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Le Médecin Malgré Lui (opera)
(''The Doctor in spite of himself''; sometimes also called ''The Mock Doctor'') is an opéra comique in three acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré after Molière's play, also entitled ''Le Médecin malgré lui''. Performance history It premiered at the Théâtre Lyrique, Paris, on 15 January 1858. As the work uses spoken dialogue and verse taken directly from Molière's play, the Comédie-Française tried unsuccessfully to block performance of the opera.Haubner, ''Grove'', 1997 It was revived at the Opéra-Comique in 1872, 1886, 1902 and 1938; was seen in Hamburg, Stockholm and Warsaw in 1862; and in England between 1865 and 1891. On 25 November 1978 the opera received its 100th performance at the Opéra-Comique, conducted by Sylvain Cambreling and with Jean-Philippe Lafont, Jocelyne Taillon and Jules Bastin among the cast. In June 1923, Sergei Diaghilev commissioned Erik Satie to compose recitatives to replace the spoken dialogue. Acc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra Comique
''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular '' opéras comiques en vaudevilles'' of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne),M. Elizabeth C. Bartlet and Richard Langham Smith"Opéra comique" '' Grove Music Online''. Oxford Music Online. 19 November 2009 which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, ''opéra comique'' is not necessarily comical or shallow in nature; '' Carmen'', perhaps the most famous ''opéra comique'', is a tragedy. Use of the term The term ''opéra comique'' is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs ('' vaudevilles''), with new words set to already existing music. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beinecke Rare Book & Manuscript Library
The Beinecke Rare Book & Manuscript Library () is the rare book library and literary archive of the Yale University Library in New Haven, Connecticut. It is one of the largest buildings in the world dedicated to rare books and manuscripts. Established by a gift of the Beinecke family and given its own financial endowment, the library is financially independent from the university and is co-governed by the University Library and Yale Corporation. Situated on Yale University's Hewitt Quadrangle, the building was designed by Gordon Bunshaft of Skidmore, Owings & Merrill and completed in 1963. From 2015 to 2016 the library building was closed for 18 months for major renovations, which included replacing the building's HVAC system and expanding teaching and exhibition capabilities. Architecture A six-story above-ground glass-enclosed tower of book stacks is encased by a windowless façade, supported by four monolithic piers at the corners of the building. The exterior shell is s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Émile Wartel
Louis Émile Wartel (31 March 1834, Paris – 5 May 1907, Paris)Chitty, Alexis; Brown, Maurice J.E.; Ellis, Katharine. "Wartel" in ''The New Grove Dictionary of Music and Musicians'', 2nd edition. London: Macmillan, 2001. (hardcover). (eBook). was an opera singer and teacher active in Paris. He was the son of the musicians François Wartel and Thérèse Wartel.Fétis F-J. Thérèse Wartel. In: ''Biographie universelle des musiciens'', supplement, vol 2. Paris, 1878Viewat Google Books. Life and career Wartel was an established singer at the Théâtre Lyrique in Paris from 1858 until 1868, creating many baritone roles in new operas premiered there. Walsh TJ. ''Second Empire Opera – The Théâtre-Lyrique Paris 1851-1870.'' John Calder Ltd, London, 1981. . His repertoire was: 1858 *Valère in ''Le médecin malgré lui'' (premiere) *Bartholo in '' Les noces de Figaro'' *Lysandre in ''L'agneau de Chloé'' (premiere) *Gambara in ''Le harpe d'or'' (premiere) 1859 *Omar in '' Abou Ha ... [...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] |
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" '' |
Caroline Girard
Caroline Girard (7 April 1830)Kutsch & Riemens 2003, p. 1741. was a French operatic Mezzo-soprano. She was the mother of Juliette Simon-Girard.Walsh TJ. ''Second Empire Opera – The Théâtre-Lyrique Paris 1851-1870.'' John Calder Ltd, London, 1981. Career Girard was born in Paris and studied at the Paris Conservatory. She became a principal singer at the Théâtre Lyrique in Paris in 1853, creating many roles including Margot in ''Le diable à quatre'' by Solié/Adam in 1853, Columbine in ''Le tableau parlant'' by Grétry in 1854, Nancy/Aenchen in ''Robin des Bois'' by Weber in 1855, Pétronille in ''Le sourd ou l’auberge pleine'' by Adam in 1856, Antonio in '' Richard Coeur-de-lion'' by Grétry in 1856, Fatime in ''Oberon'' by Weber in 1857, Barbarina in '' Les noces de Figaro'' in 1858, Florette in ''Les rosières'' by Hérold in 1860 and Papillon/Despina in '' Peines d’amours perdues'' by Mozart/Shakespeare in 1863. Moving in 1863 to the Opéra-Comique, where she was d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amélie Faivre
Louise Marie Amélie Faivre (February 4, 1837 - November 17, 1897) was a French mezzo-soprano. Born in Paris, the daughter of François-Théodore Faivre (1799-1861), a trombonist with the Théâtre-Italien, and Julie-Coralie Bolot (1814-1883), Faivre studied at the Conservatoire de Paris, where in 1857 she received third prize in singing and second in the field of ''opéra-comique''. A career singer at the Théâtre Lyrique, at which she debuted in 1857 in ''Euryanthe'' by Carl Maria von Weber, she ultimately rose to become principal dugazon of that company, for which she created a number of roles. Most notably, in 1859, she was the first Siébel in ''Faust'' by Charles Gounod; other roles which she created for the company included parts in ''Le moulin du roi'', by Adrien Boieldieu; ''La colombe'', by Gounod; ''Les deux amours'', by François-Auguste Gevaert; ''Erostate'', by Ernest Reyer; and ''La fille de l'orfèvre'', by . For la Monnaie she was the first Fatima in ''Oberon'' by ... [...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] |
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] |
Baritone
A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. The term originates from the Greek (), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second A below middle C to the A above middle C (A2 to A4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, ''Kavalierbariton'', Verdi baritone, dramatic baritone, ''baryton-noble'' baritone, and the bass-baritone. History The first use of the term "baritone" emerged as ''baritonans'', late in the 15th century, usually in French sacred polyphonic music. At this early stage it was frequently used as the lowest of the voices (including the bass), but in 17th-century Italy the term was all-encompassing and used to describe the averag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adolphe Deloffre
Louis Michel Adolphe Deloffre (28 July 1817 – 8 January 1876) was a French violinist and conductor active in London and Paris, who conducted several important operatic premieres in the latter city, particularly by Charles Gounod and Georges Bizet.Walsh TJ. ''Second Empire Opera – The Théâtre-Lyrique Paris 1851-1870.'' John Calder Ltd, London, 1981. Career Born in Paris, Deloffre's initial musical training was from his father, a violinist and guitarist. His violin teachers later included Bellon, de Lafont and Baillot, and he became recognised for his fine playing. He then set out from Paris for London with the French conductor Jullien and later became principal violinist at Her Majesty's Theatre under Balfe; he also played with the Philharmonic Society, the Sacred Harmony Society and the Musical Union. He would return each year to give concerts in Paris with his wife, a distinguished pianist, and a cellist from the Opéra, Pilet. He returned permanently to Paris to settl ... [...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] |
