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Mes Amis, écoutez L'histoire
"Mes amis, écoutez l'histoire", is a tenor aria in Adolphe Adam's 1836 opera '' Le postillon de Lonjumeau''. The D5 in the final verse is the highest commonly sung note for tenors in opera. Donizetti wrote an E5 for Edgardo in the first act of his opera ''Lucia di Lammermoor'', though it is very seldom sung. Higher notes are occasionally sung in interpolations and ornaments in other bel canto operas, and exceptionally the written F5 at the end of "Credeasi, misera" in Bellini's '' I puritani''. Famous performers of this aria are Nicolai Gedda, Helge Rosvaenge Helge Rosvaenge (born Helge Anton Rosenvinge Hansen, 29 August 189717 June 1972) was a Danish-born operatic tenor whose career was centred on Germany and Austria, before, during and after World War II. His last name is sometimes spelled Roswaenge ... and Joseph Schmidt, often performing the German version, "Freunde, vernehmet die Geschichte". Lyrics References External links * * *, third verse * {{DEFAULTSORT: ... [...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] |
I Puritani
' (''The Puritans'') is an 1835 opera by Vincenzo Bellini. It was originally written in two acts and changed to three acts before the premiere on the advice of Gioachino Rossini, with whom the young composer had become friends. The music was set to a libretto by Count Carlo Pepoli, an Italian émigré poet whom Bellini had met at a salon run by the exile Princess Belgiojoso, which became a meeting place for many Italian revolutionaries. The opera is based on ''Têtes Rondes et Cavaliers'' (''Roundheads and Cavaliers''), a historical play written by Jacques-François Ancelot and Joseph Xavier Saintine and set in the English Civil War. Except for its title, the opera is not in any way based on Walter Scott's 1816 novel '' Old Mortality'' (translated into Italian in 1825 as ''I Puritani di Scozia''), despite some claims to the contrary. When Bellini arrived in Paris in mid-August 1833, he had intended to stay only about three weeks, the main aim being to continue the negotiations ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arias In French
In music, an aria (, ; : , ; ''arias'' in common usage; diminutive form: arietta, ; : ariette; in English simply air (music), air) is a self-contained piece for one voice, with or without instrument (music), instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, ('Aria del Gran Duca'). By the early 16th century, it was in common use as meaning a simple setting of strophe, strophi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor Arias
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 tenor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Society For American Music
The Society for American Music (SAM) was founded in 1975 and was first named the Sonneck Society in honor of Oscar George Theodore Sonneck, early Chief of the Music Division in the Library of Congress and pioneer scholar of American music. The Society for American Music is a non-profit scholarly and educational organization incorporated in the District of Columbia as a 501 (c) (3) and is a constituent member of the American Council of Learned Societies. It is based at the Stephen Foster Memorial on the campus of the University of Pittsburgh in Pittsburgh, Pennsylvania. About The mission of the Society for American Music is to stimulate the appreciation, performance, creation, and study of American music in all its diversity. "America" is understood to embrace both American, including North, Central, and South America and the Caribbean, as well as aspects of these cultures everywhere in the world. The Society holds an annual conference, usually in March, featuring scholarly t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Postilion
A postilion or postillion is a person who rides a harnessed horse that is pulling a horse-drawn vehicle such as a Coach (carriage), coach, rather than driving from behind as a coachman does. This method is used for pulling wheeled vehicles that do not have a driver's seat, such as many ceremonial state coaches and artillery limbers and caissons. Postilion riders are generally arranged one rider for each pair of horses, riding the left horse. Originally the English name for a guide or forerunner for the post (mail) or a messenger, it became transferred to the actual mail carrier or messenger and also to a person who rides a Stage station#Posting and staging, (hired) post horse. The same persons made themselves available as a less expensive alternative to hiring a coachman, particularly for light, fast vehicles. A carriage or coach that was arranged without a driver's seat and intended for guidance by postilions, had appended, such as "coach à la Daumont". Daumont is a corrupt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Joseph Schmidt
Joseph Schmidt (4 March 1904 – 16 November 1942) was an Austro-Hungarian and Romanian Jewish tenor. Life and career Schmidt was born in Davideny (Ukrainian: '' Davydivka'') village in the Storozhynets district of the Bukovina province of Austria-Hungary, which became part of Romania after World War I and is now part of Ukraine. In addition to German, which was his first language, and Yiddish, he learned Hebrew and became fluent in Romanian, French and English. His first vocal training was as a boy alto in the Czernowitz Synagogue. His talents were quickly recognised and by 1924 he was featured in his first solo recital in Czernowitz singing traditional Jewish songs and arias by Verdi, Puccini, Rossini and Bizet. Soon he moved to Berlin and took piano and singing lessons from Professor Hermann Weißenborn at the Königliche Musikschule. He returned to Romania for his military service. In 1929, he went back to Berlin, where Cornelis Bronsgeest, a famous Dutch bariton ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helge Rosvaenge
