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49-587: The Civic may refer to: The Civic, Christchurch , an historic building in Christchurch, New Zealand The Civic, Barnsley , a theatre and art gallery in Barnsley, Yorkshire, UK Civic Theatre (disambiguation) , several theatres Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title The Civic . If an internal link led you here, you may wish to change

98-580: A Monastery (1940–1941, staged 1946), and Dmitri Shostakovich 's The Nose (1927–1928, staged 1930). Simultaneously, the genres of light music , operetta , musical comedy , and later, rock opera , were developed by such composers as Isaak Dunayevsky , Dmitri Kabalevsky , Dmitri Shostakovich (Opus 105: Moscow, Cheryomushki , operetta in 3 acts, (1958)), Tikhon Khrennikov , and later by Gennady Gladkov , Alexey Rybnikov and Alexander Zhurbin . The 21st century in Russian comic opera began with

147-636: A cheat and a matchmaker , text by Alexander Ablesimov (1779), on a subject resembling Rousseau 's Devin , is attributed to Mikhail Sokolovsky . Ivan Kerzelli , Vasily Pashkevich and Yevstigney Fomin also wrote a series of successful comic operas in the 18th century. In the 19th century, Russian comic opera was further developed by Alexey Verstovsky who composed more 30 opera-vaudevilles and 6 grand operas (most of them with spoken dialogue). Later, Modest Mussorgsky worked on two comic operas, The Fair at Sorochyntsi and Zhenitba ("The Marriage"), which he left unfinished (they were completed only in

196-558: A countermeasure to the continental operettas, commissioned Clay's collaborator, W. S. Gilbert , and the promising young composer, Arthur Sullivan , to write a short one-act opera that would serve as an afterpiece to Offenbach's La Périchole . The result was Trial by Jury ; its success launched the Gilbert and Sullivan partnership. "Mr. R. D'Oyly Carte's Opera Bouffe Company" took Trial on tour, playing it alongside French works by Offenbach and Alexandre Charles Lecocq . Eager to liberate

245-505: A dozen hits, were Babes in Toyland (1903) and Naughty Marietta (1910). Others who wrote in a similar vein included Reginald de Koven , John Philip Sousa , Sigmund Romberg and Rudolf Friml . The modern American musical incorporated elements of the British and American light operas, with works like Show Boat and West Side Story , that explored more serious subjects and featured

294-505: A mixture of sentiment and humour, Offenbach's works were intended solely to amuse. Though generally well crafted and full of humorous satire and grand opera parodies, plots and characters in his works were often interchangeable. Given the frenetic pace at which he worked, Offenbach sometimes used the same material in more than one opera. Another Frenchman who took up this form was Charles Lecocq . The singspiel developed in 18th-century Vienna and spread throughout Austria and Germany. As in

343-612: A place of evil repute to the righteous British householder.... A first effort to bridge the gap was made by the German Reed Entertainers. Nevertheless, an 1867 production of Offenbach's The Grand Duchess of Gerolstein (seven months after its French première) ignited the English appetite for light operas with more carefully crafted librettos and scores, and continental European operettas continued to be extremely popular in Britain in

392-542: Is by Elena Polenova, based on a folk-drama, Tsar Maksimilyan , and the work premiered on June 20, 2001, at the Mariinski Theatre , St Petersburg. Prize "Gold Mask, 2002" and "Gold Soffit, 2002". The Children of Rosenthal ( Дети Розенталя ), an opera in two acts by Leonid Desyatnikov , with a libretto by Vladimir Sorokin . This work was commissioned by the Bolshoi theatre and premiered on March 23, 2005. The staging of

441-557: The singspiel and the French model. Franz von Suppé is remembered mainly for his overtures. Johann Strauss II , the "waltz king", contributed Die Fledermaus (1874) and The Gypsy Baron (1885). Carl Millöcker a long-time conductor at the Theater an der Wien , also composed some of the most popular Viennese operettas of the late 19th century, including Der Bettelstudent (1882), Gasparone (1884) and Der arme Jonathan (1890). After

