Synonyms for brema or Related words with brema

gothein              guhel              rethberg              santing              guyart              vengerova              farrenc              blandine              esclarmonde              juchacz              jugnet              duperey              pouchoulin              geistinger              ellenrieder              elssler              gartenkunst              calchou              vandenhoucke              hesme              kartousch              archiduc              varnay              arouet              kontomanou              kliegel              comont              efflam              niogret              ohier              sellhuber              janauschek              minazzoli              vassilieff              barbizet              armelle              croiza              eberhardine              fassbaender              elvire              philiberte              rosalinde              antionette              hedwige              cruvelli              demongeot              brocquedis              bashkirtseff              cyrielle              rysanek             

Examples of "brema"
The initial specifications set out by the BBC, IBA, BREMA in September 1976:
In 1897 Brema was among those invited to perform at the State Jubilee Concert at Buckingham Palace, where she sang 'Plus grand dans son Obscurité' from Gounod's "La reine de Saba". Other performers included Bispham, Nevada, de Lucia and Mme Albani. Brema and Bispham sang again by royal invitation at Osborne House not long afterwards.
Herman Klein, describing the London musical scene circa 1900, noted the absence of leading English-born contralto singers, apart from the three notable exceptions of Clara Butt, Marie Brema and Kirkby Lunn. Of Marie Brema he wrote that she was more correctly a mezzo-soprano, distinguished by 'her admirable command of tone-colour, her faultless diction, and her infinitely varied shades of impassioned poetic expression.'
Predecessor "Komet Arsten" was formed in 1896 out of the earlier sides "Germania Arsten" and "Brema Arsten" and joined "Verein für Bewegungsspiele Arsten" in 1919 to create VfB Komet Arsten.
"Cobalopsis autumna" – "Cobalopsis brema" – "Cobalopsis catocala" – "Cobalopsis cocalus" – "Cobalopsis dagon" – "Cobalopsis dorpa" – "Cobalopsis elegans" – "Cobalopsis hazarma" – "Cobalopsis latonia" – "Cobalopsis miaba" – "Cobalopsis monotona" – "Cobalopsis nero" – "Cobalopsis obscurior" – "Cobalopsis similis" – "Cobalopsis tanna" – "Cobalopsis venias" – "Cobalopsis vorgia"
Following her retirement Brema became director of the opera class at the Royal Manchester College of Music. Among those to benefit from her instruction were Luella Paikin and Heddle Nash. She died in Manchester, aged 69, from undisclosed causes.
In the following years the role of the Angel was more often taken by the leading English contralto Louise Kirkby Lunn, also a celebrated Wagnerian singer (Ortrud, Kundry, Brangane and Fricka), Amneris and Dalilah, and in many ways a successor to Marie Brema, though without her range for a compelling Brünnhilde. In 1903, writing to Brema of her original performance, Elgar wrote 'I have, of course, in memory your fine and intellectual creation of the part; and though I never thought the 'tessitura' suited you well, as the magnificent artist you are, you "made" it go very finely.'
When the southern tower collapsed in 1638, it contained eight bells. Today both western towers together house the cathedral's four bells. The northern tower has three bells. The oldest surviving bell is the "Maria Gloriosa" cast in 1433 by the famous bell maker Ghert Klinghe. The other bells were removed and melted down for the war effort in World War II. In 1951 two bells, "Hansa" and "Felicitas", were donated to the cathedral by former residents living abroad. In 1962, a prominent Bremen family donated a fourth bell, the "Brema," which hangs in the southern tower. The Brema weighs 7000 kg.
His recommendation was not wasted, but the concert platform did not lose her. In 1894 Brema created the part of the Evil Spirit in Sir Hubert Parry's "King Saul" at the Birmingham Festival. During the operatic career which followed, she continued to sing frequently at concerts and oratorios at the music festivals in Great Britain.
In 1919–22, Kirkby Lunn reappeared at Covent Garden, choosing her celebrated part of Kundry for her last appearances there with the British National Opera Company. After this she remained before the public for several years more in concert and recital. (At much the same time, Marie Brema was making her reappearances in "Orfeo".)
Workman's last production at the Savoy was a brief run of Gluck's "Orpheus", which starred concert artist Marie Brema, and closed after 23 performances. Workman relinquished control of the Savoy. Helen Carte and then her son, Rupert D'Oyly Carte, leased the theatre to other managers, and no more new Savoy operas were produced.
Marie Brema (28 February 1856 – 22 March 1925) was a British dramatic mezzo-soprano singer in concert, operatic and oratorio work in the last decade of the 19th and the first decade of the 20th centuries. She created several important roles and was the first British singer to appear at the Bayreuth Festspielhaus.
