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Comédie Mêlée D'ariettes
The French term ''comédie mêlée d'ariettes'' ('comedy mixed with little songs') was frequently used during the late ''ancien régime'' for certain types of '' opéra comique'' (French opera with spoken dialogue). The term became popular in the mid 18th century following the Querelle des Bouffons, a dispute over the respective merits of French serious opera and Italian ''opera buffa''. At first it was applied to works which parodied Italian ''opera buffa'', in the sense that the words were changed but not the music. One of the earliest examples is the librettist Charles-Simon Favart's '' Le caprice amoureux, ou Ninette à la cour'' (1755), which was a parody of Carlo Goldoni's ''Bertoldo, Bertoldino e Cacasenno'' (1748), a pasticcio with music by Vincenzo Ciampi and others (first performed in Paris in 1753 as ''Bertoldo in corte''). Another common term for such parodies was ''opéra bouffon''.Bartlet 1992. Soon, however, the term ''comédie mêlée d'ariettes'' came to be use ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ancien Régime
''Ancien'' may refer to * the French word for "ancient, old" ** Société des anciens textes français * the French for "former, senior" ** Virelai ancien ** Ancien Régime ** Ancien Régime in France {{disambig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Intermezzo
In music, an intermezzo (, , plural form: intermezzi), in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work. In music history, the term has had several different usages, which fit into two general categories: the opera intermezzo and the instrumental intermezzo. Renaissance intermezzo The Renaissance intermezzo was also called the intermedio. It was a masque-like dramatic piece with music, which was performed between the acts of a play at Italian court festivities on special occasions, especially weddings. By the late 16th century, the intermezzo had become the most spectacular form of dramatic performance, and an important precursor to opera. The most famous examples were created for Medici weddings in 1539, 1565, and 1589. In Baroque Spain the equivalent entremés or paso was a one-act comic scene, often ending in music and dance, between ''jornadas'' (acts) of a play.Le ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sadie, Stanley
Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and editor. He was editor of the sixth edition of the '' Grove Dictionary of Music and Musicians'' (1980), which was published as the first edition of ''The New Grove Dictionary of Music and Musicians''. Along with Thurston Dart, Nigel Fortune and Oliver Neighbour he was one of Britain's leading musicologists of the post-World War II generation. Career Born in Wembley, Sadie was educated at St Paul's School, London, and studied music privately for three years with Bernard Stevens. At Gonville and Caius College, Cambridge he read music under Thurston Dart. Sadie earned Bachelor of Arts and Bachelor of Music degrees in 1953, a Master of Arts degree in 1957, and a PhD in 1958. His doctoral dissertation was on mid-eighteenth-century British chamber music. After Cambridge, he taught at Trinity College of Music, London (1957–1965). Sadie then turned to mu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
:Category:Comédies Mêlées D'ariettes
The ''comédie mêlée d'ariettes'' is a form of French 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 l ... that developed in the mid 18th century. {{DEFAULTSORT:Comedies Melees D'ariettes Operas by genre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Zémire Et Azor
' (''Zémire and Azor'') is an opéra comique, described as a ''comédie-ballet mêlée de chants et de danses'', in four acts by the Belgian composer André Grétry. The French text was by Jean-François Marmontel based on ''La Belle et la bête'' (''Beauty and the Beast'') by Jeanne-Marie Leprince de Beaumont, and ''Amour pour amour'' by Pierre-Claude Nivelle de La Chaussée. The opera includes the famous coloratura display piece ''La Fauvette'' in which the soprano imitates birdsong. Performance history It was first performed by the Comédie-Italienne at Fontainebleau on 9 November 1771 and at the Hôtel de Bourgogne in Paris on 16 December 1771. It stayed in the French repertory until at least 1821 and enjoyed worldwide success. It was staged at the court of Saint Petersburg, Russia, in 1774. It was performed at the Swedish court at the Drottningholm Palace Theatre in 1778, and in London at the King's Theatre in 1779. In modern times ''Zémire et Azor'' was performed at the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
André Ernest Modeste Grétry
André — sometimes transliterated as Andre — is the French and Portuguese form of the name Andrew, and is now also used in the English-speaking world. It used in France, Quebec, Canada and other French-speaking countries. It is a variation of the Greek name ''Andreas'', a short form of any of various compound names derived from ''andr-'' 'man, warrior'. The name is popular in Norway and Sweden. Cognate names Cognate names are: * : Andrei, |