490-416: The "first true Italian comic opera" – that is to say, it had everything: it was in standard Italian and not in dialect; it was no longer simply an intermezzo, but rather an independent piece; it had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy

539-493: The 1730s, a new operatic genre, opera buffa , emerged as an alternative to opera seria . It quickly made its way to France, where it became opéra comique , and eventually, in the following century, French operetta , with Jacques Offenbach as its most accomplished practitioner. The influence of the Italian and French forms spread to other parts of Europe. Many countries developed their own genres of comic opera, incorporating

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588-565: The 1860s and 1870s, including Les Cloches de Corneville , Madame Favart and others into the 1880s, often adapted by H. B. Farnie and Robert Reece . F. C. Burnand collaborated with several composers, including Arthur Sullivan in Cox and Box , to write several comic operas on English themes in the 1860s and 1870s. In 1875, Richard D'Oyly Carte , one of the impresarios aiming to establish an English school of family-friendly light opera by composers such as Frederic Clay and Edward Solomon as

637-426: The 20th century). Pyotr Tchaikovsky wrote a comic opera, Cherevichki (1885). Nikolai Rimsky-Korsakov composed May Night 1878–1879 and The Golden Cockerel 1906–1907. In the 20th century, the best examples of comic opera by Russian composers were Igor Stravinsky 's Mavra (1922) and The Rake's Progress (1951), Sergey Prokofiev 's The Love for Three Oranges (1919) and Betrothal in

686-614: The English stage from risqué French influences, and emboldened by the success of Trial by Jury , Carte formed a syndicate in 1877 to perform "light opera of a legitimate kind". Gilbert and Sullivan were commissioned to write a new comic opera, The Sorcerer , starting the series that came to be known as the Savoy operas (named for the Savoy Theatre , which Carte later built for these works) that included H.M.S. Pinafore , The Pirates of Penzance and The Mikado , which became popular around

735-411: The French opéra comique , the singspiel was an opera with spoken dialogue, and usually a comic subject, such as Mozart's Die Entführung aus dem Serail (1782) and The Magic Flute (1791). Later singspiels , such as Beethoven's Fidelio (1805) and Weber's Der Freischütz (1821), retained the form, but explored more serious subjects. 19th century Viennese operetta was built on both

784-496: The Italian and French models along with their own musical traditions. Examples include German singspiel , Viennese operetta , Spanish zarzuela , Russian comic opera, English ballad and Savoy opera , North American operetta and musical comedy . In late 17th-century Italy, light-hearted musical plays began to be offered as an alternative to weightier opera seria (17th-century Italian opera based on classical mythology ). Il Trespolo tutore (1679) by Alessandro Stradella

833-610: The Teatro de la Zarzuela de Madrid, but with little success and light attendance. In spite of this, in 1873 a new theater, the Teatro Apolo , was opened for zarzuela grande , which shared the failures of the Teatro de la Zarzuela, until it was forced to change its program to género chico . The first opera presented in Russia , in 1731, was a comic opera (or "commedia per musica"), Calandro , by an Italian composer, Giovanni Alberto Ristori . It

882-471: The annual buskers festival . The Civic stopped hosting music events in 2009. The Civic was heavily damaged in the February 2011 Christchurch earthquake . Much of the façade collapsed into Manchester Street. The building was demolished in 2011. Following the earthquake, a time capsule was found in the building. It was opened on 12 April 2011 by mayor Bob Parker , together with two further capsules found in

931-660: The building for the 50th jubilee of Christchurch, celebrating the arrival of the First Four Ships in December 1850. The contractors were Rennie and Pearce. The Canterbury Industrial Association, a branch of the New Zealand Industrial Association, was the driving force behind the building. Together with the Agricultural and Pastoral Association, an Agricultural and Industrial Hall Company was formed that owned

