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Ernelinde, Princesse De Norvège
''Ernelinde, princesse de Norvège'' (''Ernelinde, Princess of Norway'') is a three-act operatic tragédie lyrique, by the French composer François-André Danican Philidor. The libretto was by Antoine-Alexandre-Henri Poinsinet, after opera libretto ''La fede tradita, e vendicata''. Performance history The work was first performed on 24 November 1767 by the Paris Opera at the Salle des Machines in the Palais des Tuileries in Paris. The first version was given about eighteen times, with the final performance on 10 January 1768. Revised as ''Sandomir, prince de Dannemarck'', it was given in the same theatre on 24 January 1769. This version was also performed in Brussels in 1772. The libretto was further revised in five acts by Michel-Jean Sedaine, this time as ''Ernelinde'' with fully orchestrated recitatives by Philidor, and given at the Théâtre Gabriel at the Palace of Versailles on 11 December 1773 and in Brussels in 1774. Philidor and Sedaine revised the five-act version for ... [...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] |
Hôtel De Bourgogne (theatre)
Hôtel de Bourgogne was a theatre, built in 1548 for the first authorized theatre troupe in Paris, the Confrérie de la Passion. It was located on the rue Mauconseil (now the rue Étienne Marcel in the 2nd arrondissement of Paris), on a site that had been part of the residence of the Dukes of Burgundy (the former Hôtel de Bourgogne). The most important French theatre until the 1630s, it continued to be used until 1783,Forman 2010, p. 134 ("Hôtel de Bourgogne"). after which it was converted to a leather market and eventually totally demolished. The Confrérie performed farce and secular dramas, but lacking great success, began renting the theatre to itinerant acting companies, including Italian ''commedia dell'arte'' troupes, who introduced the characters Harlequin and Pantalone, as well as burlesque. In 1628, a French company, the Comédiens du Roi, became permanently established and performed many of the classics of French theatre, including ''Andromaque'' and ''Phèdre'' by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
French-language Operas
French opera is one of Europe's most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Gounod, Bizet, Massenet, Debussy, Ravel, Poulenc and Messiaen. Many foreign-born composers have played a part in the French tradition as well, including Lully, Gluck, Salieri, Cherubini, Spontini, Meyerbeer, Rossini, Donizetti, Verdi and Offenbach. French opera began at the court of Louis XIV of France with Jean-Baptiste Lully's ''Cadmus et Hermione'' (1673), although there had been various experiments with the form before that, most notably '' Pomone'' by Robert Cambert. Lully and his librettist Quinault created ''tragédie en musique'', a form in which dance music and choral writing were particularly prominent. Lully's most important successor was Rameau. After Rameau's death, the German Gluck was persuaded to produce six operas for the Paris, Parisian stage in the 1770s. They show the influence of Rameau, but simplified and with greater foc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Operas By François-André Danican Philidor
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as ''Singspiel'' and ''Opéra comique''. In traditional number opera, singers employ two styles of singing: ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
New Grove Dictionary Of Opera
''The New Grove Dictionary of Opera'' is an encyclopedia of opera, considered to be one of the best general reference sources on the subject. It is the largest work on opera in English, and in its printed form, amounts to 5,448 pages in four volumes. First published in 1992 by Macmillan Reference, London, it was edited by Stanley Sadie with contributions from over 1,300 scholars. There are 11,000 articles in total, covering over 2,900 composers and 1800 operas. Appendices including an index of role names and an index of incipits of arias, ensembles, and opera pieces. The dictionary is available online, together with ''The New Grove Dictionary of Music and Musicians''. References *William Salaman, "Review: The New Grove Dictionary of Opera", ''British Journal of Music Education'' (1999), 16: 97-110 Cambridge University Pres*John Simon, "Review: The New Grove Dictionary of Opera, 4 vols.", ''National Review'', April 26, 199* * *Charles Rosen, "Review: The New Grove Dictionary of O ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rushton, Julian
