- Copper is Restless Until it Becomes Gold*
- From Phantasmagoria to Science! SOLD OUT
- UCL Library Treasures Show & Tell
- Pleasure, Pain & the Capacity to Relate
- Subtitles, Surtitles & Supertitles
- Find the Mind's Construction in the Face
- Blimey! We're all Cockneys Now
- After Winter Comes Spring (Winter Ade), 1988
- A Decade in Digital Humanities
- Café Culture: Games at the Grant - SOLD OUT
- Still Digging. But in the Archives
- An Appointment with Dante
- Flickering, Lost, Forgotten: London's Silent Picture Palaces- SOLD OUT
- Slade Salon Afternoon
- Slade Degree Shows
- This is Where We Came in. Memories of 60s Cinema-Going
- Ronald Reagan Movie Star
- You Must Read This Book!
- Auschwitz: Awkward Approaches
- Midnight Moonshine- SOLD OUT
- Jeremy Bentham & the Ones that Got Away
- Philosophy and Theatre
- Telling Mother Tongues. Ponglish: Playing with Words
- Telling Mother Tongues. I am Polish: Meet the Artists
- Sauna on the Moon (Chang'e), 2011
- London’s Burning: Our Habitat in Times of Crisis
- 1492: The Year the World Went Global
- Landscapes Within: Experience the Music
- Music Revolution! Mozart. Rossini. Whatever Next?
- German Literature on the Beach
- 10 Researchers | 10 Objects | 100 Hours
- Voices of War: UCL in World War I
- Tours of UCL Main Library and Institute of Archaeology Library
Music Revolution! Mozart. Rossini. Whatever Next?
10 April 2014
Thursday May 29
Wilkins Haldane Room, Wilkins Building
In April 1817 opera in London changed: Mozart and Da Ponte's Don Giovanni (1787) was finally performed at the King's Theatre 30 years after its Prague debut. Why did it take so long for this masterpiece to reach London audiences? Londoners preferred works such as Cimarosa's Gli Orazi ed Orazi (1796). From Mozart it was only a small leap for to endorse Rossini, whose operas were to become the soundtrack to 1820s Europe. These musical shifts are recorded in the reactions of Londoners who heard them, including Percy and Mary Shelley.
Will Bowers tells the story of a musical revolution with operatic excerpts sung by Carl Gombrich (bass) and Emily Tsui (soprano), with Bryan Solomon at the piano.