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Philippe Chaperon
Philippe Chaperon (2 February 1823 – 21 December 1906) was a French painter and scenic designer, particularly known for his work at the Paris Opera. He produced stage designs for the premieres of numerous 19th-century operas, including Verdi's ''Don Carlos'' and ''Aida'', Massenet's ''Le Cid'', Saint-Saëns's '' Henri VIII'', part two of Berlioz's ''Les Troyens'' and the first performances in France of Verdi's ''Otello'' and ''Rigoletto'' and Wagner's ''Tannhäuser''. Life and career Chaperon came from a modest background. He was born in Paris, where his father was an employee at the Caisse d'Épargne. He attended the Lycée impérial Bonaparte and then the École des Beaux-Arts where he studied painting and architecture. He won a Prix de Rome scholarship and spent three years at the Villa Medici. He also studied architecture in the atelier of Victor Baltard and painting in the atelier of Léon Riesener where he received guidance from Riesener's cousin Eugène Delacroix. Man ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Les Huguenots
() is an opera by Giacomo Meyerbeer and is one of the most popular and spectacular examples of grand opera. In five acts, to a libretto A libretto (Italian for "booklet") is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or Musical theatre, musical. The term ''libretto'' is also sometimes used to refer to the t ... by Eugène Scribe and Émile Deschamps, it premiered in Paris on 29 February 1836. Composition history ''Les Huguenots'' was some five years in creation. Meyerbeer prepared carefully for this opera after the sensational success of ''Robert le diable'', recognising the need to continue to present lavish staging, a highly dramatic storyline, impressive orchestration and virtuoso parts for the soloists – the essential elements of the new genre of Grand Opera. Meyerbeer and his librettist for ''Robert le Diable'', Eugène Scribe, had agreed to collaborate on an epic work concerning the French War ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Mathey
Paul Victor Mathey (14 November 1844 – 24 November 1929) was a French painter and engraver. Biography Born in Paris, the son of a restorer, Mathey learned his art at the École nationale supérieure des Beaux-Arts of Paris in painters Léon Cogniet's, Isidore Pils's and Alexis-Joseph Mazerolle's workshops. He began to exhibit at the Salon de Paris in 1868, and became a valued and recognized portrait painter. He has several times portrayed artists from his entourage in their studios. Especially a portrait painter, Mathey did not, however, refrain from landscape, seascapes, lived scenes or decoration. In his forty-fifth year, at the time of the struggle between reproducers and originals, he had the idea of starting engraving. The Comité des Artistes français, of which he was no longer a member, contested the title of engravers to those who did not work on the work of others. They wanted to exclude them from the Salon, and at least from the rewards. Mathey opened Maxime L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Victor Baltard
Victor Baltard (9 June 180513 January 1874) was a French architect famed for work in Paris including designing Les Halles market and the Saint-Augustin church. Life Victor was born in Paris, son of architect Louis-Pierre Baltard and attended Lycée Henri IV. During his student days Baltard, a Lutheran, attended the Calvinist Temple du Marais with other Protestant students including Georges-Eugène Haussmann with whom he would collaborate in the latter's renovation of Paris. He later studied at the École des Beaux-Arts, where he garnered the Prix de Rome for designing a military school in 1833. He went on to study at the French Academy in Rome, Italy, from 1834 to 1838 under the direction of Jean-Auguste-Dominique Ingres. From 1849 on, he was Architect of the City of Paris. In this office, he was responsible for the restoration of several churches, as well as the construction of the Catholic Saint-Augustin (1860–67), in which he united the structural values of stone and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frédégonde
''Frédégonde'' is an 1895 French opera (''drame lyrique'') in five acts with music by Ernest Guiraud, Camille Saint-Saëns, and Paul Dukas and a libretto by Louis Gallet based on Augustin Thierry's ''Récits des temps mérovingiens'' (1840).Lesley A. Wright (1992), "Guiraud, Ernest", vol. 2, p. 576, in ''The New Grove Dictionary of Opera'', edited by Stanley Sadie. London: Macmillan. The opera was incomplete upon Guiraud's death in 1892. He had only composed the first three acts (in short score), and these were subsequently fully orchestrated by Paul Dukas. The music for the fourth and fifth acts and the ballet in the third act was composed by Saint-Saens. Performance history ''Frédégonde'' was premiered by the Opéra at the Palais Garnier in Paris on 18 December 1895. The ''mise-en-scène'' was by Alexandre Lapissida, the costumes were designed by , and the choreography was by Joseph Hansen. The set designers for Act 1 were Philippe Chaperon and his son, Émile Chaper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Favorite
''La favorite'' (''The Favourite'', sometimes referred to by its Italian title: ''La favorita'') is a grand opera in four acts by Gaetano Donizetti to a French-language libretto by Alphonse Royer and Gustave Vaëz, based on the play ''Le comte de Comminges'' by Baculard d'Arnaud with additions by Eugène Scribe based on the story of Leonora de Guzman. The opera concerns the romantic struggles of the King of Castile, Alfonso XI, and his mistress, the "favourite" Leonora, against the backdrop of the political wiles of receding Moorish Spain and the life of the Catholic Church. It premiered on 2 December 1840 at the Académie Royale de Musique (Salle Le Peletier) in Paris. Background Originally, Donizetti had been composing an opera by the name of ''Le Duc d'Albe'' as his second work for the Opéra in Paris. However, the director, Léon Pillet, objected to an opera without a prominent role for his mistress, mezzo-soprano Rosine Stoltz. Donizetti therefore abandoned ''Le Duc d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hôtel Goüin
