See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

STEPHEN See also:

• STEPHEN STORACE (1763-1796)

STORACE (1763-1796)  , See also:

• ENGLISH

English musical composer, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London in 1763 . His See also:

• FATHER

father, Stefano See also:

• STORACE, STEPHEN (1763-1796)

Storace, an See also:

• ITALIAN

Italian contrabassist, taught him the See also:

• VIOLIN

violin so well that at ten years old he played successfully the most difficult See also:

• MUSIC

music of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day . After completing his See also:

• EDUCATION

education at the Conservatorio di Sant' Onofrio, at See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, he produced his first See also:

• OPERA (Italian for " work ")

opera, Gli Sposi malcontenti, at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, in 1785 . Here he made the acquaintance of See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart, in whose Nozze di See also:

• FIGARO

Figaro his See also:

• SISTER

sister, See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna Selina Storace, first sang the See also:

• PART

part of Susanna . Here also he produced a second opera, Gli Equivoci, founded on See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's See also:

• COMEDY

Comedy of Errors, and a " Singspiel " entitled Der See also:

• DOCTOR (Lat. for " teacher ")

Doctor and der Apotheleer . But his greatest triumphs were achieved in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England, whither he returned in 1787 . After creating a favourable impression by bringing out his " Singspiel " at See also:

• DRURY, SIR WILLIAM (1527-1579)

Drury See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane, under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of The Doctor and the See also:

• APOTHECARY (from the Lat. apothecarius, a keeper of an apotheca, Gr. aroth is , a store)

Apothecary, Storace attained his first See also:

• GREAT

great success in 1789, in The Haunted See also:

• TOWER (Lat. turris; Fr. tour, clocker; Ital. torre; Ger. Thurm)

Tower, an opera which ran for fifty nights in See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession . No See also:

• SONG

Song, No Supper was equally successful in x790; and The See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

Siege of See also:

• BELGRADE (Servian, Biograd or Beograd, i.e. " White Castle")

Belgrade scarcely less so in 1791 . The music of The Pirates, produced in 1792, was partly adapted from Gli Equivoci, and is remarkable as affording one of the earliest instances of the introduction of a See also:

• GRAND

grand See also:

• FINALE (Ital. for " end ")

finale into an English opera . These See also:

• WORKS

works were followed by some less successful productions; but The See also:

• CHEROKEE
• CHEROKEE (native Tsalagi, " cave people ")

Cherokee (1794) and The Three and the See also:

• DEUCE (a corruption of the Fr. deux, two)

Deuce (1795) were very favourably received, and the music to See also:

• COLMAN, GEORGE (1732–1794)
• COLMAN, SAINT (d. 676)
• COLMAN, SAMUEL (1832– )

Colman's See also:

• PLAY

play, The See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

Iron See also:

• CHEST (Gr. Kiarl, Lat. cista, O. Eng. cist, test, &c.)

Chest, first performed on the 12th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1796, created even a greater sensation than The Haunted Tower . This was Storace's last See also:

• WORK

work . He caught See also:

• COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold at the See also:

• REHEARSAL (from " rehearse," to say over again, repeat, recount, O.Fr. rehercer, from re, again, and hercer, to harrow, cf. " hearse," the original meaning being to rake or go over the same ground again as with a harrow)

rehearsal, and died on the 19th of March 1796 .

The See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of Storace's music is pre-eminently English; but his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early intercourse with Mozart gave him an immense See also:

• ADVANTAGE

advantage over his contemporaries in his management of the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

orchestra, while for the excellence of his See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing for the See also:

• VOICE (Fr. voix, from Lat. vox)

voice he was *no doubt indebted to the vocalization of his sister Anna . This See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

lady was born in London in 1766, completed her education at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice under See also:

• SACCHINI, ANTONIO MARIA GASPARE (1734-1786)

Sacchini, sang for Mozart at Vienna, and first appeared at the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

King's See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre in London in 1787 . After contributing greatly to the success of The Haunted Tower and her See also:

• BROTHER

brother's later operas, she crowned a See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long and brilliant career by winning great laurels at the See also:

• HANDEL, GEORGE FREDERICK (1685–1759)

Handel See also:

• COMMEMORATION

Commemoration at See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey in 1791, retired from public See also:

• LIFE

life in 18o8, and died on the 24th of See also:

• AUGUST (originally Sextilis)

August 1817 .