Julian Gordon Rushton (born 22 May 1941) is an English musicologist, born in Cambridge. He has contributed the entry on Mozart in ''The New Grove Dictionary of Opera'' and several other articles in ''The New Grove Dictionary of Music and Musicians'' and other reference works. He has written a critical study of the style of Hector Berlioz and was involved in critical editions of that composer's works. In 1999, he published an analysis of Elgar's ''Enigma Variations''. His book '' Coffee with Mozart'' (2007) has been translated into German. He also wrote Mozart (The Master Musicians, 2006) and Mozart: An Extraordinary Life (2006). In addition to his 1983 work ''The Musical Language of Berlioz'', he wrote ''The Music of Berlioz'' (OUP, 2001) as well as several articles on Mozart, Berlioz, and Elgar. He was General Editor of Cambridge Music Handbooks (c. 60 volumes), contributing Berlioz, ''Roméo et Juliette'' and Elgar, '' 'Enigma' Variations''. He has edited works by Charpentier, Berl ... [...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] |
Rosalie Levasseur
Marie-Rose-(Claude-)Josephe Levasseur (or Le Vasseur), known in her day as Mademoiselle Rosalie, and later commonly referred to as Rosalie Levasseur (8 October 1749 – 6 May 1826) was a French soprano who is best remembered for her work with the composer Christoph Willibald Gluck. Biography Born in Valenciennes in 1749, she first appeared at the Paris Opéra in a revival of Campra's ''L'Europe galante'' in 1766. After an undistinguished beginning to her career, when she appeared only in minor roles, such as Cupid in Berton and Trial's, ''Théonis'' (1767), and La Borde's ''Ismène et Isménias'', (1770) her status in the company rapidly improved following Gluck's arrival in Paris in 1774. The new maestro and the primadonna in office, Sophie Arnould, could not stand each other, while Levasseur was the mistress of the Austrian ambassador and Gluck's countryman Florimond de Mercy-Argenteau, who exerted moreover a strong influence on the Dauphine Marie Antoinette, herself a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marie-Jeanne Larrivée Lemière
Marie-Jeanne Larrivée, born Marie-Jeanne Lemière (Sedan, Ardennes, 1733 – Paris, 1786) was a French soprano. Biography Marie-Jeanne Larrivée was a prominent member of the Paris Opera company, where she made her debut in 1750 under the name of Mlle Lemière (also spelt Lemierre or Le Mière). She was the sister of violinist Jacques Lemière and cellist Jacques-Louis Lemière both engaged at the Paris Opera in the same period. Her parents were Louis-Michel Lemière, a wig maker, and Julienne Lemière. After performing several light roles as a cover, at the beginning of 1752 Lemière left the theater scene. She probably intended to improve her voice, but her five-year absence from the stage was mainly related to her stormy relationship with the Duke of Gramont, whose abusive behaviour, even bordering on rape, darkened this period of her life. In July 1752 she gave birth to her first daughter, Marie-Antoinette, but neither of the parents acknowledged her, and only her grandfat ... [...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" '' |
Joseph Legros
Joseph Legros, often also spelt Le Gros, (7 September or 8 September 1739 – 20 December 1793) was a French singer and composer of the 18th century. He is best remembered for his association with the composer Christoph Willibald Gluck and is usually regarded as the most prominent ''haute-contre'' of his generation, though his acting is reputed to have been mediocre. Biography Legros was born at Monampteuil, Laon. After initial training as a choirboy, when his voice broke Legros developed the voice of a ''haute-contre'', a type of French high tenor that was typically used for the heroic male lead in French operas of the period. Legros made his début at the Paris Opéra in 1764 in a revival of Mondonville's '' Titon et l'Aurore'' and became the leading ''haute-contre'' at the Opéra, a status he held until his retirement in 1783, caused in part by his increasing obesity. Legros began his operatic career singing the principal roles in revivals of the operas by Jean-Baptiste ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