Helge Rosvaenge (born Helge Anton Rosenvinge Hansen, 29 August 189717 June 1972) was a Danish-born operatic tenor whose career was centred on Germany and Austria, before, during and after World War II. His last name is sometimes spelled Roswaenge or Rosvænge. Rosvaenge was born in Copenhagen. However, his life was spent in Germany, and he made his debut at Neustrelitz as Don Jose in '' Carmen'' in 1921. Engagements followed at Altenburg, Basel, Cologne (1927–30) and the Berlin State Opera, where he was leading tenor from 1930 to 1944, being especially distinguished in the Italian repertory. He also sang regularly at the Vienna State Opera from 1936, and in Munich. Rosvaenge also appeared at the Salzburg Festival, making his debut there in '' Der Rosenkavalier''. Other roles which he performed at Salzburg between 1933 and 1939 were Tamino in '' The Magic Flute'', Huon in '' Oberon'' and Florestan in '' Fidelio''. His London debut at the Royal Opera House, Covent Garden, oc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicolai Gedda
Harry Gustaf Nikolai Gädda, better known as Nicolai Gedda (11 July 1925 – 8 January 2017), was a Swedish operatic tenor. Debuting in 1951, Gedda had a long and successful career in opera until the age of 77 in June 2003, when he made his final operatic recording. Skilled at languages, he performed operas in French, Russian, German, Italian, English, Czech and Swedish, as well as one in Latin. In January 1958, he created the part of Anatol in the world premiere of the American opera ''Vanessa (opera), Vanessa'' at the Metropolitan Opera. Having made some two hundred recordings, Gedda is one of the most widely recorded opera singers in history. His singing is best known for its beauty of tone, vocal control, and musical perception. Early years Harry Gustaf Nikolai Gädda, who later changed the spelling of his surname to Gedda, was born out of wedlock in Stockholm to a Swedish mother and a half-Russian father. He was raised by his aunt Olga Gädda and his adoptive father Michail U ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bel Canto
, )—with several similar constructions (, , , pronounced in English as )—is a term with several meanings that relate to Italian singing, and whose definitions have often been misunderstood. ''Bel canto'' was not only seen as a vocal technique, but also as a source of national pride for Italians, specifically in how the musical qualities aligned with their identity. However, this pride was often complicated by political circumstances. The phrase was not associated with a "school" of singing until the middle of the 19th century, when writers in the early 1860s used it nostalgically to describe a manner of singing that had begun to wane around 1830. Nonetheless, "neither musical nor general dictionaries saw fit to attempt definition f ''bel canto''until after 1900". The term remains vague and ambiguous in the 21st century and is often used to evoke a lost singing tradition. History of the term and its various definitions As generally understood today, the term ''bel canto'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aria
In music, an aria (, ; : , ; ''arias'' in common usage; diminutive form: arietta, ; : ariette; in English simply air (music), air) is a self-contained piece for one voice, with or without instrument (music), instrumental or orchestral accompaniment, normally part of a larger work. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, or they can be stand-alone concert arias. The term was originally used to refer to any expressive melody, usually, but not always, performed by a singer. Etymology The Italian term ''aria'', which derives from the Greek ἀήρ and Latin ''aer'' (air), first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term 'aria' refers to an instrumental form (cf. Santino Garsi da Parma lute works, ('Aria del Gran Duca'). By the early 16th century, it was in common use as meaning a simple setting of strophe, strophi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ornament (music)
In music, ornaments or embellishments are musical flourishes—typically, added notes—that are not essential to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line (or harmony), provide added interest and variety, and give the performer the opportunity to add expressiveness to a song or piece. Many ornaments are performed as "fast notes" around a central, main note. There are many types of ornaments, ranging from the addition of a single, short grace note before a main note to the performance of a virtuosic and flamboyant trill. The amount of ornamentation in a piece of music can vary from quite extensive (it was often extensive in the Baroque period, from 1600 to 1750) to relatively little or even none. The word ''agrément'' is used specifically to indicate the French Baroque style of ornamentation. Improvised vs. written In the Baroque period, it was common for performers to improvise ornamentation on a given melo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