980-562: The building. Samuel Brown , the president of the New Zealand Industrial Association, called it "possibly the finest hall in New Zealand". The building was formally opened on 1 November 1900 by the Mayoress, Mrs Reece. Later that afternoon, the Governor , The Earl of Ranfurly , opened the jubilee exhibition. The Premier's party consisted of Richard Seddon , Joseph Ward and families. The day

1029-483: The existing offices, these days known as Our City , had become too small. CCC bought the northern part (194 Manchester Street) of the burned out shell in 1920 for their new municipal offices. The southern half of the old building at 192 Manchester Street opened as the Civic Theatre on 17 March 1928. C. R. Dawe and Francis Willis were the architects for the theatre. That building was demolished in 1983, truncating

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1078-703: The genre was like in the 17th century. In the 18th century, the Italian operatic style influenced zarzuela . But beginning with the reign of Bourbon King Charles III , anti-Italian sentiment increased. Zarzuela returned to its roots in popular Spanish tradition in works such as the sainetes (or Entr'actes) of Don Ramón de la Cruz. This author's first work in this genre was Las segadoras de Vallecas ("The Reapers of Vallecas", 1768), with music by Rodríguez de Hita . Single act zarzuelas were classified as género chico (the "little genre" or "little form") and zarzuelas of three or more acts were género grande (the "big genre" or "big form"). Zarzuela grande battled on at

1127-412: The impressive 1900 façade by half. Greenstreet and Anderson were engaged as architects for the civic offices, and W. Williamson was engaged as a builder in 1922. Monica Thacker , the mayoress, laid the foundation stone. The building was opened on 1 September 1924. The design was based on an American banking chamber, where one continuous desk in the form of a horseshoe in the main hall gave access for

1176-486: The latter incorporating dances, with chorus numbers and humorous scenes that are usually duets. These works are relatively short, and ticket prices were often low, to appeal to the general public. There are two main forms of zarzuela : Baroque zarzuela ( c.  1630 –1750), the earliest style, and Romantic zarzuela ( c.  1850 –1950), which can be further divided into the two subgenres of género grande and género chico . Pedro Calderón de la Barca

1225-512: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=The_Civic&oldid=1128978147 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages The Civic, Christchurch The Civic was a building in Manchester Street, central Christchurch , that

1274-500: The mid-19th century, despite Giuseppe Verdi 's Falstaff staged in 1893. French composers eagerly seized upon the Italian model and made it their own, calling it opéra comique . Early proponents included the Italian Egidio Duni , François-André Philidor , Pierre-Alexandre Monsigny , André Grétry , François-Adrien Boïeldieu , Daniel François Auber and Adolphe Adam . Although originally reserved for less serious works,

1323-575: The most popular form of staged entertainment in Italy from about 1750 to 1800. In 1749, thirteen years after Pergolesi's death, his La serva padrona swept Italy and France, evoking the praise of such French Enlightenment figures as Rousseau . In 1760, Niccolò Piccinni wrote the music to La Cecchina to a text by the great Venetian playwright, Carlo Goldoni . That text was based on Samuel Richardson 's popular English novel, Pamela, or Virtue Rewarded (1740). Many years later, Verdi called La Cecchina

1372-531: The new civic offices, occupying the building in 1980. The City Council sold the Civic in 1982 for $ 760,000. The Civic has had several owners and different uses. In 1984, it was the Civic Regency Restaurant. It was renamed the Civic in 1986 and was a bar, and then served as a live music venue, with acts by Salmonella Dub , Shapeshifter , Elemeno P and Anika Moa . It also hosted nighttime performances of

1421-456: The noisy premieres of two works whose genre could be described as "opera-farce": Tsar Demyan ( Царь Демьян ) – A frightful opera performance . A collective project of five authors wrote the work: Leonid Desyatnikov and Vyacheslav Gaivoronsky from St. Petersburg , Iraida Yusupova and Vladimir Nikolayev from Moscow , and the creative collective "Kompozitor", which is a pseudonym for the well-known music critic Pyotr Pospelov. The libretto

