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L'enfant Et Les Sortilèges
''L'enfant et les sortilèges: Fantaisie lyrique en deux parties'' (''The Child and the Spells: A Lyric Fantasy in Two Parts'') is an opera in one act, with music by Maurice Ravel to a libretto by Colette. It is Ravel's second opera, his first being '' L'heure espagnole''. Written from 1917 to 1925, ''L'enfant et les sortilèges'' was first performed in Monte Carlo in 1925 conducted by Victor de Sabata. After being offered the opportunity to write a musical work, Colette wrote the text in eight days. Several composers had proposed to Colette that she write to music, but she was only excited by the prospect of Ravel. Composition history During World War I, the Opéra de Paris director Jacques Rouché asked Colette to provide the text for a fairy ballet. Colette originally wrote the story under the title ''Divertissements pour ma fille''. After Colette chose Ravel to set the text to music, a copy was sent to him in 1916 while he was still serving in the war; however, the mailed ...
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Maurice Ravel
Joseph Maurice Ravel (7 March 1875 – 28 December 1937) was a French composer, pianist and conductor. He is often associated with Impressionism along with his elder contemporary Claude Debussy, although both composers rejected the term. In the 1920s and 1930s Ravel was internationally regarded as France's greatest living composer. Born to a music-loving family, Ravel attended France's premier music college, the Paris Conservatoire; he was not well regarded by its conservative establishment, whose biased treatment of him caused a scandal. After leaving the conservatoire, Ravel found his own way as a composer, developing a style of great clarity and incorporating elements of modernism, baroque, neoclassicism and, in his later works, jazz. He liked to experiment with musical form, as in his best-known work, ''Boléro'' (1928), in which repetition takes the place of development. Renowned for his abilities in orchestration, Ravel made some orchestral arrangements of other compose ...
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Albert Wolff (conductor)
Albert Louis Wolff (19 January 1884 – 20 February 1970) was a French conductor and composer of Dutch descent. Most of his career was spent in European venues, with the exception of two years that he spent as a conductor at the Metropolitan Opera and a few years in Buenos Aires during the Second World War. He is most known for holding the position of principal conductor with the Opéra-Comique in Paris for several years. He was married to the French mezzo-soprano Simone Ballard. Biography Early life and education Wolff was born in Paris, of Dutch parents, though he was a French citizen from birth, never lived in the Netherlands, and never had a Dutch passport. When only 12 years old, he began his musical education at the Paris Conservatoire. There, he studied with such teachers as André Gedalge, Xavier Leroux, and Paul Antonin Vidal. At the same time he played the piano in cabarets and was organist at the Église Saint-Thomas-d'Aquin (Paris) for four years. Upon graduation ...
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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"
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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 ca ...
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Contralto
A contralto () is a type of classical female singing voice whose vocal range is the lowest female voice type. The contralto's vocal range is fairly rare; similar to the mezzo-soprano, and almost identical to that of a countertenor, typically between the F below middle C (F3 in scientific pitch notation) to the second F above middle C (F5), although, at the extremes, some voices can reach the D below middle C (D3) or the second B above middle C (B5). The contralto voice type is generally divided into the coloratura, lyric, and dramatic contralto. History "Contralto" is primarily meaningful only in reference to classical and operatic singing, as other traditions lack a comparable system of vocal categorization. The term "contralto" is only applied to female singers; men singing in a similar range are called " countertenors". The Italian terms "contralto" and " alto" are not synonymous, "alto" technically denoting a specific vocal range in choral singing without regard t ...
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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, in ...
