|
Acis Et Galatée
''Acis et Galatée'' (''Acis and Galatea'') is an opera by Jean-Baptiste Lully. Unlike most of his operas, which are designated '' tragédies en musique'', Lully called this work a '' pastorale-héroïque'', because it was on a pastoral theme and had only three acts (plus a prologue) compared to the usual five. Otherwise, there is little musically or dramatically to distinguish it from Lully's ''tragédies''. The opera was commissioned by Louis Joseph, duc de Vendôme in honor of Louis, ''le Grand Dauphin''. Lully did not work with his usual librettist Philippe Quinault, although the two men collaborated on '' Armide'', which premiered the same year as ''Acis et Galatée''. The duke considered giving the commission to Racine, but it went instead to his protege Jean Galbert de Campistron. The libretto is based on the story in Ovid's ''Metamorphoses''. The same story was also to inspire a dramatic work by Handel, '' Acis and Galatea''. Performance history The opera was premie ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paris
Paris () is the capital and most populous city of France, with an estimated population of 2,165,423 residents in 2019 in an area of more than 105 km² (41 sq mi), making it the 30th most densely populated city in the world in 2020. Since the 17th century, Paris has been one of the world's major centres of finance, diplomacy, commerce, fashion, gastronomy, and science. For its leading role in the arts and sciences, as well as its very early system of street lighting, in the 19th century it became known as "the City of Light". Like London, prior to the Second World War, it was also sometimes called the capital of the world. The City of Paris is the centre of the Île-de-France region, or Paris Region, with an estimated population of 12,262,544 in 2019, or about 19% of the population of France, making the region France's primate city. The Paris Region had a GDP of €739 billion ($743 billion) in 2019, which is the highest in Europe. According to the Economist Intelli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Paul Fouchécourt
file:JP Fouchécourt 03900.jpg, 2015 Jean-Paul Fouchécourt is a French people, French tenor, mostly as an opera singer. He was born on 30 August 1958 at Blanzy in the Bourgogne, Burgundy region. He is best known for singing French Baroque music, especially the parts called in French ''haute-contre'', written for a very high tenor voice with no falsetto singing. Life and career Specialist in French Baroque repertory, Jean-Paul Fouchécourt has gained his international reputation with his portrayal of the title role ''Platée'' by Rameau, Arnalta in ''l’Incoronazione di Poppea'' by Monteverdi, the four servants in the ''Tales of Hoffmann'' by Offenbach and le Mari in the ''Mamelles de Tirésias'' by Poulenc. He combines excellent musicality with a strong stage presence. After studying the classical saxophone and conducting, Jean-Paul Fouchécourt decided to become a singer after a workshop with Cathy Berberian in 1982. He began his career with Les Arts Florissants (ensemble), Les ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass (vocal Range)
A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ''The New Grove Dictionary of Opera'', a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4).; ''The Oxford Dictionary of Music'' gives E2–E4/F4 Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the ''basso cantante'' (singing bass), ''basso buffo'' ("funny" bass), or the dramatic ''basso profondo'' (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass. The German ''Fach'' system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neptune (mythology)
Neptune ( la, Neptūnus ) is the god of freshwater and the sea in Roman religion. He is the counterpart of the Greek god Poseidon.''Larousse Desk Reference Encyclopedia'', The Book People, Haydock, 1995, p. 215. In the Greek tradition, he is a brother of Jupiter and Pluto; the brothers preside over the realms of heaven, the earthly world (including the underworld), and the seas. Salacia is his wife. Depictions of Neptune in Roman mosaics, especially those in North Africa, were influenced by Hellenistic conventions. He was likely associated with freshwater springs before the sea. Like Poseidon, he was also worshipped by the Romans as a god of horses, as ''Neptunus equestris'' (a patron of horse-racing). Worship The theology of Neptune is limited by his close identification with the Greek god Poseidon, one of many members of the Greek pantheon whose theology was later tied to a Roman deity. The ''lectisternium'' of 399 BC indicated that the Greek figures of Poseidon, Art ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean Dun
Jean Dun, also known as Jean Dun "père", (? – 1735) was a French opera singer active at the Paris Opéra where he created many bass roles during the late 17th and early 18th centuries. He was also the bass soloist at the church of Saint-Paul-Saint-Louis in Paris during the time Charpentier was the Master of Music there. His voice is described in contemporary sources as ''basse-taille'', which is closer in quality to that of a modern baritone. Little is known about his early life, but according to Casaglia, he appeared in the small role of Eutyro in the premiere of Francesco Cavalli's ''Ercole amante'' in 1662.Casaglia (2005) By 1697, he was singing leading roles, sometimes creating as many as two or three in one opera, e.g. in the 1710 premiere of André Campra's opéra-ballet ''Les fêtes vénitiennes''. In the course of his lengthy career he appeared in more than 37 operas.Antony (2008) p. 34. Dun retired from the stage in 1720 with a pension from the Paris Opéra, but from 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass-baritone
