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Le Déserteur (opera)
''Le déserteur'' (, ''The Deserter'') is a ''drame mélé de musique'' (''opéra comique'') by the French composer Pierre-Alexandre Monsigny with a libretto by Michel-Jean Sedaine. It was first performed on 6 March 1769 by the Comédie-Italienne at their public theatre, the Hôtel de Bourgogne in Paris. The work was Monsigny's greatest musical success and is one of the key operas of late 18th-century French ''opéra comique''. It was performed in Amsterdam (1769), Copenhagen (1770), Germany in German translation (1770: Hamburg and Brunswick; 1771: Frankfurt), London on 2 November 1773 in an English version by Charles Dibdin, who added music of his own and two numbers by Philidor, and was performed in New York City on 8 June 1787 in French and in Philadelphia on 11 July 1787 in English (London version). It was revived by the Paris Opéra-Comique on 28 July 1802 at the Salle Feydeau and on 30 October 1843 at the second Salle Favart, in a revised version re-orchestrated by Adolphe ... [...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 Théâtre de la foire, 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 Opéra-Comique, of the same name, ''opéra comique'' is not necessarily comical or shallow; ''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 (''Vaudeville (song), vaudevilles''), with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass-baritone
A bass-baritone is a high-lying bass or low-lying "classical" baritone voice type which shares certain qualities with the true baritone voice. The term arose in the late 19th century to describe the particular type of voice required to sing three Wagnerian roles: the title role in '' Der fliegende Holländer'', Wotan/Der Wanderer in the '' Ring Cycle'' and Hans Sachs in '' Die Meistersinger von Nürnberg''. Wagner labelled these roles as ''Hoher Bass'' ("high bass")—see fach for more details. The bass-baritone voice is distinguished by two attributes. First, it must be capable of singing comfortably in a baritonal tessitura. Secondly, however, it needs to have the ripely resonant lower range typically associated with the bass voice. For example, the role of Wotan in '' Die Walküre'' covers the range from F2 (the F at the bottom of the bass clef) to F4 (the F above middle C), but only infrequently descends beyond C3 (the C below middle C). Bass-baritones are typically divi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clairval
Clairval, real name Jean-Baptiste Guignard, (27 April 1735, Étampes – 1795, Paris) was an 18th-century French operatic singer (tenor), comedian and librettist. He played with the same authority drama, comedy and opera, in a considerable number of roles. Among the most notable were: *1765: ''Tom Jones'' (part of Tom Jones) by Philidor *1765: ''La fée Urgèle'' (part of Robert, a knight) by Egidio Duni *1768: '' Le Huron'' (an officer), by Grétry *1769: ''Le tableau parlant'' (part of ''Pierrot''), by Grétry *1769: '' Le déserteur'' (part of Montauciel), by Monsigny *1771: '' Zémire et Azor'', (part of Azor), by Grétry :: This opéra comique was a version of ''Beauty and the Beast'' imagined by Marmontel, where Clairval had to become ugly; but he refused to don the first scheduled disguise: an animal fur. This role was one of his best success. *1773: ''L'Erreur d'un moment'' (part of Lucas), by Monvel *1776: '' Les mariages samnites'' (part of Agathis), by Grétry *1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antoine Trial
Antoine Trial (13 October 1737, Avignon – 5 February 1795, Paris) was a French singer and actor. He was the younger brother of the musician Jean-Claude Trial (1732–1771) and husband of soprano Marie-Jeanne Milon, stage name Félicité Mandeville (1746–1818). After an education at the cathedral in Avignon, he followed his older brother to Paris in 1764 and joined the troupe of the Prince of Conti. On 4 July the same year, he made his debut at the Comédie-Italienne as Bastien in ''Le Sorcier'' by Philidor. On 12 December he sang the second tenor (a comic role) at Versailles in the court revival of Mondonville's '' Daphnis et Alcimadure'', alongside the former stars of the Académie Royale de Musique, Marie Fel and Pierre Jelyotte.Cf. 1764 court libretto, ''Daphnis et Alcimadure, Pastorale languedocienne, Représentée devant leurs Majestés à Versailles, le 12 Décembre 1764'', Paris, Ballard, 1764 (accessible for free online aGallica.bnf.fr Although considered an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. Composers typically write music for this voice in the range from the second B below middle C to the G above middle C (i.e. B2 to G4) in choral music, and from the second B flat below middle C to the C above middle C (B2 to C5) in operatic music, but the range can extend at either end. Subtypes of tenor include the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word '' tenere'', which means "to hold". As noted in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were normally calculated in relation to the ten ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marie-Thérèse Laruette