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Conducting
Conducting is the art of directing a musical performance, such as an orchestral or choral concert. It has been defined as "the art of directing the simultaneous performance of several players or singers by the use of gesture." The primary duties of the conductor are to interpret the score in a way which reflects the specific indications in that score, set the tempo, ensure correct entries by ensemble members, and "shape" the phrasing where appropriate. Conductors communicate with their musicians primarily through hand gestures, usually with the aid of a baton, and may use other gestures or signals such as eye contact. A conductor usually supplements their direction with verbal instructions to their musicians in rehearsal. The conductor typically stands on a raised podium with a large music stand for the full score, which contains the musical notation for all the instruments or voices. Since the mid-19th century, most conductors have not played an instrument when conducting, ...
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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 so ...
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Bergère
A bergère is an enclosed upholstered French armchair (''fauteuil'') with an upholstered back and armrests on upholstered frames. The seat frame is over-upholstered, but the rest of the wooden framing is exposed: it may be moulded or carved, and of beech, painted or gilded, or of fruitwood, walnut or mahogany with a waxed finish. Padded elbowrests may stand upon the armrests. A ''bergère'' is fitted with a loose, but tailored, seat cushion. It is designed for lounging in comfort, with a deeper, wider seat than that of a regular ''fauteuil'', though the ''bergères'' by Bellangé in the White House are more formal. A ''bergère'' in the eighteenth century was essentially a ''meuble courant'', designed to be moved about to suit convenience, rather than being ranged permanently formally along the walls as part of the decor. The fanciful name, "shepherdess chair", was coined in mid-eighteenth century Paris, where the model developed without a notable break from the late-seve ...
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Wilfrid Pelletier
Joseph Louis Wilfrid Pelletier (sometimes spelled Wilfred), (20 June 1896 – 9 April 1982) was a Canadian conductor, pianist, composer, and arts administrator. He was instrumental in establishing the Montreal Symphony Orchestra, serving as the orchestra's first artistic director and conductor from 1935 to 1941. He had a long and fruitful partnership with the Metropolitan Opera in New York City that began with his appointment as a rehearsal accompanist in 1917; ultimately working there as one of the company's conductors in mainly the French opera repertoire from 1929 to 1950. From 1951 to 1966 he was the principal conductor of the Orchestre Symphonique de Québec. He was also a featured conductor for a number of RCA Victor recordings, including an acclaimed reading of Gabriel Fauré's '' Requiem'' featuring baritone Mack Harrell and the Montreal Symphony Orchestra and chorus. Pelletier was one of the most influential music educators in Canada during the 20th century. ...
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CBC Television
CBC Television (also known as CBC TV) is a Canadian English-language broadcast television network owned by the Canadian Broadcasting Corporation, the national public broadcaster. The network began operations on September 6, 1952. Its French-language counterpart is Ici Radio-Canada Télé. With main studios at the Canadian Broadcasting Centre in Toronto, CBC Television is available throughout Canada on over-the-air television stations in urban centres, and as a must-carry station on cable and satellite television providers. CBC Television can also be live streamed on its CBC Gem video platform. Almost all of the CBC's programming is produced in Canada. Although CBC Television is supported by public funding, commercial advertising revenue supplements the network, in contrast to CBC Radio and public broadcasters from several other countries, which are commercial-free. Overview CBC Television provides a complete 24-hour network schedule of news, sports, entertainment and chi ...
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San Francisco Opera
San Francisco Opera (SFO) is an American opera company founded in 1923 by Gaetano Merola (1881–1953) based in San Francisco, California. History Gaetano Merola (1923–1953) Merola's road to prominence in the Bay Area began in 1906 when he first visited the city. In 1909, he returned as the conductor of the International Opera Company of Montreal, one of the many visiting troupes that frequented the bustling city. Continued visits for the next decade convinced him that a San Francisco company was viable. In 1921, Merola returned to live in the city under the patronage of Mrs. Oliver Stine. During this time, Merola conceived of branching away from the area's reliance on visiting troupes for entertainment that had been common place since the Gold Rush era. By the fall, he was planning his first season, and the very next year, Merola organized a trial season at Stanford University. The first performance occurred in the Stanford Cardinal's football stadium on June 3rd, 1922 w ...
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