1470-431: The opera was accompanied by juicy scandal; however it was an enormous success. England traces its light opera tradition to the ballad opera , typically a comic play that incorporated songs set to popular tunes. John Gay's The Beggar's Opera was the earliest and most popular of these. Richard Brinsley Sheridan's The Duenna (1775), with a score by Thomas Linley , was expressly described as "a comic opera". By

1519-491: The operas of Scarlatti, Pergolesi ( La serva padrona , 1733), Galuppi ( Il filosofo di campagna , 1754), Piccinni ( La Cecchina , 1760), Paisiello ( Nina , 1789), Cimarosa ( Il matrimonio segreto , 1792), and then the great comic operas of Mozart and, later, Rossini and Donizetti . At first, comic operas were generally presented as intermezzi between acts of more serious works. Neapolitan and then Italian comic opera grew into an independent form and became

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1568-479: The overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision. The genre was developed further in the first half of the 19th century by Gioachino Rossini in his works such as The Barber of Seville (1816) and La Cenerentola (1817) and by Gaetano Donizetti in L'elisir d'amore (1832) and Don Pasquale (1843), but declined in

1617-535: The plinth of the toppled Godley Statue . The time capsule from the Civic contained newspapers, a book with photos and the council's balance sheet and statements for the year ended 31 March 1921. On 26 November 1981, the building was registered by the New Zealand Historic Places Trust as a Category II historic place, with the registration number being 1870. Comic opera Forms of comic opera first developed in late 17th-century Italy. By

1666-541: The public to every department of the council. An imposing portico was built over the footpath, but this was later demolished. All council staff (apart from specialist services like the electricity department) were once again under one roof, but this lasted only until 1943. With an increase in the number of staff, and other municipalities amalgamating with Christchurch City Council, council started housing some staff in other buildings. By 1978, council staff were in nine different buildings. The new Christchurch Town Hall

1715-415: The risqué state of musical theatre and introduced short comic operas designed to be more family-friendly and to elevate the intellectual level of musical entertainments. Jessie Bond wrote, The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become

1764-479: The second half of the 19th century, the London musical stage was dominated by pantomime and musical burlesque , as well as bawdy, badly translated continental operettas, often including "ballets" featuring much prurient interest, and visiting the theatre became distasteful to the respectable public, especially women and children. Mr. and Mrs. Thomas German Reed , beginning in 1855, and a number of other Britons, deplored

1813-817: The sole representatives of the genre surviving today. Only recently, some of these other English light operas have begun to be explored by scholars and to receive performances and recordings. In the United States, Victor Herbert was one of the first to pick up the family-friendly style of light opera that Gilbert and Sullivan had made popular, although his music was also influenced by the European operetta composers. His earliest pieces, starting with Prince Ananias in 1894, were styled "comic operas", but his later works were described as "musical extravaganza", "musical comedy", "musical play", "musical farce", and even "opera comique". His two most successful pieces, out of more than half

1862-439: The term opéra comique came to refer to any opera that included spoken dialogue, including works such as Cherubini's Médée and Bizet's Carmen that are not "comic" in any sense of the word. Florimond Hervé is credited as the inventor of French opéra bouffe , or opérette . Working on the same model, Jacques Offenbach quickly surpassed him, writing over ninety operettas . Whereas earlier French comic operas had

1911-510: The turn of the 20th century, Franz Lehár wrote The Merry Widow (1905); Oscar Straus supplied Ein Walzertraum ("A Waltz Dream", 1907) and The Chocolate Soldier (1908); and Emmerich Kálmán composed Die Csárdásfürstin (1915). Zarzuela , introduced in Spain in the 17th century, is rooted in popular Spanish traditional musical theatre. It alternates between spoken and sung scenes,

