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Le Cadi Dupé
''Le cadi dupé'' (''The Duped Qadi'', or ''The Duped Judge'') is an opéra comique in one act by Christoph Willibald Gluck. It has a French-language libretto by Pierre-René Lemonnier. It premiered at the Burgtheater in Vienna on 8 December 1761. The libretto had already been set by Pierre-Alexandre Monsigny Pierre-Alexandre Monsigny ( – ) was a French composer and a member of the French Académie des Beaux-Arts (1813). He is considered alongside André Grétry and François-André Danican Philidor to have been the founder of a new musical gen ... in an opera that had premiered on 4 February of the same year at the Paris Foire St-Germain. The music belongs to the Turkish-influenced fashion of the period and features janissary music, represented by piccolo, drums, and cymbals. Roles Synopsis The Cadi has been flirting with other women and neglecting his wife, Fatima. The mischievous Zelmire, who is in love with Nuradin, tricks the Cadi in order to teach hi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Qadi
A qāḍī ( ar, قاضي, Qāḍī; otherwise transliterated as qazi, cadi, kadi, or kazi) is the magistrate or judge of a '' sharīʿa'' court, who also exercises extrajudicial functions such as mediation, guardianship over orphans and minors, and supervision and auditing of public works. History The term ''qāḍī'' was in use from the time of Muhammad during the early history of Islam, and remained the term used for judges throughout Islamic history and the period of the caliphates. While the ''muftī'' and '' fuqaha'' played the role in elucidation of the principles of Islamic jurisprudence (''Uṣūl al-Fiqh'') and the Islamic law (''sharīʿa''), the ''qāḍī'' remained the key person ensuring the establishment of justice on the basis of these very laws and rules. Thus, the ''qāḍī'' was chosen from amongst those who had mastered the sciences of jurisprudence and law. The Abbasid caliphs created the office of "chief ''qāḍī''" (''qāḍī al-quḍāh''), whos ... [...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" '' |
Operas
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 sin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
One-act Operas
A one-act play is a play that has only one act, as distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, '' Cyclops'', a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon.Francis M. Dunn. ''Tragedy's End: Closure and Innovation in Euripidean Drama''. Oxford University Press (1996). One act plays became more common in the 19th century and are now a stand ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Operas By Christoph Willibald Gluck
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] |
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 Parisian stage in the 1770s. They show the influence of Rameau, but simplified and with greater f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Daniela Philippi
Daniela Philippi (born 1966) is a German musicologist with a research focus on Christoph Willibald Gluck, Antonín Dvořák and Czech music history and music of the 20th century. Life Born in Limburg an der Lahn, Philippi studied musicology, journalism as well as general and comparative literature at the Johannes Gutenberg University Mainz from 1985 to 1992. From 1985 to 1989, she also studied at the Episcopal Institute of Church Music of the Diocese of Mainz, where she graduated in 1989 with the church musician examination C. In 1992, she received her doctorate under Christoph-Hellmut Mahling at the Musicological Institute of the Johannes Gutenberg University Mainz on the subject ''Antonín Dvořák – The Spectre's Bride (Svatební košile) op. 69 and The St. Ludmila (Svatá Ludmila) op. 71. studies of the great vocal form in the 19th century.'' Since 1993, she has been a research fellow at the Gluck-Gesamtausgabe in the Academy of sciences in Mainz. From 1991 to 2000, she ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Agha (Ottoman Empire)
Agha ( tr, ağa; ota, آغا; fa, آقا, āghā; "chief, master, lord") is an honorific title for a civilian or officer, or often part of such title. In the Ottoman times, some court functionaries and leaders of organizations like bazaar or the janissary units were entitled to the ''agha'' title. In rural communities, this term is used for people who own considerable lands and are influential in their community. Regardless of a rural community, this title is also used for any male that is influential or respected. Etymology The word ''agha'' entered English from Turkish, and the Turkish word comes from the Old Turkic ''aqa'', meaning "elder brother". It is an equivalent of Mongolian word ''aqa'' or ''aka''. Other uses "Agha" is nowadays used as a common Persian honorific title for men, the equivalent of "mister" in English.Khani, S., and R. Yousefi. "The study of address terms and their translation from Persian to English." (2014). The corresponding honorific term for w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Travesti (theatre)
''Travesti'' is a theatrical term referring to the portrayal of a character in an opera, play, or ballet by a performer of the opposite sex. For social reasons, female roles were played by boys or men in many early forms of theatre, and ''travesti'' roles continued to be used in several types of context even after actresses became accepted on the stage. The popular British theatrical form of the pantomime traditionally contains a role for a "principal boy", a breeches role played by a young woman, and also one or more pantomime dames, female comic roles played by men. Similarly, in the formerly popular genre of Victorian burlesque, there were usually one or more breeches roles. Etymology The word means "disguised" in French. Depending on sources, the term may be given as travesty, ''travesti'', or ''en travesti''. The ''Oxford Essential Dictionary of Foreign Terms in English'' explains the origin of the latter term as "pseudo-French", although French sources from the mid-19t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical male singing 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 '' 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 enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were normal ... [...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 ei ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
