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Don César De Bazan (1989 Film)
''Don César de Bazan'' is an opéra comique in four acts by Jules Massenet to a French libretto by Adolphe d'Ennery, Philippe-François Pinel "Dumanoir" and Jules Chantepie, based on the play by d'Ennery and Dumanoir, which was first performed at Théâtre de la Porte Saint-Martin in 1844. This in turn drew on the popular character of Don César de Bazan, in the 1838 drama ''Ruy Blas'' by Victor Hugo, though it has little connection with the plot of Hugo's drama. Massenet's opera was first performed at the Opéra-Comique in Paris on 30 November 1872. It was the first full-length opera by Massenet to be produced, the one-act ''La grand'tante'' having been mounted five years earlier by the same company. ''Don César de Bazan'' was not a success and it would be another five years, with the premiere of ''Le roi de Lahore'' in 1877, before Massenet rose to his place among the most prominent composers of his time. ''Don César de Bazan'' was initially performed 13 times at the Opé ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jules Massenet
Jules Émile Frédéric Massenet (; 12 May 1842 – 13 August 1912) was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are '' Manon'' (1884) and ''Werther'' (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music. While still a schoolboy, Massenet was admitted to France's principal music college, the Paris Conservatoire. There he studied under Ambroise Thomas, whom he greatly admired. After winning the country's top musical prize, the Prix de Rome, in 1863, he composed prolifically in many genres, but quickly became best known for his operas. Between 1867 and his death forty-five years later he wrote more than forty stage works in a wide variety of styles, from opéra-comique to grand-scale depictions of classical myths, romantic comedies, lyric dramas, as well as oratorios, cantatas and ballets. Massenet had a good sense of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Faversham
William FavershamBlum, Daniel (c. 1954). ''Great Stars of the American Stage''. "Profile No. 46". 2nd ed. (12 February 1868 – 7 April 1940) was an English stage and film actor, manager, and producer. Biography He was born in London. As a teen in the mid 1880s he saw actor Maurice Barrymore on tour and followed the actor through the streets of London during the Barrymore family's stay there from 1884-86.Great Times, Good Times: The Odyssey of Maurice Barrymore, by James Kotsilibas Davies c.1977 Young Faversham was so impressed by Barrymore and other actors he sought to become one himself. One of the highest paid actors at the turn of the century earning upward of $5,000,000 annually he became one of the last of the legendary actor-managers, William Faversham became a major name on Broadway in the original production of ''The Importance of Being Earnest'' in 1895. Faversham was much admired in such potboilers as ''Brother Officers'' (1900), which he revived twice that same y ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jacques Bouhy
Jacques-Joseph-André Bouhy (18 June 1848 – 29 January 1929) was a Belgian baritone, most famous for being the first to sing the "Toreador Song" in the role of Escamillo in the opera ''Carmen''. Bouhy was born in Pepinster. After studying at the Liège Conservatory of Music, he made his début at the Paris Opéra as Méphistophélès (''Faust'') in 1871. He performed at the Opéra-Comique as Figaro (''Le Nozze di Figaro''), Escamillo (''Carmen'') in 1875. At the Comique he also created the role of ''Don César de Bazan'' in 1872. In 1882 he appeared at Covent Garden singing in ''Faust'' and ''Carmen''. He spent time in the United States as the first director of the National Conservatory of Music of America in New York City before returning to Paris to sing the High Priest in ''Samson et Dalila'' (1890). He was extremely popular with audiences, and counted Massenet among his admirers. Singers taught by him or who received instruction from him include Gervase Elwes, Clara Butt, Lo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baritone
A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. The term originates from the Greek (), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second A below middle C to the A above middle C (A2 to A4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, ''Kavalierbariton'', Verdi baritone, dramatic baritone, ''baryton-noble'' baritone, and the bass-baritone. History The first use of the term "baritone" emerged as ''baritonans'', late in the 15th century, usually in French sacred polyphonic music. At this early stage it was frequently used as the lowest of the voices (including the bass), but in 17th-century Italy the term was all-encompassing and used to describe the averag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Lhérie
