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Jean-Joseph Cassanéa De Mondonville
Jean-Joseph de Mondonville (, 25 December 1711 (baptised) – 8 October 1772), also known as Jean-Joseph Cassanéa de Mondonville, was a French people, French violinist and composer. He was a younger contemporary of Jean-Philippe Rameau and enjoyed great success in his day. Pierre-Louis Daquin (son of the composer Louis-Claude Daquin) claimed, "If I couldn't be Rameau, there's no one I would rather be than Mondonville". Life Mondonville was born in Narbonne in Occitania (South France) to an aristocratic family which had fallen on hard times. In 1733, he moved to Paris where he gained the patronage of the king's mistress Madame de Pompadour and won several musical posts, including violinist for the Concert Spirituel. His first opus was a volume of violin sonatas, published in 1733. He became a violinist of the Chapelle royale and chamber and performed in some 100 concerts. Some of his ''Motet, grands motets'' were also performed that year, receiving considerable acclaim. He was a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Belleville (commune)
Belleville () was a French commune in the Seine department, lying immediately east of Paris, Île-de-France. It was one of four communes entirely annexed by the city of Paris in 1860. Its territory is now shared by the 19th and 20th arrondissements, but a neighborhood has retained its name: the ''quartier de Belleville''. The village was built on and around a hill, the second highest of the French capital after Montmartre.Emmanuel Jacomin, Clément Lepidis, 1975: ''Belleville'', Paris, Éd. Henri Veyrier The composer and conductor Jules Pillevesse (1837–1903) was born in Belleville. History The area was inhabited for many years by people who worked the local quarries, vintners and other merchants. A commune was created in 1789. Its name is derived from ''belle vue'' (literally "beautiful view") and its territory extended to what is today the Parc des Buttes Chaumont and the Père Lachaise Cemetery. The population increased dramatically in the first half of the 19th cen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragédie En Musique
''Tragédie en musique'' (, musical tragedy), also known as ''tragédie lyrique'' (, lyric tragedy), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century. Operas in this genre are usually based on stories from classical mythology or the Italian romantic epics of Tasso and Ariosto. The stories may not necessarily have a tragic ending – in fact, most do not – but the works' atmospheres are suffused throughout with an affect of nobility and stateliness. The standard ''tragédie en musique'' has five acts. Early works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war. Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias (''petits a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Académie Royale De Musique
The Paris Opera ( ) is the primary opera and ballet company of France. It was founded in 1669 by Louis XIV as the , and shortly thereafter was placed under the leadership of Jean-Baptiste Lully and officially renamed the , but continued to be known more simply as the . Classical ballet as it is known today arose within the Paris Opera as the Paris Opera Ballet and has remained an integral and important part of the company. Currently called the , it mainly produces operas at its modern 2,723-seat theatre Opéra Bastille which opened in 1989, and ballets and some classical operas at the older 1,979-seat Palais Garnier which opened in 1875. Small scale and contemporary works are also staged in the 500-seat Amphitheatre under the Opéra Bastille. The company's annual budget is in the order of 200 million euros, of which €100M come from the French state and €70M from box office receipts. With this money, the company runs the two houses and supports a large permanent staff, w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Querelle Des Bouffons
The ("Quarrel of the Comic Actors"), also known as the ("War of the Comic Actors"), was the name given to a battle of musical philosophies that took place in Paris between 1752 and 1754. The controversy concerned the relative merits of French and Italian opera. It was also known as the ("War of the Corners"), with those favoring French opera in the King's corner, and those favoring Italian opera in the Queen's corner. It was sparked by the reaction of literary Paris to a performance of Giovanni Battista Pergolesi's short intermezzo ''La serva padrona'' at the Académie royale de musique in Paris on 1 August 1752. ''La serva padrona'' was performed by an itinerant Italian troupe of comic actors, known as ''buffoni'' (''bouffons'' in French, hence the name of the quarrel). In the controversy that followed, critics such as Jean-Jacques Rousseau and Friedrich Melchior Grimm, along with other writers associated with the ''Encyclopédie'', praised Italian opera buffa. They att ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Occitan Language
Occitan (; ), also known by its native speakers as (; ), sometimes also referred to as Provençal, is a Romance language spoken in Southern France, Monaco, Italy's Occitan Valleys, as well as Spain's Val d'Aran in Catalonia; collectively, these regions are sometimes referred to as Occitania. It is also spoken in Calabria ( Southern Italy) in a linguistic enclave of Cosenza area (mostly Guardia Piemontese) named Gardiol, which is also considered a separate Occitanic language. Some include Catalan as a dialect of Occitan, as the linguistic distance between this language and some Occitan dialects (such as the Gascon language) is similar to the distance between different Occitan dialects. Catalan was considered a dialect of Occitan until the end of the 19th century and still today remains its closest relative. Occitan is an official language of Catalonia, Spain, where a subdialect of Gascon known as Aranese is spoken (in the Val d'Aran). Since September 2010, the Par ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Languedocien Dialect