1960-524: The world. The D'Oyly Carte Opera Company continued to perform Gilbert and Sullivan almost continuously until it closed in 1982. The Gilbert and Sullivan style was widely imitated by their contemporaries (for example, in Dorothy ), and the creators themselves wrote works in this style with other collaborators in the 1890s. None of these, however, had lasting popularity, leaving the Savoy Operas as practically

2009-508: Was an early precursor of opera buffa . The opera has a farcical plot, and the characters of the ridiculous guardian Trespolo and the maid Despina are prototypes of characters widely used later in the opera buffa genre. The form began to flourish in Naples with Alessandro Scarlatti 's Il trionfo dell'onore (1718). At first written in Neapolitan dialect, these works became "Italianized" with

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2058-664: Was built in Kilmore Street, over the Avon River from Victoria Square , and opened in 1972. Part II of this civic area were supposed to be new civic offices as a replacement for the building in Manchester Street. It was envisaged to build on the corner of Kilmore and Durham Streets, cutting Victoria Street off from going through Victoria Square, but this scheme did not proceed. Instead, the city council purchased Miller's Department Store in Tuam Street in 1978 and fitted this building out as

2107-406: Was converted to a theatre with a seating capacity of 1,400, and the name was changed to His Majesty's Theatre. The remodelled building was opened with the premier of the comic opera Erminie on 28 August 1906. Fuller's leased the theatre for a period of ten years in early 1917, but tragedy struck on 11 November of that year when the building was gutted by fire. The building, valued at £21,000,

2156-410: Was declared as a public holiday from noon. The exhibition covered 74,000 square feet (6,900 m ) and took up two-thirds of the city block described by Manchester, Gloucester, Worcester Streets and Latimer Square. It closed on 31 January 1901, having been visited by nearly 250,000 people, with a surplus of £3000. The Canterbury Hall was then used as a cinema, seating 3,000. In 1906, the building

2205-415: Was erected in 1900 and demolished in 2011. It was first used as an exhibition hall, then as a cinema, and then a theatre, before being gutted by fire in 1917. The northern part of the building was purchased by Christchurch City Council (CCC) and opened as the civic office in 1924, and served this purpose until 1980. After that it had several uses, including a restaurant, bar and live music venue. The building

2254-406: Was followed by the comic operas of other Italians, like Galuppi , Paisiello and Cimarosa , and also Belgian / French composer Grétry . The first Russian comic opera was Anyuta (1772). The text was written by Mikhail Popov , with music by an unknown composer, consisting of a selection of popular songs specified in the libretto. Another successful comic opera, The miller who was a wizard,

2303-623: Was heavily damaged in the February 2011 Christchurch earthquake , and was demolished. The Civic was a Category II heritage building registered with the New Zealand Historic Places Trust . The Agricultural and Industrial Hall, also known as the Canterbury Hall, was built in 1900 at 192–194 Manchester Street. The foundation stone was laid by Mayor William Reece on 14 March 1900. William Clarkson and Robert Ballantyne, architects trading as Clarkson & Ballantyne, designed

2352-521: Was lost, with only the façade left standing. The city organ, which was donated by the Government after the 1906 New Zealand International Exhibition , valued at £5,000 and insured for £3,750 was also consumed by the flames. The building had only recently been offered to the Christchurch City Council as a town hall. Christchurch City Council started looking for new civic offices in 1919, as

2401-681: Was the first playwright to adopt the term zarzuela for his work entitled El golfo de las sirenas ("The Gulf of the Sirens", 1657). Lope de Vega soon wrote a work titled La selva sin amor, drama con orquesta ("The Loveless Jungle, A Drama with Orchestra"). The instruments orchestra was hidden from the audience, the actors sang in harmony, and the musical composition itself was intended to evoke an emotional response. Some of these early pieces were lost, but Los celos hacen estrellas ("Jealousies Turn Into Stars") by Juan Hidalgo and Juan Vélez, which premiered in 1672, survives and gives us some sense of what

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