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Louis-Guillaume Pécour
Louis Pécour (also spelled Pecoor, Pecour, Pécourt; 10 August 1653 – 12 April 1729) was a French dancer and choreographer. He is most well known for his work with the Académie Royale de Musique (the name of the Paris Opera at the time). Biography Born Guillaume-Louis Pecour in Paris, he was the son of Jacques Pecour, a royal courier, and Marie Voisin (or Raisin), who lived in the rue des Petits-Champs.Astier 1998, p. 128. He studied dance with Pierre Beauchamps, and likely made his debut in January 1671, as one of eight Zephyrs in the third intermezzo of ''Psyché'' at the theatre of the royal court in the Tuileries Palace.Craine & Mackrell 2000, p. 365. He first danced at the Paris Opera in 1674 in Jean-Baptiste Lully's '' Cadmus et Hermione''. Pécour performed as a principal dancer, both at the Opera's Théâtre du Palais-Royal in Paris and for the royal court at the Château de Saint-Germain-en-Laye and Château de Chantilly, and created many dance parts in works by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Toussaint Bertin De La Doué
Toussaint Bertin de la Doué (or Thomas Bertin de la Doué) (1680 – 6 February 1743) was a French composer of the Baroque era. He worked as an organist for the Theatines, as a musician for the Duc d'Orléans and as a violinist and harpsichordist at the Paris Opéra (between 1714 and 1734). He wrote sacred music, songs, trios for two violins and basso continuo, and several operas. Operas *''Cassandre'' (''tragédie en musique'', 1706) (with François Bouvard) *'' Diomède'' (''tragédie en musique'', 1710) *''Ajax'' (''tragédie en musique'', 1712) *''Le jugement de Pâris'' (''pastorale héroïque'', 1718) *''Les plaisirs de la campagne'' (''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 sevent ...'', 1719) SourcesLe magazine de l'opéra baroque by Jean-Claude Brenac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
18th-century French Ballet Dancers
The 18th century lasted from January 1, 1701 ( MDCCI) to December 31, 1800 ( MDCCC). During the 18th century, elements of Enlightenment thinking culminated in the American, French, and Haitian Revolutions. During the century, slave trading and human trafficking expanded across the shores of the Atlantic, while declining in Russia, China, and Korea. Revolutions began to challenge the legitimacy of monarchical and aristocratic power structures, including the structures and beliefs that supported slavery. The Industrial Revolution began during mid-century, leading to radical changes in human society and the environment. Western historians have occasionally defined the 18th century otherwise for the purposes of their work. For example, the "short" 18th century may be defined as 1715–1789, denoting the period of time between the death of Louis XIV of France and the start of the French Revolution, with an emphasis on directly interconnected events. To historians who expa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
17th-century Ballet Dancers
The 17th century lasted from January 1, 1601 ( MDCI), to December 31, 1700 ( MDCC). It falls into the early modern period of Europe and in that continent (whose impact on the world was increasing) was characterized by the Baroque cultural movement, the latter part of the Spanish Golden Age, the Dutch Golden Age, the French '' Grand Siècle'' dominated by Louis XIV, the Scientific Revolution, the world's first public company and megacorporation known as the Dutch East India Company, and according to some historians, the General Crisis. From the mid-17th century, European politics were increasingly dominated by the Kingdom of France of Louis XIV, where royal power was solidified domestically in the civil war of the Fronde. The semi-feudal territorial French nobility was weakened and subjugated to the power of an absolute monarchy through the reinvention of the Palace of Versailles from a hunting lodge to a gilded prison, in which a greatly expanded royal court could be more easi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jérôme De La Gorce
Jérôme de La Gorce (born 1951 in Paris Paris () is the capital and most populous city of France, with an estimated population of 2,165,423 residents in 2019 in an area of more than 105 km² (41 sq mi), making it the 30th most densely populated city in the world in 2020. ...) is a French art historian and musicology, musicologist. He is a specialist in dramatic music and performing arts in France in the 17th and 18th centuries. Career After having followed a double university course, he defended a thesis dedicated to the "marvelous in the opera under the reign of Louis XIV". Director of research at the CNRS, a member of the (UMR 8150), he also teaches at Paris-Sorbonne University. Publications *1986: ''Jean Bérain the Elder, dessinateur du Roi Soleil'', Paris, Herscher *1991: ''Marin Marais'' (with Sylvette Milliot), Paris, Fayard *1992: ''L'Opéra à Paris au temps de Louis XIV : histoire d'un théâtre'', Desjonquères *1997: ''Féeries d’opéra : déc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Claude Ballon
Claude Balon (also Ballon, often incorrectly named Jean; 1671–1744) was a French dancer and choreographer. The ballet term ballon is sometimes said to be derived from his name, but Robert Greskovic calls this "dubious". Balon danced under the tutelage of the balletmaster Pierre Beauchamp at the Paris Opera. Marie Sallé Marie Sallé (1707–1756) was a French dancer and choreographer in the 18th century known for her expressive, dramatic performances rather than a series of "leaps and frolics" typical of ballet of her time. Biography Marie Sallé was a promine ... is identified as a student of Balon's. References French male ballet dancers French choreographers French ballet masters Dancers from Paris 1671 births 1744 deaths 17th-century French people 17th-century ballet dancers 18th-century French ballet dancers Balon {{Ballet-bio-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Académie Royale De Danse