__NOTOC__ The Hôtel Goüin is a ''hôtel particulier'' in Tours, France. History The mansion was built in the 15th century and is incorrectly considered to have been the home of Jean de Xaincoings, treasurer of the assets of Charles VII. The house was the property of René Gardette, a descendant of a family of silk merchants from Tours. The reworking of the facade that dates from the 16th century includes the addition of the porch and loggia and the left wing in early Renaissance style. The sub-basement contains Galloroman remains. The name Goüin is taken from a wealthy family of Breton bankers who purchased the building in 1738. The family undertook several improvements including the balcony over the rear courtyard, demolition of two houses on the roadside, the enlargement of the south yard, removal of the south balcony, and construction of the entry gate. In 1944 during the Second World War the building was almost entirely destroyed by bombs l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Éden-Théâtre
The Éden-Théâtre was a large theatre (4,000 seats) in the rue Boudreau, Paris, built at the beginning of the 1880s by the architects William Klein and Albert Duclos (1842–1896) in a style influenced by orientalism. It was demolished in 1895. History Éden-Théâtre Inspired by Moghol architecture, it was inaugurated on 7 January 1883 with the ballet ''Excelsior!'' with music by Romualdo Marenco, and this was followed in subsequent years by other spectacular ballets. The theatre witnessed the single performance of the first Paris production of Wagner's ''Lohengrin'', on 3 May 1887 (in French) with Ernest van Dyck and Fidès Devriès, conducted by Charles Lamoureux, which aroused enormous opposition among the Parisian public. This was followed in 1888 by ''La fille de Madame Angot'' with Anna Judic and Jeanne Granier and ''Le petit duc'' with José Dupuis and Granier. The four-act version of ''Orphée aux enfers'' with Christian and Granier, a revival of ''Excelsior!' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Monnaie
The Royal Theatre of La Monnaie (french: Théâtre Royal de la Monnaie, italic=no, ; nl, Koninklijke Muntschouwburg, italic=no; both translating as the "Royal Theatre of the Mint") is an opera house in central Brussels, Belgium. The National Opera of Belgium, a federal institution, takes the name of this theatre in which it is housed—La Monnaie in French or De Munt in Dutch—referring both to the building as well as the opera company. As Belgium's leading opera house, it is one of the few cultural institutions which receive financial support from the Federal Government of Belgium. Other opera houses in Belgium, such as the Vlaamse Opera and the Opéra Royal de Wallonie, are funded by regional governments. La Monnaie is located on the Place de la Monnaie/Muntplein, not far from the Rue Neuve/Nieuwstraat and the Place de Brouckère/De Brouckèreplein. The current edifice is the third theatre on the site. The facade dates from 1818 with major alterations made in 1856 and 19 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Palais Garnier
The Palais Garnier (, Garnier Palace), also known as Opéra Garnier (, Garnier Opera), is a 1,979-seatBeauvert 1996, p. 102. opera house at the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris Opera from 1861 to 1875 at the behest of Emperor Napoleon III. Initially referred to as ''le nouvel Opéra de Paris'' (the new Paris Opera), it soon became known as the Palais Garnier, "in acknowledgment of its extraordinary opulence" and the architect Charles Garnier's plans and designs, which are representative of the Napoleon III style. It was the primary theatre of the Paris Opera and its associated Paris Opera Ballet until 1989, when a new opera house, the Opéra Bastille, opened at the Place de la Bastille. The company now uses the Palais Garnier mainly for ballet. The theatre has been a ''monument historique'' of France since 1923. The Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like No ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trompe-l'Å“il
''Trompe-l'œil'' ( , ; ) is an artistic term for the highly realistic optical illusion of three-dimensional space and objects on a two-dimensional surface. ''Trompe l'oeil'', which is most often associated with painting, tricks the viewer into perceiving painted objects or spaces as real. Forced perspective is a related illusion in architecture. History in painting The phrase, which can also be spelled without the hyphen and ligature in English as ''trompe l'oeil'', originates with the artist Louis-Léopold Boilly, who used it as the title of a painting he exhibited in the Paris Salon of 1800. Although the term gained currency only in the early 19th century, the illusionistic technique associated with ''trompe-l'œil'' dates much further back. It was (and is) often employed in murals. Instances from Greek and Roman times are known, for instance in Pompeii. A typical ''trompe-l'œil'' mural might depict a window, door, or hallway, intended to suggest a larger room. A version o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auguste Alfred Rubé
Auguste Alfred Rubé (20 June 1817 – 13 April 1899) was a French painter. Biography Born in the 9th arrondissement of Paris, Rubé was an innovator in the field of theatrical set design. This "decorator of rare ingenuity", focused on a local color search corresponding to the Romantic mouvement. He had been at a good school with his master Pierre-Luc-Charles Ciceri, the designer of the Opéra-Comique, whose daughter he had just married. Ciceri had the confidence of Alexandre Dumas, who reported to him and his students, Rubé, Charles Séchan, Jules Diéterle, Édouard Desplechin, but Rubé wanted to do even better: not only did he try to reproduce the landscapes accurately, he made them picturesque. The setting of the 2nd act of ''Âme en peine'', by Friedrich von Flotow to a libretto by Jules-Henri Vernoy de Saint-Georges, made for the Paris Opera, served him, in a way, as a premiere. The operas for which he then brushed the sets are masterpieces: in 1846, he created the s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
