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  1. Ira Gershwin (1896-1983) captivated audiences worldwide during the 1920s and 1930s with his provocative lyrics and librettos. His 1932 Pulitzer Prize was the first ever for a musical comedy. In the 1940s his lyrics enhanced the scores of several motion picture classics. Ira Gershwin emerged as a master of musical comedy during the 1920s and ...

  2. W 1926 Ira Gershwin poślubił Leonore Strunsky. Razem z autorem powieści Porgy Edwinem DuBose Heywardem pracował nad librettem do opery z muzyką swojego brata Porgy and Bess [3] , w której zostały przedstawione losy murzyńskiej społeczności Catfish Row, osiedla w Charleston w Karolinie Południowej i panujące w tej społeczności stosunki, co zapewniło mu trwałe miejsce w historii ...

  3. ro.wikipedia.org › wiki › Ira_GershwinIra Gershwin - Wikipedia

    Ira Gershwin (n. 6 decembrie 1896 – d. 17 august 1983 ) a fost un renumit textier american care a colaborat alături de fratele său - marele compozitor George Gershwin - și scriitorul DuBose Heyward la crearea a unor cântece de mare succes, printre care opera Porgy and Bess .

  4. www.npr.org › artists › 15597623Ira Gershwin : NPR

    15 de nov. de 2011 · November 15, 2011 • George and Ira Gershwin wrote some of their best songs for movies — one of which, 1937's A Damsel in Distress, has just been issued by Warner Archives. Critic Lloyd ...

  5. 18 de ago. de 1983 · Ira Gershwin was born on New York's lower East Side on Dec. 6, 1896. His father, originally a designer of uppers for women's shoes, took on a number of enterprises - but never for very long.

  6. Ira Gershwin, the first songwriter to be awarded the Pulitzer Prize, was born in New York City on December 6, 1896. In 1917 The Evening Sun published his first song ("You May Throw All The Rice ...

  7. The well-known guys want the show written their way.” “Try Ira,” was Morris Gershwin's reply. 2 Close Whether it stemmed from fraternal (and paternal) loyalty, George's decision was a fortuitous one, for the songs the Gershwins wrote for Lady, Be Good! and the other Aarons and Freedley musicals that followed during the decade had a rhythmic “thrust” that was their hallmark.