himself as one of the leading theatre composers of the day. For

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The Concise Oxford Dictionary of Opera
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Preface vii
  • Key to Vocal Compasses x
  • Abbreviations xi
  • A 1
  • B 28
  • C 72
  • D 112
  • E 144
  • F 157
  • G 181
  • H 218
  • I 241
  • J 251
  • K 259
  • L 277
  • M 305
  • N 356
  • O 370
  • P 384
  • Q 419
  • R 421
  • S 449
  • T 505
  • U 525
  • V 529
  • W 545
  • X 563
  • Y 564
  • Z 565
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