The Académie Royale de Danse, founded by Letters Patent on the initiative of King Louis XIV of France in March 1661, was the first dance institution established in the Western world. As one of King Louis’ first official edicts after the death of royal adviser Jules Mazarin, the “Letters Patent of the King to Establish a Royal Academy of Dance in the City of Paris” represented a critical step towards the young King's wielding of consolidated personal power. Structurally, the Académie consisted of thirteen dancing masters selected by King Louis XIV for being the “most experienced in the Art f dance” This "experience" was determined by each dancer's history of success in previous royal productions of ''ballets de cour''. Most famously, eight of the selected dancing masters performed with King Louis XIV during his portrayal of Apollo, the Sun King, in ''Le'' ''Ballet de la nuit'' (1653). Although the object of the Académie was to reflect, analyze and normalize matters of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Feuillet Notation
Beauchamp–Feuillet notation is a system of dance notation used in Baroque dance. The notation was commissioned by Louis XIV (who had founded the Académie Royale de Danse in 1661), and devised in the 1680s by Pierre Beauchamp. The notation system was first described in detail in 1700 by Raoul-Auger Feuillet in ''Chorégraphie''. Feuillet also then began a programme of publishing complete notated dances. It was used to record dances for the stage and domestic use throughout the eighteenth century, being modified by Pierre Rameau in 1725, and surviving into at least the 1780s in various modified forms. One of the innovations of this notation, as you can see in the sample below, was to show the music, on a staff as a musician would use it, across the top of a page. The roles of the dancer or dancers, the tract they were to follow, and the steps to perform are shown in the notation below. The bar markings on the music are also drawn across the tract of the dancers, clarifyin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Les Fêtes Vénitiennes
''Les festes vénitiennes'' ("Venetian Festivities"), also spelled ''Les fêtes vénitiennes'', is an ''opéra-ballet'' by the French composer André Campra. It consists of a prologue (later sometimes omitted, abridged or replaced) and three ''entrées'' (four or five in subsequent versions). All versions of the libretto are by Antoine Danchet. It was first performed on 17 June 1710 by the Académie royale de musique in the Salle du Palais-Royal in Paris. According to the usage of the time, it was originally simply billed as a "''ballet''", but it is one of the most important and successful instances of the new genre later classified by scholars as ''opéra-ballet'', which had become popular in Paris around the end of the 17th century.Anthony. Performance history At the beginning of the 18th century the Paris Opéra public was growing dissatisfied with the traditional "operatic fare consisting of lyric tragedies cast invariably in the mould created by Lully and Quinault",Pitou, p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tancrède
''Tancrède'' is a 1702 ''tragédie en musique'' (a French opera in the lyric tragedy tradition) in a prologue and five acts by composer André Campra and librettist Antoine Danchet, based on ''Gerusalemme liberata'' by Torquato Tasso. The opera contains 23 dances in addition to the singing. It is famous for having the alleged first contralto role in French opera. (However, in modern terms it is considered more of a mezzo-soprano range.) The role was written for Julie d'Aubigny, known as 'La Maupin', the most colorful singer of this era.The part of Clorinde is notated in the soprano cleforiginal score, p. 71, but, although it never descends below d′, tradition has it that it was the first major ''bas-dessus'' (contralto) role in the French opera history (Sadie, Julie Anne, ''Maupin'', in Sadie, Stanley (ed), ''op. cit.'', III, p. 274). It's also notable for the unusual choice of three low-lying voices for the main male parts. Performance history ''Tancrède'' was first perfo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hésione
''Hésione'' (English: ''Hesione'') is an opera by the French composer André Campra. It takes the form of a ''tragédie en musique'' in a prologue and five acts. The libretto, by Antoine Danchet, is based on the Greek myth of Hesione and Laomedon. Performance history ''Hésione'' was first performed on 21 December 1700 by the Académie royale de musique in the Salle du Palais-Royal in Paris. The opera was a great success at its premiere. Roles *The Priestess of the Sun (Prologue), a priestess of Flora, mezzo-soprano, Julie d'Aubigny *The Sun (Prologue), Laomédon, baritone, Charles Hardouin *Anchise, bass-baritone, Gabriel-Vincent Thévenard *Hésione, soprano, Fanchon Moreau *Vénus, soprano, Marie-Louise Desmatins *Télamon, haute-contre, Pierre Chopelet *Cléon, Neptune, bass-baritone, Jean Dun *A Grace, Mlle Heusé *'A pleasure', haute-contre, Jean Boutelou Synopsis *Prologue A depiction of celebrations of the Sun in an amphitheatre in ancient Rome. *Act One Télamon (T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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