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Le Juif Errant (opera)
''Le Juif errant'' (''The Wandering Jew'') is a grand opera by Fromental Halévy, with a libretto by Eugène Scribe and Jules-Henri Vernoy de Saint-Georges. The opera is based extremely loosely on themes of the novel ''Le Juif errant'', by Eugène Sue. Whilst the novel is set in 19th century Paris and the Wandering Jew is incidental to the main story-line, the opera begins in Amsterdam in 1190 and the Jew Ahasuerus (spelled Ashvérus in the opera) is a leading character. Performance history ''Le Juif errant'' was premiered at the Salle Le Peletier of the Paris Opera on 23 April 1852, and had 48 further performances over two seasons. The music was sufficiently popular to generate a ''Wandering Jew Mazurka'', a ''Wandering Jew Waltz'', a ''Wandering Jew Polka'' and in France just in the several months after the opera was premiered an even more considerable quantity of piano works, including several called "Grande fantaisie dramatique" and similar titles, based on the opera. Roles ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Grand Opera
Grand opera is a genre of 19th-century opera generally in four or five acts, characterized by large-scale casts and orchestras, and (in their original productions) lavish and spectacular design and stage effects, normally with plots based on or around dramatic historic events. The term is particularly applied (sometimes specifically used in its French language equivalent grand opéra, ) to certain productions of the Paris Opéra from the late 1820s to around 1850; 'grand opéra' has sometimes been used to denote the Paris Opéra itself. The term 'grand opera' is also used in a broader application in respect of contemporary or later works of similar monumental proportions from France, Germany, Italy, and other countries. It may also be used colloquially in an imprecise sense to refer to 'serious opera without spoken dialogue'. Origins Paris at the turn of the 19th century drew in many composers, both French and foreign, and especially those of opera. Several Italians working d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
Molinier (baritone)
Molinier was the stage name of François Gély (1807–1859), a French operatic baritone who mostly performed minor roles at the Paris Opéra.Tamvaco 2000, vol. 2, p. 740. He made his professional debut without much success on 15 February 1826 with the Opéra-Comique at the Salle Feydeau as Alibour in Méhul's '' Euphrosine et Coradin''. He first appeared at the Paris Opéra on 2 October 1837 as an emergency replacement in a leading bass role, Pietro in Daniel Auber's ''La muette de Portici''. He sang with great emotion, but was thought to have overextended his resources. However, having rescued the performance (and the receipts), he was rewarded by engagement as a company regular, and continued to sing there until 1854. During this period he created a number of minor roles, as noted in the list below. He also performed other minor roles, such as a herald-in-arms in Meyerbeer's ''Robert le diable'', the Comte de Nevers in Meyerbeer's ''Les Huguenots'', Rodolphe and Melcthal in R ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Emmy La Grua
Emmy La Grua (also Emma, Emmi or Emilia) (born 15 May 1831 in Palermo; died after 1869) was a 19th-century Italian opera singer (soprano) who performed successfully internationally. Biography Emmy La Grua was the daughter of the royal Saxon chamber musician Friederike Funk and the Italian tenorist Luigi La Grua. In 1837, she moved with her mother to Dresden. She received singing lessons from her mother as well as from Pauline Viardot-García and Caroline Ungher-Sabatier in Paris. In December 1850, Emmy La Grua made her debut in Dresden as Alice in "Robert the Devil" by Giacomo Meyerbeer. Other roles included Donna Anna from Mozart's "Don Giovanni" and Rosine in ''The Barber of Seville'' by Gioachino Rossini. In the following years Emmy La Grua made guest appearances at the Paris Opera, from October 1853 as prima donna at the Vienna Court Opera, from 1854 in Turin and as well as further guest appearances in Vienna, Dresden and Lyon. In 1855, together with Cavaliere Antonio Po ... [...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" '' |
Flanders
Flanders (, ; Dutch: ''Vlaanderen'' ) is the Flemish-speaking northern portion of Belgium and one of the communities, regions and language areas of Belgium. However, there are several overlapping definitions, including ones related to culture, language, politics, and history, and sometimes involving neighbouring countries. The demonym associated with Flanders is Fleming, while the corresponding adjective is Flemish. The official capital of Flanders is the City of Brussels, although the Brussels-Capital Region that includes it has an independent regional government. The powers of the government of Flanders consist, among others, of economic affairs in the Flemish Region and the community aspects of Flanders life in Brussels, such as Flemish culture and education. Geographically, Flanders is mainly flat, and has a small section of coast on the North Sea. It borders the French department of Nord to the south-west near the coast, the Dutch provinces of Zeeland, North Brabant an ... [...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] |
Scheldt
The Scheldt (french: Escaut ; nl, Schelde ) is a river that flows through northern France, western Belgium, and the southwestern part of Netherlands, the Netherlands, with its mouth at the North Sea. Its name is derived from an adjective corresponding to Old English ' ("shallow"), English language, Modern English ''shoal'', Low German ''schol'', West Frisian language, West Frisian ''skol'', and Swedish language, Swedish (obsolete) ''skäll'' ("thin"). Course The headwaters of the Scheldt are in Gouy, Aisne, Gouy, in the Aisne department of northern France. It flows north through Cambrai and Valenciennes, and enters Belgium near Tournai. Ghent developed at the confluence of the Lys (river), Lys, one of its main tributaries, and the Scheldt, which then turns east. Near Antwerp, the largest city on its banks, the Scheldt flows west into the Netherlands toward the North Sea. Originally there were two branches from that point: the Oosterschelde (Eastern Scheldt); and the Westersc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gustave-Hippolyte Roger
Gustave-Hippolyte Roger (17 December 1815 – 12 September 1879) was a French tenor. He is best known for creating the leading tenor roles in ''La damnation de Faust'' by Berlioz in 1846 and Meyerbeer's ''Le prophète'' in 1849. Early years and education Born in Paris and orphaned at an early age, Roger was brought up in Paris by his uncle. He entered the Paris Conservatoire and studied with Blès Martin. At the completion of his training, he won first prize in singing and declamation. Career In 1838, Roger made his professional debut at the Opéra-Comique, Paris, in ''L’éclair'' by Fromental Halévy. He went on to create numerous leading roles in new operas with that company, including works by Daniel Auber (Raphaël in '' La Part du Diable'', 1843 and Lorédan in '' Haydée'', 1847, and others), Halévy (Edgard in '' Le shérif'', 1839, Olivier in ''Les Mousquetaires de la Reine'', 1846, and others). Roger was the first Marquis in ''Perruquier de la Régence'' by Ambroise T ... [...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] |
Louis-Henri Obin
Louis-Henri Obin, born in Ascq, near Lille on 4 August 1820, died in Paris on 9 November 1895, was a French operatic bass. He created some of the most notable roles in French grand opera at the Paris Opera, including the part of King Philip II in Verdi's ''Don Carlos''. Education and career Born in Ascq, Louis-Henri Obin studied singing at the Conservatoire de Lille with Antoine Ponchard and then at the Conservatoire de Paris. He made his professional debut in 1844 at the Paris Opera in the role of Elmiro in Rossini's ''Otello'' and continued his career there, playing leading bass roles in many operas, until he retired from the stage in 1869. He came out of retirement to perform in operas once again for a brief time in 1871. At the Paris Opera, Obin created roles in the world premieres of several important operas. These included some of the most important bass parts in French grand opera, including Procida in Verdi's ''Les vêpres siciliennes'' (1855), the King in the same com ... [...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] |
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