Languedocien (French name, ), Languedocian, or Lengadocian () is an Occitan dialect spoken in rural parts of southern France such as Languedoc, Rouergue, Quercy, Agenais and southern Périgord. It is sometimes also called Languedocien-Guyennais. Owing to its central position among the dialects of Occitan, it is often used as a basis for a Standard Occitan. About 10% of the population of Languedoc are fluent in the language (about 300,000), and another 20% (600,000) "have some understanding" of the language. All speak French as their first or second language. Geographic distribution Languedocien is spoken in certain parts of three French regions. * Occitanie: Aveyron, Lot, Tarn, Tarn-et-Garonne except Lomagne, Ariège (except a western part), Haute-Garonne (except the districts of Saint-Gaudens and Muret), Aude, Hérault, Lozère, western and northern parts of Gard and Fenouillèdes. * Nouvelle-Aquitaine: south of the Dordogne, east of the Gironde, north-eastern two-thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Libretto
A libretto (From the Italian word , ) 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 text of major liturgical works, such as the Mass (liturgy), Mass, requiem and sacred cantata, or the story line of a ballet. The Italian language, Italian word (, ) is the diminutive of the word ''wiktionary:libro#Italian, libro'' ("book"). Sometimes other-language cognates, equivalents are used for libretti in that language, ''livret'' for French works, ''Textbuch'' for German and ''libreto'' for Spanish. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. Some ballet historians also use the word ''libretto'' to refer to the 15- to 40-page books which were on sale to 19th century ballet audiences in Paris and contained ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Daphnis Et Alcimadure
(in Occitan classical norm, ''Dafnís e Alcimadura'', or according to the original libretto spelling, ''Daphnis e Alcimaduro'') is an opera by the Baroque violinist, conductor and composer Jean-Joseph Cassanéa de Mondonville to a libretto in the Occitan language, written by the composer himself and loosely inspired by La Fontaine's fable bearing the same title. It takes the form of a pastorale in three acts and was later endowed with a prologue in French entitled ''Les jeux floraux'', to a libretto by Claude-Henri de Fusée de Voisenon.Pitou, p. 137. Pitou is the sole source stating that the prologue was not performed in the context of the premiere. History, criticism and interpretation The opera was first staged on 29 October and 4 November 1754 at the Palace of Fontainebleau and performed before King Louis XV of France and his court. It was quite successful and the last act duet was repeated as an encore. Its public premiere was held by the Paris Opéra at the Théâtre du P ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Titon Et L'Aurore
(English: ''Tithonus and Aurora'') is an opera in three acts and a prologue by the French composer Jean-Joseph de Mondonville which was first performed at the Académie royale de musique in Paris on 9 January 1753. The authorship of the libretto has been subject to debate; Mondonville's contemporaries ascribed the prologue to Antoine Houdar de la Motte and the three acts of the opera to the Abbé de La Marre. ''Titon et l'Aurore'' belongs to the genre known as the ''pastorale héroïque''. The work played an important role in the so-called Querelle des Bouffons, a dispute over the relative merits of the French and Italian operatic traditions which dominated the intellectual life of Paris in the early 1750s. The tremendous success of Mondonville's opera at its premiere was an important victory for the French camp (although their Italian rivals claimed that this was because they had been excluded from their seats by members of the army). ''Titon'' was one of Mondonville's most popu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pastorale Héroïque
Pastorale refers to something of a pastoral nature in music, whether in form or in mood. In Baroque music, a pastorale is a movement of a melody in thirds over a drone bass, recalling the Christmas music of ''pifferari'', players of the traditional Italian bagpipe ( zampogna) and reed pipe ( piffero). Pastorales are generally in or or metre, at a moderate tempo. They resemble a slowed-down version of a tarantella, encompassing many of the same rhythms and melodic phrases. Common examples include the last movement of Corelli's '' Christmas Concerto'' (Op.6, No.8), the third movement of Vivaldi's ''Spring'' concerto from The Four Seasons, the '' Pifa'' movement of Handel's '' Messiah'', the first movements of Bach's ''Pastorale'' (BWV 590) for organ, and the ''Sinfonia'' that opens part II of his Christmas Oratorio as an introduction to the angelic announcement to the shepherds. Scarlatti wrote some examples in his keyboard sonatas, and many other composers in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra-ballet
Opéra-ballet (; plural: ''opéras-ballets'') is a genre of French Baroque lyric theatre that was most popular during the 18th century, combining elements of opera and ballet, "that grew out of the '' ballets à entrées'' of the early seventeenth century".Pitou 1983, p. 278 "''Opéra-ballet''". It differed from the more elevated '' tragédie en musique'' as practised by Jean-Baptiste Lully in several ways. It contained more dance music than the ''tragédie'', and the plots were not necessarily derived from classical mythology and allowed for the comic elements, which Lully had excluded from the ''tragédie en musique'' after '' Thésée'' (1675). The ''opéra-ballet'' consisted of a prologue followed by a number of self-contained acts (also known as ''entrées''), often loosely grouped around a single theme. The individual acts could also be performed independently, in which case they were known as ''actes de ballet''. History The first work in the genre is generally held to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
