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Germaine Cernay
Germaine Cernay, born Germaine Pointu (28 April 1900, Le Havre – 19 September 1943, Paris) was a French mezzo-soprano who was active both in the opera house and on the concert platform.Kutsch KJ, Riemens L. ''Unvergängliche Stimmen: Sängerlexikon.'' Francke Verlag, Bern und Munchen, 1982. Life and career Cernay studied the piano before entering the Conservatoire de Paris for vocal studies under Albers and Engel, winning first prizes in 1925.Gourret J. ''Dictionnaire des Cantatrices de l'Opéra.'' Editions Albatros, Paris, 1987. She made her debut at the Opéra-Comique in Paris on 16 May 1927 as la Bossue in the Paris premiere of Alfano's ''Risurrezione'' (in French).Wolff S. ''Un demi-siècle d'Opéra-Comique (1900–1950).'' André Bonne, Paris, 1953. Other creations at the Salle Favart were Floriane in ''Éros Vainqueur'' (de Bréville), la Tour in ''Le Fou de la Dame'' (Delannoy), a fairy in ''Riquet a la Houppe'' (Hue), and Léonor in ''Le Sicilien'' (Letorey). Her other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Germaine Cernay
Germaine Cernay, born Germaine Pointu (28 April 1900, Le Havre – 19 September 1943, Paris) was a French mezzo-soprano who was active both in the opera house and on the concert platform.Kutsch KJ, Riemens L. ''Unvergängliche Stimmen: Sängerlexikon.'' Francke Verlag, Bern und Munchen, 1982. Life and career Cernay studied the piano before entering the Conservatoire de Paris for vocal studies under Albers and Engel, winning first prizes in 1925.Gourret J. ''Dictionnaire des Cantatrices de l'Opéra.'' Editions Albatros, Paris, 1987. She made her debut at the Opéra-Comique in Paris on 16 May 1927 as la Bossue in the Paris premiere of Alfano's ''Risurrezione'' (in French).Wolff S. ''Un demi-siècle d'Opéra-Comique (1900–1950).'' André Bonne, Paris, 1953. Other creations at the Salle Favart were Floriane in ''Éros Vainqueur'' (de Bréville), la Tour in ''Le Fou de la Dame'' (Delannoy), a fairy in ''Riquet a la Houppe'' (Hue), and Léonor in ''Le Sicilien'' (Letorey). Her other ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Werther
''Werther'' is an opera (''drame lyrique'') in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann (who used the pseudonym Henri Grémont). It is loosely based on Goethe's epistolary novel ''The Sorrows of Young Werther'', which was based both on fact and on Goethe's own early life. Earlier examples of operas using the story were made by Kreutzer (1792) and Pucitta (1802). Milnes R. Werther. In: ''The New Grove Dictionary of Opera''. Macmillan, London and New York, 1997. Performance history Massenet started composing ''Werther'' in 1885, completing it in 1887. He submitted it to Léon Carvalho, the director of the Paris Opéra-Comique, that year, but Carvalho declined to accept it on the grounds that the scenario was too serious. With the disruption of the fire at the Opéra-Comique and Massenet's work on other operatic projects (especially ''Esclarmonde''), it was put to one side, until the Vienna Opera, pleased with the succes ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tony Aubin
Tony Louis Alexandre Aubin (8 December 1907 – 21 September 1981) was a French composer. Career Aubin was born in Paris. From 1925 to 1930, he studied at the Paris Conservatory under Samuel Rousseau (composer), Samuel Rousseau (music theory), Noel Gallon (counterpoint), Philippe Gaubert (orchestration and composition), and Paul Dukas (composition). He was awarded the Prix de Rome for the cantata ''Actaeon'' in 1930. He was artistic director at Paris-Mondial from 1937 to 1944, and professor at the Paris Conservatory from 1944 to 1977. He also conducted works for French radio between 1945 and 1960. His works, heavily indebted to the impressionism (music), impressionism of Ravel and Dukas, include many film scores. His pupils included Olivier Alain, Garbis Aprikian, Raynald Arseneault, Jocelyne Binet, Jacques Castérède, Pierre Cochereau, Marius Constant, Ginette Keller, Talivaldis Kenins, Yüksel Koptagel, Ron Nelson (composer), Ron Nelson, Makoto Shinohara, and Williametta Sp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Dandelot