Brema appeared opposite David Bispham again in the premiere of Stanford's opera "Much Ado About Nothing", as Beatrice to his Benedick, in a cast also including John Coates, Suzanne Adams and Pol Plançon. This was for the Covent Garden 1901 season. In 1902 she sang Brünnhilde (in German) in Paris for Hans Richter. In January 1908 she organised three concerts given in Brussels, in which Gervase Elwes joined her in the solo quartets of the Brahms "Liebeslieder".
In 1897 Brema performed the "Wesendonck Lieder" of Wagner (Felix Mottl arrangement) at the Queen's Hall for Henry Wood on a Wagner birthday concert (22 May), and later in the same programme delivered Brünnhilde's "Immolation scene". Wood enjoyed working with her, and called her 'a really great Wagnerian singer.' He remarked that she could dramatise the parts she portrayed without making gestures, and was 'certainly German in style.' In 1898 she introduced Saint-Saëns's "La fiancee du timbalier." In November and December 1900 she appeared for Wood in three special Wagnerian concerts at the Royal Albert Hall, with orchestras of 200 members.
She was particularly active in the 1900–1901 Queen's Hall season with Wood, appearing with Blauvelt, Lloyd Chandos and Daniel Price, and the Wolverhampton Festival Choral Society, in Beethoven's last symphony on 16 March, and in Gilbert and Sullivan excerpts (with Lloyd Chandos and Florence Schmidt). In the midst of a series of Wagner concerts with Marie Brema, Philip Brozel, David Ffrangcon-Davies and Olga Wood, on 22 November 1901 (the first anniversary of the death of Arthur Sullivan), she sang in a special performance of Sullivan's cantata "The Golden Legend", with Blauvelt, John Coates and Ffrangcon-Davies.
At the BBC he began presenting a number of other programmes such as the series "Come Dancing", "Crackerjack", "Ask Aspel", and the Miss World beauty contest, which he covered 14 times. He narrated the BREMA cartoon documentary, "The Colour Television Receiver" (aka "Degaussing" or "The Colour Receiver Installation Film"), which was shown every day (except Sunday) on BBC2 between 14 October 1967 and 8 January 1971. He also provided narration for the BBC nuclear war drama documentary "The War Game", which won the Best Documentary Feature Oscar in 1966, but was not shown on British television until 1985.
Cammaerts was educated at the University of Brussels and later at the revolutionary Université Nouvelle where he studied geography. He migrated to England in 1908 and was christened as an Anglican aged 34 (c.1912) taking for that event the middle name Pieter. He married the Shakespearian actress Helen Tita Braun, stage name Tita Brand (daughter of the opera singer Marie Brema), with whom he had six children, including Pieter Cammaerts, who was killed while serving in the Royal Air Force during World War II, prominent SOE operative Francis Cammaerts and the actress Kippe Cammaerts, mother of Michael Morpurgo.
Marie Brema and Arthur Frederick Braun's daughter, Tita Brand, married the Belgian scholar, poet and writer Emile Cammaerts. After the outbreak of war in 1914, Sir Edward Elgar composed a symphonic accompaniment ""Carillon"" for a patriotic poem "Chantons, Belges, Chantons" by Cammaerts which was first performed with the recitation by Tita Brand. Tita Brand, who had a career as an actress, was a large woman with a deep speaking voice, capable of reciting Grieg's "Bergliot" audibly over an unsubdued orchestra conducted by Henry Wood.
In the later 1890s, Coates left the stage for a medical operation on his vocal cords and further study, and reappeared as a tenor in light opera in 1899-1900 at the Globe Theatre in London. He first appeared at the Globe Theatre in "The Gay Pretenders" in November 1900 and then at Covent Garden Opera House to create the role of Claudio in Charles Villiers Stanford's four-act opera "Much Ado About Nothing" in 1901. Here he was in enthusiastic company with Marie Brema (Beatrice), David Bispham (Benedick), Suzanne Adams (Hero), Pol Plançon and Putnam Griswold, though the press did not much appreciate the value of the work or their efforts. This was followed by Gounod's "Faust", this time in the title role. That year he also appeared in the "Gürzenich's Concerts and Opera" at Cologne and at Leipzig.
Born in Barnehurst, Kent on the outskirts of south London, England, on 10 October 1948, Lindley was educated at Magdalen College School, Oxford and at the Royal College of Music where he studied organ, piano and voice. His father, The Reverend Geoffrey Lindley, a Yorkshireman (20 September 1922 – 18 November 2010) was an Anglican priest, and his mother, Jeanne, (17 June 1923 - 6 October 2014)an author, was the daughter of Belgian scholar and historian Professor Emile Cammaerts. A vice-president of the Royal College of Organists, Lindley comes from a musical family – his great grandmother, Marie Brema, was mezzo soloist in the first performance of Elgar's The Dream of Gerontius at the 1900 Birmingham Festival and his sister, Ruth, a graduate of the University of Warwick who trained as a musician at the Guildhall School of Music and Drama in the City of London was for many years a member of the professional choir of the London Oratory.