Paul Lhérie (Lévy), (born 8 October 1844 in Paris; died 17 October 1937 in Paris) was a French tenor, then baritone, and later a vocal teacher. He was most famous for creating the role of Don José in Bizet's '' Carmen''. Life and career After studying in Paris, Lhérie made his debut at the Opéra-Comique in 1866 as Méhul's ''Joseph''. He created the role of Charles II in Massenet's '' Don César de Bazan'' in 1872, Kornélis in Camille Saint-Saëns's '' La princesse jaune'' in 1872, Benoît in Delibes's ''Le roi l’a dit'' in 1873, and Don José in '' Carmen'' by Bizet in 1875. Bizet and Lhérie became friends during the preparations for ''Carmen''. They would swim together in the Seine during the singer's visits to the composer's house in Bougival. He became a baritone in 1882, singing Posa in the first performance of the Italian revised version of Verdi's ''Don Carlos'' at La Scala, Milan, two years later. He also spent time during the 1880s at Covent Garden in Lo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical music, classical male singing human voice, voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word ''wikt:teneo#Latin, tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Charles II Of Spain
Charles II of Spain (''Spanish: Carlos II,'' 6 November 1661 – 1 November 1700), known as the Bewitched (''Spanish: El Hechizado''), was the last Habsburg ruler of the Spanish Empire. Best remembered for his physical disabilities and the War of the Spanish Succession that followed his death, Charles's reign has traditionally been viewed as one of managed decline. However, many of the issues Spain faced in this period were inherited from his predecessors and some recent historians have suggested a more balanced perspective. For reasons that are still debated, Charles experienced extended periods of ill health throughout his life and from the moment he became king at the age of three in 1665, the succession was a prominent consideration in European politics. Historian John Langdon-Davies summarised his life as follows: "Of no man is it more true to say that in his beginning was his end; from the day of his birth, they were waiting for his death". Despite this, his successors inhe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Célestine Galli-Marié
Célestine Galli-Marié (15 March 1837 – 22 September 1905) was a French mezzo-soprano who is most famous for creating the title role in the opera ''Carmen''.Wright, L. A. "Galli-Marié". In: ''The New Grove Dictionary of Opera.'' Macmillan, London & New York, 1992. Career She was born Marie-Célestine Laurence Marié de l'Isle in Paris. She was taught singing by her father, Mécène Marié de l'Isle, who also had a successful opera career. Her début came in 1859 in Strasbourg, and she sang in Italian in Lisbon.Curtiss, M. ''Bizet and his World.'' New York: Vienna House, 1974. At the age of fifteen she had married a sculptor named Galli (who died in 1861) and thus took her stage name, Galli-Marié. Émile Perrin, the director of the Opéra-Comique, heard her performing Michael William Balfe, Balfe's ''The Bohemian Girl'' at Rouen and brought her to Paris. She sang at the Opéra-Comique until 1885, premiering in Giovanni Battista Pergolesi, Pergolesi's ''La serva padrona'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mezzo-soprano
A mezzo-soprano or mezzo (; ; meaning "half soprano") is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A3–A5 in scientific pitch notation, where middle C = C4; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F3, 175 Hz) and as high as "high C" (C6, 1047 Hz). The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic mezzo-soprano. History While mezzo-sopranos typically sing secondary roles in operas, notable exceptions include the title role in Bizet's '' Carmen'', Angelina (Cinderella) in Rossini's ''La Cenerentola'', and Rosina in Rossini's ''Barber of Seville'' (all of which are also sung by sopranos and contraltos). Many 19th-century French-language operas give the leading female role to mezzos, includin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
Adolphe Deloffre
Louis Michel Adolphe Deloffre (28 July 1817 – 8 January 1876) was a French violinist and conductor active in London and Paris, who conducted several important operatic premieres in the latter city, particularly by Charles Gounod and Georges Bizet.Walsh TJ. ''Second Empire Opera – The Théâtre-Lyrique Paris 1851-1870.'' John Calder Ltd, London, 1981. Career Born in Paris, Deloffre's initial musical training was from his father, a violinist and guitarist. His violin teachers later included Bellon, de Lafont and Baillot, and he became recognised for his fine playing. He then set out from Paris for London with the French conductor Jullien and later became principal violinist at Her Majesty's Theatre under Balfe; he also played with the Philharmonic Society, the Sacred Harmony Society and the Musical Union. He would return each year to give concerts in Paris with his wife, a distinguished pianist, and a cellist from the Opéra, Pilet. He returned permanently to Paris to settl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Théâtre De La Porte Saint-Martin
The Théâtre de la Porte Saint-Martin is a venerable theatre and opera house at 18, Boulevard Saint-Martin in the 10th arrondissement of Paris. History It was first built very rapidly in 1781 under the direction of (1726–1810) to house the Paris Opéra, whose previous home, the second Salle du Palais-Royal, had burned down on 8 June 1781. The new theatre had a capacity of about 2,000 spectators and included a parterre with the lowest-priced tickets sold only to males who stood throughout the performances, an amphitheatre, and four rows of boxes. The Opéra used the theatre from 27 October 1781 until August 1794."Atlantes et cariatides des grands boulevards - Paris.fr" . The theat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
