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Adolphe Nourrit
Adolphe Nourrit (3 March 1802 – 8 March 1839) was a French operatic tenor, librettist, and composer. One of the most esteemed opera singers of the 1820s and 1830s, he was particularly associated with the works of Gioachino Rossini and Giacomo Meyerbeer. Early life Nourrit was born on 3 March 1802 and raised in Montpellier, Hérault. His father, Louis Nourrit, was a well-known operatic tenor and diamond merchant. Louis' example deeply influenced Adolphe (and Adolphe's brother Auguste, who would also become a tenor). Adolphe studied singing and musical theory with his father and then, despite his father's objections, took lessons with Manuel del Pópulo Vicente García. He began his performing career shortly after finishing his studies with García, which lasted for 18 months. Career Not yet 20 years of age, Adolphe Nourrit made his professional operatic debut in 1821 as Pylades in Gluck's ''Iphigénie en Tauride'', being welcomed by his father performing the tiny role of a S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adolphe Nourrit
Adolphe Nourrit (3 March 1802 – 8 March 1839) was a French operatic tenor, librettist, and composer. One of the most esteemed opera singers of the 1820s and 1830s, he was particularly associated with the works of Gioachino Rossini and Giacomo Meyerbeer. Early life Nourrit was born on 3 March 1802 and raised in Montpellier, Hérault. His father, Louis Nourrit, was a well-known operatic tenor and diamond merchant. Louis' example deeply influenced Adolphe (and Adolphe's brother Auguste, who would also become a tenor). Adolphe studied singing and musical theory with his father and then, despite his father's objections, took lessons with Manuel del Pópulo Vicente García. He began his performing career shortly after finishing his studies with García, which lasted for 18 months. Career Not yet 20 years of age, Adolphe Nourrit made his professional operatic debut in 1821 as Pylades in Gluck's ''Iphigénie en Tauride'', being welcomed by his father performing the tiny role of a S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Le Diable (opera)
''Robert le diable'' (''Robert the Devil'') is an opera in five acts composed by Giacomo Meyerbeer between 1827 and 1831, to a libretto written by Eugène Scribe and Germain Delavigne. ''Robert le diable'' is regarded as one of the first grand operas at the Paris Opéra. It has only a superficial connection to the medieval legend of ''Robert the Devil''. The opera was immediately successful from its first night on 21 November 1831 at the Opéra; the dramatic music, harmony and orchestration, its melodramatic plot, its star singers and its sensational stage effects compelled Frédéric Chopin, who was in the audience, to say, "If ever magnificence was seen in the theatre, I doubt that it reached the level of splendour shown in ''Robert''...It is a masterpiece...Meyerbeer has made himself immortal".Brown, ''Robert le diable'', p. 572 ''Robert'' initiated the European fame of its composer, consolidated the fame of its librettist, Scribe, and launched the reputation of the new dir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nourrit As Tarare
Adolphe Nourrit (3 March 1802 – 8 March 1839) was a French operatic tenor, librettist, and composer. One of the most esteemed opera singers of the 1820s and 1830s, he was particularly associated with the works of Gioachino Rossini and Giacomo Meyerbeer. Early life Nourrit was born on 3 March 1802 and raised in Montpellier, Hérault. His father, Louis Nourrit, was a well-known operatic tenor and diamond merchant. Louis' example deeply influenced Adolphe (and Adolphe's brother Auguste, who would also become a tenor). Adolphe studied singing and musical theory with his father and then, despite his father's objections, took lessons with Manuel del Pópulo Vicente García. He began his performing career shortly after finishing his studies with García, which lasted for 18 months. Career Not yet 20 years of age, Adolphe Nourrit made his professional operatic debut in 1821 as Pylades in Gluck's ''Iphigénie en Tauride'', being welcomed by his father performing the tiny role of a S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saint-Simonianism
Saint-Simonianism was a French political, religious and social movement of the first half of the 19th century, inspired by the ideas of Claude Henri de Rouvroy, comte de Saint-Simon (1760–1825). Saint-Simon's ideas, expressed largely through a succession of journals such as ''l'Industrie'' (1816), ''La politique'' (1818) and ''L'Organisateur'' (1819–20)Hewett, 2008 focused on the perception that growth in industrialization and scientific discovery would have profound changes on society. He believed that society would restructure itself by abandoning traditional ideas of temporal and spiritual power, an evolution that would lead, inevitably, to a productive society based on and benefiting from, a " ... union of men engaged in useful work"; the basis of "true equality". Saint-Simon's writings Saint-Simon's earliest publications, such as his ''Introduction aux travaux scientifiques du XIXe siècle (Introduction to scientific discoveries of the 19th century)'' (1803) and his ''M ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cornélie Falcon
Cornélie Falcon (28 January 1814 – 25 February 1897) was a French soprano who sang at the Opéra in Paris. Her greatest success was creating the role of Valentine in Meyerbeer's '' Les Huguenots''. She possessed "a full, resonant voice"Warrack and West 1992, p. 230. with a distinctive dark timbreRobinson and Walton 2011. and was an exceptional actress. Based on the roles written for her voice her vocal range spanned from low A-flat to high D, 2.5 octaves. She and the tenor Adolphe Nourrit are credited with being primarily responsible for raising artistic standards at the Opéra, and the roles in which she excelled came to be known as "falcon soprano" parts.Robinson 1992, p. 110. She had an exceptionally short career, essentially ending about five years after her debut, when at the age of 23 she lost her voice during a performance of Niedermeyer's '' Stradella''. Early life and training She was born Marie-Cornélie Falcon in Le Monastier sur Gazeille (Velay) to Pierre Falcon, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dramatic Soprano
A dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound. Usually this voice has a lower tessitura than other sopranos, and a darker timbre. They are often used for heroic, often long-suffering, tragic women of opera. Dramatic sopranos have a range from approximately low A ( A3) to "high C" (C6).Coffin (1960) Some dramatic sopranos, known as Wagnerian sopranos, have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 pieces). These voices are substantial, often denser in tone, extremely powerful and, ideally, evenly balanced throughout the vocal registers. Wagnerian sopranos usually play mythic heroines. Successful Wagnerian sopranos are rare and often Wagnerian roles are performed by Italianate dramatic sopranos. Dr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Conservatoire De Paris
The Conservatoire de Paris (), also known as the Paris Conservatory, is a college of music and dance founded in 1795. Officially known as the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), it is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. The Conservatoire offers instruction in music and dance, drawing on the traditions of the 'French School'. Formerly the conservatory also included drama, but in 1946 that division was moved into a separate school, the Conservatoire National Supérieur d'Art Dramatique (CNSAD), for acting, theatre and drama. Today the conservatories operate under the auspices of the Ministry of Culture and Communication and are associate members of PSL University. The CNSMDP is also associated with the Conservatoire National Supérieur de Musique et de Danse de Lyon (CNSMDL). History École Royale de Chant On 3 December 1783 Papillon de la Ferté, ''intendant'' of the Menus-Plaisirs du Roi, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rossini
Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. Born in Pesaro to parents who were both musicians (his father a trumpeter, his mother a singer), Rossini began to compose by the age of 12 and was educated at music school in Bologna. His first opera was performed in Venice in 1810 when he was 18 years old. In 1815 he was engaged to write operas and manage theatres in Naples. In the period 1810–1823 he wrote 34 operas for the Italian stage that were performed in Venice, Milan, Ferrara, Naples and elsewhere; this productivity necessitated an almost formulaic approach for some components (such as overtures) and a certain amount of self-borrowing. Duri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Falsetto
''Falsetto'' (, ; Italian diminutive of , "false") is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave. It is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part. Commonly cited in the context of singing, falsetto, a characteristic of phonation by both sexes, is also one of four main spoken vocal registers recognized by speech pathology. The term ''falsetto'' is most often used in the context of singing to refer to a type of vocal phonation that enables the singer to sing notes beyond the vocal range of the normal or modal voice. The typical tone of falsetto register or M2, usually has a characteristic breathy and flute-like sound relatively free of overtones—which is more limited than its modal counterpart in both dynamic variation and tone quality. However, William Vennard points out that while most untrained people can sound comparatively "b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Italianate
The Italianate style was a distinct 19th-century phase in the history of Classical architecture. Like Palladianism and Neoclassicism, the Italianate style drew its inspiration from the models and architectural vocabulary of 16th-century Italian Renaissance architecture, synthesising these with picturesque aesthetics. The style of architecture that was thus created, though also characterised as "Neo-Renaissance", was essentially of its own time. "The backward look transforms its object," Siegfried Giedion wrote of historicist architectural styles; "every spectator at every period—at every moment, indeed—inevitably transforms the past according to his own nature." The Italianate style was first developed in Britain in about 1802 by John Nash, with the construction of Cronkhill in Shropshire. This small country house is generally accepted to be the first Italianate villa in England, from which is derived the Italianate architecture of the late Regency and early Victorian er ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Head Voice
Head voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Head voice can be used in relation to the following: * A particular part of the vocal range or type of vocal register * A vocal resonance area * A specific vocal timbre History The term goes back at least as far as the Roman tradition of rhetorical instruction. Quintilian (ca. AD 95) recommends teaching students ''ut quotiens exclamandum erit lateris conatus sit ille, non capitis'' ("that when the voice has to be raised the effort comes from the lungs and not from the head," ''Inst.'' 1.11.8, transl. Russell). The first recorded mention of the term in a musical context was around the 13th century, when it was distinguished from the throat and the chest voice (pectoris, guttoris, capitis—at this time it is likely head voice referred to the falsetto register) b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Timbre
In music, timbre ( ), also known as tone color or tone quality (from psychoacoustics), is the perceived sound quality of a musical note, sound or tone. Timbre distinguishes different types of sound production, such as choir voices and musical instruments. It also enables listeners to distinguish different instruments in the same category (e.g., an oboe and a clarinet, both woodwind instruments). In simple terms, timbre is what makes a particular musical instrument or human voice have a different sound from another, even when they play or sing the same note. For instance, it is the difference in sound between a guitar and a piano playing the same note at the same volume. Both instruments can sound equally tuned in relation to each other as they play the same note, and while playing at the same amplitude level each instrument will still sound distinctively with its own unique tone color. Experienced musicians are able to distinguish between different instruments of the same typ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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