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Didon (Desmarets)
''Didon'' is a tragédie en musique or opera in a prologue and five acts by librettist, Louise-Geneviève Gillot de Saintonge, and composer Henri Desmarets. The opera was heavily influenced by Jean-Baptiste Lully's '' Armide'' and the music of both Marc-Antoine Charpentier and Henri Dumont. Performance history ''Didon'' was premiered successfully by the Académie Royale de Musique at the Théâtre du Palais-Royal in Paris on 5 June 1693. The work was reprised on the following 11 September in the presence of Louis, Grand Dauphin, and revived again on the Paris stage in 1704 and 1705. On 10 July 1999 the first modern revival of the opera was mounted at the Festival de Beaune by Les Talens Lyriques with conductor and harpsichordist Christophe Rousset. They presented the opera later that year at the Arsenal de Metz and the L'Opéra of the Palace of Versailles. The performance from Versailles on 9 October 1999 was broadcast live on France Musique France Musique is a French nationa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragédie En Musique
Tragédie en musique (, ''musical tragedy''), also known as tragédie lyrique (, ''lyric tragedy''), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century. Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto. The stories may not necessarily have a tragic ending – in fact, most do not – but the works' atmospheres are suffused throughout with an affect of nobility and stateliness. The standard ''tragédie en musique'' has five acts. Earlier works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war. Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias (''petits airs'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arsenal De Metz
The Arsenal Concert Hall is a cultural venue dedicated specially to classical and art music and located near the Esplanade garden in Metz, capital of the Lorraine region, France. The Arsenal is home to the Orchestre National de Lorraine and almost 200 events are spread over the season period between September and June. The Arsenal has gained wide recognition as one of the most beautiful concert halls in the world.Classica magazine, Special Issue, September 2010 The Arsenal is part of a cultural complex along with the chapel of the Knight Templars, from the 13th century, and ancient basilica of Saint-Pierre-aux-Nonnains, a Roman basilica of the 4th century, refurbished as showroom and concert hall for the Gregorian chant, respectively. Architecture and urbanization In 1978, the municipality of Metz decided to build a concert hall, and the site reserved was the citadel, on which is situated the ancient Arsenal Ney. Built from 1859 under Napoleon III, the Arsenal Ney was a store ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Julie D'Aubigny
Julie d'Aubigny (; 1673–1707), better known as Mademoiselle Maupin or La Maupin, was a French opera singer. Little is known for certain about her life; her tumultuous career and flamboyant lifestyle were the subject of gossip, rumour, and colourful stories in her own time, and inspired numerous fictional and semi-fictional portrayals afterwards. Her life loosely inspired the titular character of Théophile Gautier's 1835 novel, ''Mademoiselle de Maupin,'' in which she employs multiple disguises to seduce a young man and his mistress. Due to her relationships with men and women, some modern-day sources refer to d'Aubigny as bisexual and/or queer. Early life Julie d'Aubigny was born in 1673 pp. 350-352 archive.org/ref> to Gaston d'Aubigny, a secretary to Louis de Lorraine-Guise, comte d'Armagnac, the Master of the Horse for King Louis XIV. Her father, who trained the court pages, took care of her education teaching her academic subjects of the type given to boys but also tr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fanchon Moreau
Françoise 'Fanchon' Moreau (1668 – after 1743) was a French operatic soprano who belonged to the Académie Royale de Musique, also a celebrated beauty who was a favourite of the Louis, Dauphin of France (1661-1711), Great Dauphin. Opera career Following her older sister Louison Moreau, Fanchon made her debut at the Académie Royale de Musique, Paris Opéra in 1683 in the prologue of ''Phaëton (Lully), Phaëton'' by Jean-Baptiste Lully, Lully, probably playing the role of Astrée. She remained with the company until at least 1702. Her sister stayed until 1692, during which period both sisters were referred to as Mlle Moreau, which sometimes makes it difficult to determine who sang what. She sang in operas by Lully, André Campra, Campra, Marc-Antoine Charpentier, Charpentier, André Cardinal Destouches, Destouches, Pascal Collasse, Collasse, Henri Desmarets, Desmarets, and :fr:Theobaldo di Gatti, Theobaldo Gatti including many premieres. Roles created *Astrée (?) in Lully ... [...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 (voice Type)
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] |
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] |
Aeneas
In Greco-Roman mythology, Aeneas (, ; from ) was a Trojan hero, the son of the Trojan prince Anchises and the Greek goddess Aphrodite (equivalent to the Roman Venus). His father was a first cousin of King Priam of Troy (both being grandsons of Ilus, founder of Troy), making Aeneas a second cousin to Priam's children (such as Hector and Paris). He is a minor character in Greek mythology and is mentioned in Homer's ''Iliad''. Aeneas receives full treatment in Roman mythology, most extensively in Virgil's ''Aeneid'', where he is cast as an ancestor of Romulus and Remus. He became the first true hero of Rome. Snorri Sturluson identifies him with the Norse god Vidarr of the Æsir.The Prose Edda of Snorri Sturlson Translated by Arthur Gilchrist Brodeur 916Prologue II at Internet Sacred Texts Archive. Accessed 11/14/17 Etymology Aeneas is the Romanization of the hero's original Greek name (''Aineías''). Aineías is first introduced in the ''Homeric Hymn to Aphrodite'' when ... [...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] |
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" '' |
Dido (Queen Of Carthage)
Dido ( ; , ), also known as Elissa ( , ), was the legendary founder and first queen of the Phoenician city-state of Carthage (located in modern Tunisia), in 814 BC. In most accounts, she was the queen of the Phoenician city-state of Tyre (today in Lebanon) who fled tyranny to found her own city in northwest Africa. Known only through ancient Greek and Roman sources, all of which were written well after Carthage's founding, her historicity remains uncertain. The oldest references to Dido are attributed to Timaeus, who was active around 300 BC, or about five centuries after the date given for the foundation of Carthage. Details about Dido's character, life, and role in the founding of Carthage are best known from the account given in Virgil's epic poem, the ''Aeneid,'' written around 20 BC, which tells the legendary story of the Trojan hero Aeneas. Dido is described as a clever and enterprising woman who flees her ruthless and autocratic brother, Pygmalion, after discovering ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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