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La Naissance D'Osiris
''La naissance d'Osiris, ou La fête Pamilie'' (''The Birth of Osiris, or The Festival of Pamylia'') is a one-act opera by Jean-Philippe Rameau, first performed on 12 October 1754 at Fontainebleau to celebrate the birth of the future King Louis XVI. The libretto is by Rameau's frequent collaborator Louis de Cahusac. Cahusac styled the work a ''ballet allégorique'' ("allegorical ballet"), but it is usually categorised as an '' acte de ballet''. Its slender plot tells of Jupiter's announcement to a group of Egyptian shepherds of the birth of the god Osiris, who symbolises the baby prince. The piece may have started life as part of a larger work, ''Les beaux jours de l'Amour'', an ''opéra-ballet'' Rameau and Cahusac planned but never completed for reasons which are still uncertain. Background and performance history Musicologists now think that Rameau and Cahusac originally intended ''La naissance d'Osiris'' to be part of a multi-act ''opéra-ballet'' called ''Les beaux jours de l'A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Portrait Of Jean-Philippe Rameau - Joseph Aved
A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expressions are predominant. The intent is to display the likeness, personality, and even the mood of the person. For this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, in order to most successfully engage the subject with the viewer. History Prehistorical portraiture Plastered human skulls were reconstructed human skulls that were made in the ancient Levant between 9000 and 6000 BC in the Pre-Pottery Neolithic B period. They represent some of the oldest forms of art in the Middle East and demonstrate that the prehistoric population took great care in burying their ancestors below their homes. The skulls denote some of the earliest sculptural examples of portraiture in the history of art. Historical portraitu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Les Fêtes De L'Hymen Et De L'Amour
''Les fêtes de l’Hymen et de l’Amour, ou Les dieux d'Egypte'' is an ''opéra-ballet'' in three ''entrées'' and a prologue by the French composer Jean-Philippe Rameau. The work was first performed on March 15, 1747, at the La Grande Ecurie, Versailles (city), Versailles, and is set to a libretto by Louis de Cahusac. The opera was originally composed as part of the celebrations for the Dauphin’s marriage to Maria Josepha of Saxony. ''Les fêtes de l’Hymen'' proved to be a popular work and by the March 1776 it had been performed exactly 106 times. The librettist, Cahusac, was especially pleased with the ways in which he had succeeded in giving especial import to the supernatural elements of the work—the plot is based on Egyptian mythology—and to allow particular use of impressive large-scale stage machinery, which was much admired by the audience. The opera contains seven ballets, a consequence of Cahusac’s desire to further integrate dance and drama, which grew from the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Operas By Jean-Philippe Rameau
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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cuthbert Girdlestone
Cuthbert Morton Girdlestone (17 September 1895 – 10 December 1975) was a British musicology, musicologist and literary scholar. Born in Bovey Tracey, Devon, he was educated at University of Cambridge, Cambridge and the University of Paris, Sorbonne, and thereafter took up the chair in French in Armstrong College, Newcastle, Armstrong College, later to be King's College in Newcastle upon Tyne, Newcastle in 1926, a position he held until 1960. His most famous publications are his much-reprinted study of the Mozart Piano Concertos (1939, published originally in French) and his biography of Jean-Philippe Rameau (1957). Books *Girdlestone, Cuthbert. ''Mozart et ses concertos pour piano.'' Paris, Fischbacher. 1939. **Girdlestone, Cuthbert. ''Mozart and His Piano Concertos''. New York: Dover Publications, 1964. "An unabridged and corrected republication of the second (1958) edition of the work first published in 1948 by Cassell & Company, Ltd., London, under the title Mozart’s Piano ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Daphnis Et Eglé
''Daphnis et Eglé'' is an opera by Jean-Philippe Rameau. It was due to appear on 30 October 1753 at Fontainebleau, but the performance was cancelled. It takes the form of a ''pastorale héroïque'' in one act. The librettist was Charles Collé. Performance history The opera was planned as part of the court of King Louis XV's entertainments at Fontainebleau and was intended as an afterpiece to a play by Nivelle de la Chaussée, ''La fausse antipathie''. However, the dress rehearsal went so badly that the premiere was cancelled and the opera was never staged in Rameau's lifetime.Sadler (2014), p.71 This was the only artistic collaboration between Collé and Rameau. Paul F. Rice has commented that this collaboration was an unhappy one, and speculated that this was due to Rameau's demands that Collé edit his libretto. This caused Collé to harbor resentment towards Rameau, even after the composer's death.Rice, Paul F., "The Fontainebleau Operas of Jean-Philippe Rameau" (Spring, 198 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Simphonie Du Marais