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 genre, the ''opéra comique'', laying a path for other French composers such as François-Adrien Boieldieu, Daniel-François-Esprit Auber, Charles Gounod, Georges Bizet, and Jules Massenet in this genre. Biography Pierre-Alexandre Monsigny was born at Fauquembergues, near Saint-Omer, in the former Artois region of France (now Pas-de-Calais), four months before the marriage of his parents, Marie-Antoinette Dufresne and Nicolas Monsigny. He was educated at the Walloon Collége des Jésuites in Saint-Omer. It was here that he first discovered his aptitude for music. As the eldest child, in 1749, a few months after his father's death, he left for Paris with only a few coins in his pocket, a violin and a recommendation letter, in an attempt to fur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tom Jones (Philidor)
''Tom Jones'' is a comédie mêlée d'ariettes, a kind of opéra comique, by the French composer and chess champion François-André Danican Philidor which first appeared at the Comédie-Italienne, Paris, on 27 February 1765. Its French libretto, by Antoine-Alexandre-Henri Poisenet and Bertin Davesne, is loosely based on the The History of Tom Jones, a Foundling, 1749 novel by Henry Fielding. The opera was initially a failure but Philidor had the libretto revised by Michel-Jean Sedaine and this new version, first performed on 30 January 1766, proved one of the most popular ''opéras comiques'' of the late 18th century. It was produced in a number of other countries, and translated into German, Swedish and Russian. Roles Recordings François-André Danican Philidor: ''Tom Jones'', Lausanne Opera and Le Sinfonietta de Lausanne *Conductor: Jean-Claude Malgoire *Principal singers: Sébastien Droy, Sophie Marin-Degor, Marc Barrard, Sibyl Zanganelli, Carine Séchehaye, Rodolphe Bria ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
François-André Danican Philidor
François-André Danican Philidor (7 September 1726 – 31 August 1795), often referred to as André Danican Philidor during his lifetime, was a French composer and chess player. He contributed to the early development of the ''opéra comique''. He is widely regarded as the best chess player of his age; his book ''Analyse du jeu des Échecs'' was considered a standard chess manual for at least a century. A well-known chess opening, an endgame position, and a checkmate method are all named after him. Musical family François-André Danican Philidor came from the well-known musical Philidor family. The original name of his family was Danican, but François-André's grandfather, Jean Danican Philidor, was given the nickname of Philidor by Louis XIII because his oboe playing reminded the king of an Italian virtuoso oboist named Filidori. Music career Philidor joined the royal choir of Louis XV in 1732 at the age of 6, and made his first attempt at the composition of a song at th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Rencontre Imprévue
''La rencontre imprévue, ou Les pèlerins de la Mecque'' Wq. 32 (''The Unexpected Encounter, or The Pilgrims to Mecca'') is a three-act ''opéra comique'', composed in 1763 by Christoph Willibald Gluck to a libretto by Louis Dancourt after the 1726 '' comédie en vaudeville'' ''Les pèlerins de la Mecque'' by Alain-René Lesage and d'Orneval. The death of Isabella of Parma, the archduke's wife, occasioned a revision of the spoken text downplaying the feigned death by which princess Rezia tests her beloved. The work was first performed in this form as ''La rencontre imprévue'' at the Burgtheater, Vienna on 7 January 1764. Dancourt's original text, titled ''Les pèlerins de la Mecque'' and designated as a ''comédie mêlée d'ariettes'', was not premiered until 1990 (see Recordings). Performance history Gluck's longest ''opéra-comique'' and considered his finest, ''La rencontre imprévue'' was his most popular work in the genre in the 18th century. It was performed in Frenc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christoph Willibald Gluck
Christoph Willibald (Ritter von) Gluck (; 2 July 1714 – 15 November 1787) was a composer of Italian and French opera in the early classical period. Born in the Upper Palatinate and raised in Bohemia, both part of the Holy Roman Empire, he gained prominence at the Habsburg court at Vienna. There he brought about the practical reform of opera's dramaturgical practices for which many intellectuals had been campaigning. With a series of radical new works in the 1760s, among them '' Orfeo ed Euridice'' and '' Alceste'', he broke the stranglehold that Metastasian '' opera seria'' had enjoyed for much of the century. Gluck introduced more drama by using orchestral recitative and cutting the usually long da capo aria. His later operas have half the length of a typical baroque opera. Future composers like Mozart, Schubert, Berlioz and Wagner revered Gluck very highly. The strong influence of French opera encouraged Gluck to move to Paris in November 1773. Fusing the traditions ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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