A bass-baritone is a high-lying bass or low-lying "classical" baritone voice type which shares certain qualities with the true baritone voice. The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: the title role in ''Der fliegende Holländer'', Wotan/Der Wanderer in the ''Ring Cycle'' and Hans Sachs in '' Die Meistersinger von Nürnberg''. Wagner labelled these roles as ''Hoher Bass'' ("high bass")—see fach for more details. The bass-baritone voice is distinguished by two attributes. First, it must be capable of singing comfortably in a baritonal tessitura. Secondly, however, it needs to have the ripely resonant lower range typically associated with the bass voice. For example, the role of Wotan in ''Die Walküre'' covers the range from F2 (the F at the bottom of the bass clef) to F4 (the F above middle C), but only infrequently descends beyond C3 (the C below middle C). Bass-baritones are typically divide ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphemus
Polyphemus (; grc-gre, Πολύφημος, Polyphēmos, ; la, Polyphēmus ) is the one-eyed giant son of Poseidon and Thoosa in Greek mythology, one of the Cyclopes described in Homer's ''Odyssey''. His name means "abounding in songs and legends". Polyphemus first appeared as a savage man-eating giant in the ninth book of the ''Odyssey''. The satyr play of Euripides is dependent on this episode apart from one detail; Polyphemus is made a pederast in the play. Later Classical writers presented him in their poems as heterosexual and linked his name with the nymph Galatea. Often he was portrayed as unsuccessful in these, and as unaware of his disproportionate size and musical failings. In the work of even later authors, however, he is presented as both a successful lover and skilled musician. From the Renaissance on, art and literature reflect all of these interpretations of the giant. Odysseus and Polyphemus Ancient sources In Homer's epic, Odysseus lands on the island of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis Gaulard Dumesny
Dumesnil (also known as Louis Gaulard Dumesny) ( fl. 1677–1700, died 1702) was a French operatic tenor. His surname is sometimes found spelt Duménil, Dumény, du Mény, or Du Mesny. Little is known about Dumesnil's early life, legend has it that he was working as a cook when Jean-Baptiste Lully heard him singing and was impressed by his natural and well focused voice, his vocal range was then known as haute-contre. He made his stage debut in 1677,In fact, Dumesny (spelt Du Mesnil) is already cited as a member of the chorus performing the Hours of the Day, in the 1676 libretto of Lully's '' Atys'' (accessible for free online aGallica - B.N.F.. singing a small part in ''Isis'', and then went on creating all roles within his range in a series of operas by Lully. After Lully's death he created several other roles in operas by different composers, notably Pascal Collasse, Marc-Antoine Charpentier, André Campra, and André Cardinal Destouches. An excellent actor with a powerf ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haute-contre
The haute-contre (plural hautes-contre) was the primary French operatic tenor voice, predominant in French Baroque and Classical opera, from the middle of the seventeenth century until the latter part of the eighteenth century. History This voice was predominantly used in male solo roles, typically heroic and amatory ones, but also in comic parts, even ''en travesti'' (see apropos the portrait reproduced below and representing Pierre Jélyotte made up for the female title role of Rameau's ''Platée''). Lully wrote 8 out of 14 leading male roles for the voice; Charpentier, who was an haute-contre himself, composed extensively for the voice-part, as did Rameau and, later, Gluck. The leading ''hautes-contre'' of the ''Académie Royale de Musique'' that created the main roles of Lully's operas, at the end of the seventeenth century, were Bernard Clédière (who started off as a ''taille'', a lower Tenor voice type) and Louis Gaulard Dumesny. Notable ''hautes-contre'' of the eighteent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marie Le Rochois
Marie Le Rochois (c. 1658 – 8 October 1728) was a French operatic soprano who belonged to the Académie Royale de Musique. She is often referred to as Marthe Le Rochois or simply La Rochois. Opera career She was introduced to Jean-Baptiste Lully, possibly by his father-in-law Michel Lambert who may have been her teacher, and became a member of the Paris Opéra in 1678. She sang in operas by Lully, Pascal Collasse, Henri Desmarets, Marc-Antoine Charpentier, André Campra, Marin Marais, and André Cardinal Destouches but she was best regarded for her portrayal of '' Armide'' in Lully's opera. Unlike some of her wilder colleagues at the opera, Julie d'Aubigny and Fanchon Moreau, she enjoyed a reputation for moral rectitude. Less of a celebrity, she was more of an artist, as indicated by the number of important roles with which she was entrusted by Lully and his successors. Retirement After retiring from the stage in 1698, she became a teacher, while remaining active in the con ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