La Simphonie du Marais is a French music ensemble established in 1987 by recorder player Hugo Reyne. Today, it is located in the Logis de la Chabotterie of Saint-Sulpice-le-Verdon in Vendée. It performs exclusively vocal and instrumental Baroque music ( Rameau, Lully, Delalande…). External links ''La Simphonie du Marais célèbre son 30ème anniversaire cet automne''on France Musique Biographie de la Simphonie du Maraison simphonie-du-marais.org La Simphonie du Maraison Ouest France Official websiteLa Simphonie du Maraison Vendee.fr La Simphonie du Maraison Discogs Discogs (short for discographies) is a database of information about audio recordings, including commercial releases, promotional releases, and bootleg or off-label releases. While the site was originally created with a goal of becoming the ... La Simphonie du Marais - Delalande : Les Soupers du roion YouTube {{DEFAULTSORT:Simphonie du Marais Baroque music groups ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jupiter (god)
Jupiter ( la, Iūpiter or , from Proto-Italic "day, sky" + "father", thus " sky father" Greek: Δίας or Ζεύς), also known as Jove (gen. ''Iovis'' ), is the god of the sky and thunder, and king of the gods in ancient Roman religion and mythology. Jupiter was the chief deity of Roman state religion throughout the Republican and Imperial eras, until Christianity became the dominant religion of the Empire. In Roman mythology, he negotiates with Numa Pompilius, the second king of Rome, to establish principles of Roman religion such as offering, or sacrifice. Jupiter is usually thought to have originated as a sky god. His identifying implement is the thunderbolt and his primary sacred animal is the eagle, which held precedence over other birds in the taking of auspices and became one of the most common symbols of the Roman army (see Aquila). The two emblems were often combined to represent the god in the form of an eagle holding in its claws a thunderbolt, frequently se ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass-baritone
A bass-baritone is a high-lying bass or low-lying "classical" baritone voice type which shares certain qualities with the true baritone voice. The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: the title role in ''Der fliegende Holländer'', Wotan/Der Wanderer in the ''Ring Cycle'' and Hans Sachs in '' Die Meistersinger von Nürnberg''. Wagner labelled these roles as ''Hoher Bass'' ("high bass")—see fach for more details. The bass-baritone voice is distinguished by two attributes. First, it must be capable of singing comfortably in a baritonal tessitura. Secondly, however, it needs to have the ripely resonant lower range typically associated with the bass voice. For example, the role of Wotan in ''Die Walküre'' covers the range from F2 (the F at the bottom of the bass clef) to F4 (the F above middle C), but only infrequently descends beyond C3 (the C below middle C). Bass-baritones are typically divide ... [...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] |
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" '' |
Voice Type
A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points ('' passaggi''). Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well. A singer will choose a repertoire that suits their voice. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas, Jessye Norman, Ewa Podleś, and Plácido Domingo have voices that allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett and Grace Bumbry change type and even voice part over their careers; and some singers such as Leonie Rysanek have voices that lower with age, causing them to cycle through types over their careers. Some roles are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and some of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musette De Cour
The musette de cour or baroque musette is a musical instrument of the bagpipe family. Visually, the musette is characterised by the short, cylindrical shuttle-drone and the two chalumeaux. Both the chanters and the drones have a cylindrical bore and use a double reed, giving a quiet tone similar to the oboe. The instrument is blown by a bellows. The qualification "de cour" does not appear in the name for the instrument in original musical scores; title-pages usually refer to it simply as a ''musette'', allowing occasional confusion with the piccolo oboe, also known as the (oboe) musette. History First appearing in France, at the very end of the sixteenth century, the musette was refined over the next hundred years by a number of instrument-making families. The best-known contributions came from the Hotteterre family:chiefly Martin, responsible for the ''petit chalumeau'', and his son Jacques who published a complete ''Méthode'' Martin Hotteterre added a second chanter, the '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