Marie-Thérèse Laruette (1744 –1837) was a French opera singer and playwright from Paris. She was a member of the troupe of the Comédie-Italienne, with which the Opéra-Comique was merged in 1762. Biography She was born Marie-Thérèse Vilette, the daughter of a master Parisian tailor who lived in Paris near the Opera and the Comédie-Italienne theaters. After noticing that his daughter was "addicted to the theater", her father took steps to make sure she acquired the education she would need to pursue an operatic career. At 14 years of age, Marie-Thérèse sang soprano for the first time at the Opéra-Comique. She made her professional debut at the Paris Opéra in 1758 before moving to the Comédie-Italienne in 1761. There she performed operas by Monsigny and Grétry, in particular '' Le déserteur'', in which she created the leading role of Louise, in 1767. At 17 years of age, she married, Jean-Louis Laruette (1731–1792), who was a singer and a composer in the Comé ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Soprano
A soprano () is a type of classical 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 Hertz, Hz to A5 in Choir, choral music, or to soprano C (C6) 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 soprano, coloratura, soubrette, lyric soprano, lyric, spinto soprano, spinto, and dramatic soprano, dramatic soprano. Etymology The word "soprano" comes from the Italian word ''wikt:sopra, sopra'' (above, over, on top of),"Soprano" ''Encyclopædia Britannica'' as the soprano is the highest pitch human voice, often given to the leading female roles in operas. "Soprano" refers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joseph Caillot
Joseph Caillot (24 January 1733, in Saint-Germain l'Auxerrois, Paris – 30 September 1816, in Paris) was a French actor and singer. He was endowed with a very wide compass which enabled him to sing as a basse taille (bass-baritone), while also reaching the haute-contre tones. According to Rodolfo Celletti "he was a baritenor and a bass at the same time": Grétry and Monsigny used to notate his parts in the bass clef, but set them in high-baritone tessiture.''Voce di tenore'', Milan, Idealibri, 1989, p. 59, References Bibliography *Émile Campardon, '' Les Comédiens du roi de la troupe italienne'', Paris, Berger-Levrault et Cie, 1880, vol. I, pp. 85–95. 1733 births 1816 deaths Male actors from Paris French male stage actors 18th-century French male opera singers 18th-century French male actors {{France-stage-actor-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tessitura
In music, tessitura ( , , ; ; ) is the most acceptable and comfortable vocal range for a given singer (or, less frequently, musical instrument). It is the range in which a given type of voice presents its best-sounding (or characteristic) timbre. This broad definition is often interpreted to refer specifically to the pitch range that most frequently occurs within a given part of a musical piece. Hence, in musical notation, ''tessitura'' is the ambitus, or a narrower part of it, in which that particular vocal (or less often instrumental) part lies—whether high or low, etc. However, the tessitura of a part or voice is not decided by the extremes of its range, but rather by the share of this total range which is most used. Hence, it is referred to as the "heart" of a range. For example, throughout the entirety of Wagner's '' Ring'', the music written for the tenor role of Siegfried ranges from C to C, but the tessitura is described as high because the phrases are most oft ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bass Clef
A clef (from French: 'key') is a musical symbol used to indicate which notes are represented by the lines and spaces on a musical staff. Placing a clef on a staff assigns a particular pitch to one of the five lines or four spaces, which defines the pitches on the remaining lines and spaces. The three clef symbols used in modern music notation are the G-clef, F-clef, and C-clef. Placing these clefs on a line fixes a reference note to that line—an F-clef fixes the F below middle C, a C-clef fixes middle C, and a G-clef fixes the G above middle C. In modern music notation, the G-clef is most frequently seen as treble clef (placing G4 on the second line of the staff), and the F-clef as bass clef (placing F3 on the fourth line). The C-clef is mostly encountered as alto clef (placing middle C on the third line) or tenor clef (middle C on the fourth line). A clef may be placed on a space instead of a line, but this is rare. The use of different clefs makes it possible ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
André Grétry
André Ernest Modeste Grétry (; baptised 11 February 1741; died 24 September 1813) was a composer from the Prince-Bishopric of Liège (present-day Belgium), who worked from 1767 onwards in France and took French nationality. He is most famous for his '' opéras comiques''. His music influenced Mozart and Beethoven both of whom wrote variations on his works. Biography He was born at Liège, his father being a poor musician. He was a choirboy at the church of St. Denis (Liège). In 1753 he became a pupil of Jean-Pantaléon Leclerc and later of the organist at St-Pierre de Liège, Nicolas Rennekin, for keyboard and composition and of Henri Moreau, music master at the collegiate church of St. Paul. But of greater importance was the practical tuition he received by attending the performance of an Italian opera company. Here he heard the operas of Baldassarre Galuppi, Giovanni Battista Pergolesi, and other masters; and the desire of completing his own studies in Italy was the ... [...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). 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'' (comical bass), or the dramatic ''basso profondo'' (deep 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 classifications tend to describe roles rather than singers: it is rare for ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