Georges Édouard Dandelot (2 December 1895 – 17 August 1975) was a French composer and teacher. Biography Dandelot was born in Paris. His father was Alfred Dandelot, and his mother was the daughter of a piano maker. Dandelot studied at the Paris Conservatory under Émile Schwartz, Louis Diémer, Xavier Leroux, Jean Gallon, Georges Caussade, Charles-Marie Widor, Vincent d'Indy, Maurice Emmanuel, Paul Dukas, and Albert Roussel. After serving in World War I, he began teaching piano in 1919 at the École Normale de Musique de Paris; from 1942 he taught harmony at the Paris Conservatory, and published treatises on solfege and harmony. Among his pupils were composers Paul Méfano, Michel Perrault, Rodica Sutzu, and Michel Philippot. He died in Saint-Georges-de-Didonne, Charente-Maritime. Selected compositions Orchestral works *''Pax'', Oratorio for vocal soloists, chorus and orchestra (1937) *Symphony in D minor (1941) *Concerto for piano and orchestra (1934) *''Concerto romanti ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louis Beydts
Louis Beydts was a French composer, music critic and theatre director, born 29 June 1895 in Bordeaux and died on 15 August 1953 at Caudéran in Gironde. Life and career His father was a wine-merchant who played the flute, while his mother played the piano. At 16, having finished his school studies, he went into the family business. Having learnt the piano and tried some composition, at 18 he studied harmony, counterpoint and fugue with Julien Fernand Vaubourgoin, director of the Bordeaux Conservatoire, although Beydts never enrolled there. Through Vaubourgoin he gained a strict classical harmonic technique.James Stevens. Louis Beydts (1895-1953). ''Opera'', December 1953, Vol.4 No.12, p747. Beydts also studied with André Messager to whom he paid homage in ''Moineau'' with a variation on the theme of the swing duet. During the First World War Beydts was mobilized, only returning to civilian life in 1919, picking up his much-appreciated studies with Vaubourgoin until 1924. H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Le Martyre De Saint Sébastien
''Le Martyre de saint Sébastien'' is a five-act musical mystery play on the subject of Saint Sebastian, with a text written in 1911 by the Italian author Gabriele D'Annunzio and incidental music by the French composer Claude Debussy (L.124). Background The work was produced in collaboration between Gabriele D'Annunzio (at that time living in France to escape his creditors) and Claude Debussy, and designed as a vehicle for Ida Rubinstein. Debussy's contribution was a large-scale score of incidental music for orchestra and chorus, with solo vocal parts (for a soprano and two altos). Debussy accepted the commission in February 1911. Some of the material was orchestrated by André Caplet. During auditions for the female semi-chorus, the chorus director Désiré-Émile Inghelbrecht suggested, on hearing Ninon Vallin, that she take over the role of the celestial voice. As Rose Féart (who had been engaged) was absent from the general rehearsal, Vallin sang the role and Debussy insiste ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prométhée
''Prométhée'', Op. 82, (''Prometheus'') is a ''tragédie lyrique'' (grand cantata) in three acts by the French composer Gabriel Fauré with a French libretto by the Symboliste poets Jean Lorrain and (1865–1940). It was partly based on the opening of the Greek tragedy of ''Prometheus Bound''. The first performance at Arènes de Béziers on 27 August 1900 involved almost 800 performers (including two wind bands and 15 harps) and was watched by an audience of 10,000. Between 1914 and 1916, Jean Roger-Ducasse reworked the score for a reduced orchestra. This version (which was later revised by Fauré) made its debut at the Paris Opéra on 17 May 1917 but never became popular. Designated as a ''tragédie lyrique'', the work resists easy categorisation. It was intended to be on a large-scale with spoken and musical sections. Warrack and West call it a grand cantata, arguing that since "only some of the characters participate in the stage action it is scarcely an opera, though Faur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philippe Gaubert
Philippe Gaubert (5 July 1879 – 8 July 1941) was a French musician who was a distinguished performer on the flute, a respected conductor, and a composer, primarily for the flute. Biography Gaubert – commonly referred to as Gauberto – was born in Cahors. He became one of the most prominent French musicians between the two World Wars. After a prominent career as a flautist with the Paris Opéra, he was appointed in 1919, at the age of forty, to three positions that placed him at the very centre of French musical life: * Professor of flute in the Conservatoire de Paris (teacher of Marcel Moyse) * Principal conductor of the Paris Opéra * Principal conductor of the Orchestre de la Société des Concerts du Conservatoire In 1907, he participated in the first performance of Maurice Ravel's ''Introduction and Allegro'' for harp, flute, clarinet and string quartet. Among his recordings as conductor, one that he made of César Franck's Symphony in D minor (with the Conservat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
L'incoronazione Di Poppea
''L'incoronazione di Poppea'' ( SV 308, ''The Coronation of Poppaea'') is an Italian opera by Claudio Monteverdi. It was Monteverdi's last opera, with a libretto by Giovanni Francesco Busenello, and was first performed at the Teatro Santi Giovanni e Paolo in Venice during the 1643 carnival season. One of the first operas to use historical events and people, it describes how Poppaea, mistress of the Roman emperor Nero, is able to achieve her ambition and be crowned empress. The opera was revived in Naples in 1651, but was then neglected until the rediscovery of the score in 1888, after which it became the subject of scholarly attention in the late 19th and early 20th centuries. Since the 1960s, the opera has been performed and recorded many times. The original manuscript of the score does not exist; two surviving copies from the 1650s show significant differences from each other, and each differs to some extent from the libretto. How much of the music is actually Monteverdi's, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raymond Loucheur
Raymond Loucheur (1 January 1899 – 14 September 1979) was a French composer. Life Very early, he left the town of Tourcoing where he was born to study at Le Havre with Henri Woollett who had Arthur Honegger among his students. Then, he entered the Conservatoire de Paris and worked with Henri Dallier, Paul Fauchet, Nadia Boulanger for harmony, André Gedalge for counterpoint and fugue, Max d'Ollone and Paul Vidal for musical composition, Vincent d'Indy for conducting. At the same time, Joseph Baggers taught him the practice of timpani. In 1928, he brilliantly won the 1st Grand Prix de Rome with the cantata ''Héraklès à Delphes'' on a libretto by René Puaux and performed on 26 October 1929 by the Concerts Lamoureux where it received an excellent welcome. Between 1925 and 1940, he taught in schools in the city of Paris. In 1935, he received the Georges Bizet Prize. In 1942, he was principal inspector of music education in the schools of the Seine then became general inspec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Magnificat (Bach)
Johann Sebastian Bach's Magnificat, BWV 243, is a musical setting of the biblical canticle Magnificat. It is scored for five vocal parts (two sopranos, alto, tenor and bass), and a Baroque orchestra including trumpets and timpani. It is the first major liturgical composition on a Latin text by Bach. In 1723, after taking up his post as Thomaskantor in Leipzig, Bach set the text of the Magnificat in a twelve movement composition in the key of E-flat major. For a performance at Christmas he inserted four hymns ('' laudes'') related to that feast. This version, including the Christmas interpolations, was given the number 243.1 (previously 243a) in the catalogue of Bach's works. Likely for the feast of Visitation of 1733, or another feast in or around that year, Bach produced a new version of his Latin Magnificat, without the Christmas hymns: instrumentation of some movements was altered or expanded, and the key changed from E-flat major to D major, for perf ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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