DOCSLIB.ORG

Offenbach 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Offenbach 2019 WWW.BOOSEY.COM SPECIAL OFFENBACH 2019 THE ORCHESTRAL WORKS IN THE OFFENBACH EDITION KECK OEK Orchestral numbers from the stage works OFFENBACH FOR CONCERTS Ballet music & larger excerpts: HIGHLIGHT Les Fées du Rhin Overture Les Fées du Rhin Ballet & Grande valse Orphée aux Enfers (1874) Orphée aux Enfers (version 1874) Ballet des mouches Le Royaume de Neptune Orphée aux Enfers (version 1874) Divertissement des songes et des heures (L’Atlantide) La Voyage dans la lune Ballet des flocons de neige Recent new editions: After having reworked Orphée Music for orchestra Le Roi Carotte Ballet aux Enfers, premiered in 1858, Geneviève de Brabant (version 1867) Ballet into a ‘opéra-féerie’, Offenbach added another 30 minutes to his The Offenbach Edition Keck Original compositions Waltzes: most successful stage work: In 10 OEK offers a rich repertoire Abendblätter Walzer (Evening Papers Waltz) Barbe-Bleue Entracte act III scenes, the ballet act “Le Royaume La Belle Hélène Entracte act II de Neptune” paints the undersea of entertaining and ‘serious’ Offenbach Waltz (American Eagle Waltz) for solo cornet and orchestra Ouverture à grand orchestre Le Financier et Savetier Overture kingdom of Atlantis. The music, works also for concert Le Papillon – Suite, by Jean-Christophe Keck after Offenbach’s ballet La Grande-Duchesse de Gérolstein Entracte act III (Carillon et valse) lost until recently, is one of the programs. Polka des Mirlitons for three mirlitons, cornet and orchestra Monsieur Choufleuri Overture major rediscoveries within the Souvenir d’Aix Orphée aux Enfers (version 1874) Entracte act II OEK. The edition will be premiered Arias and other vocal numbers from the Souvenir des Bouffes-Parisiens La Périchole Entracte act II in June 2019 by the Vienna Radio stage works naturally have long had their Un Mari à la porte Overture Symphony Orchestra under the place also in the concert hall. Among Cello and orchestra La Vie parisienne Entracte act V baton of Johannes Debus. these are ‘all-time favorites’ such as the Grand Concerto (“Concerto Militaire”) ‘Tipsy Arietta’ from La Périchole, the ‘Fly Hommage à Rossini Polkas, Galops & other dances: Duet,’ John Styx’s couplets, or the ‘Hymn [Introduction,] Prière et Boléro La Belle Hélène Polka (entracte act III) to Bacchus’ from Orphée aux Enfers Musette for cello and strings Les Brigands Polka (entracte act III) (Orpheus in the Underworld), the ‘Letter Le Château à Toto Bourrée (entracte act II) RESOURCES Aria’ from La Vie parisienne, the ‘Dream Voice(s) and orchestra La Grande-Duchesse de Gérolstein Galop (entracte scene IV) Duet’ and the ‘Judgement of Paris’ from Orphée aux Enfers (versions 1858 & 1874) Danse antique (entracte act III) Playlists with uncut audios of the Espoir en Dieu for soprano, mixed choir and orchestra La Belle Hélène, and the ‘Ballade à la Orphée aux Enfers (versions 1858 & 1874) Galop infernal works named here are available on Im grünen Mai – Mélodie for soprano and orchestra lune’ from Fantasio. Orphée aux Enfers (version 1874) Ballet pastoral request from our offices. The special work La Vie parisienne Boléro (entracte act III) Please send an email to On the right-hand page of this folder, La Vie parisienne Polka (entracte act IV) [email protected] La Haine (1874) we recommend orchestral excerpts Incidental music for the 5-act drama by Victorien Sardou, with choir from the stage works, which are likewise Arrangements Shorter audio clips, with weblinks suitable for concert programs. There are Le Carnaval des Revues: Le compositeur de l’avenir aux Champs-Elysées (1860) by Isaac Strauss, Olivier Métra, Henri Marx and Léon Dufils after Offenbach to the works, are also available on a number of original compositions for Numbers with voice(s): Couplets du diapason | Tyrolienne de l’avenir | Variable from six instruments (flute & 5 strings) to large orchestra: the Boosey & Hawkes website: and with orchestra by Offenbach himself, Quatuor d’après Les Huguenots de Meyerbeer Quadrilles from: Bagatelle, La Belle Hélène, Belle Lurette, Les Bergers and bit.ly/AudioClipsOEK some of which, edited by the OEK, have Orchestra only: Symphonie de l’avenir (Marche des fiancées) | Robinson Crusoé become available only recently: Marche du Sacré d’après Le Prophète de Meyerbeer | Polka des timbres Waltz suite from: La Diva Digital perusal scores of many Waltzes on motives from: La Belle Hélène and Le Fifre enchanté of the works presented here are Polka from: La Vie parisienne available on our website: For military band: bit.ly/OnlineScoresOEK Quadrilles on motives from: Orphée aux Enfers and La Vie parisienne RECORDINGS ‘Offenbach Romantique’ ‘Ballade symphonique’ ‘Folies dansantes’ Orchestral works Overture from Orphée aux Souvenir d’Aix-les-bains & Quadrilles and Fantaisias Overtures from Orphée aux Enfers | Grand Concerto | Preludes and Melodramas by I. Strauss, O. Métra, Enfers, La Belle Hélène, Overture & No. 17 (Ballet et from the stage works La Vie H. Marx und L. Dufils after La Fille du tambour-major, Grande valse) from Les Fées parisienne, Les Bergers, La various stage works by Barbe-bleue, Le Mariage aux du Rhin | Ballet des Flocons Périchole, Trafalgar sur un Jacques Offenbach (2 CDs: lanternes, La Grande-Duchesse de Neige from Le Voyage dans volcan, Orphée aux Enfers, concert versions, and long de Gérolstein, Vert-Vert, La Vie la Lune Ba-Ta-Clan, Barbe-Bleue versions for choreographies) parisienne, Le Voyage dans la Jérôme Pernoo, cello | Orchestre National Soloists of the Orchestre lune and other orchestral works Les Musiciens du Louvre | de Montpellier | Pasdeloup | Orchestre de la Suisse Marc Minkowski Jean-Christophe Keck Jean-Christophe Keck Romande | Neeme Järvi DG CD 477 640-3 Universal/Accord 476 8999 Orphée 58 ORP68001/1 Chandos CHSA 5160 arc Ginot arc M WP of Offenbach’s music for Sardou’s La Haine, with Dörte Lyssewski, Enrico Delamboye, Fanny Ardant, Gérard Depardieu, Farida Khelfa | Montpellier 2009 hoto: P 2 | NOTA BENE SPECIAL | OFFENBACH 2019 NOTA BENE SPECIAL | OFFENBACH 2019 | 3 AvAILABE ON SALE Reductions for cello and piano Hommage à Rossini [Introduction,] Prière et Boléro Grand Concerto („Concerto Militaire“) ISMN 979-0-2025-3508-0 ISMN 979-0-2025-3367-3 ISMN 979-0-2025-3168-6 hristophe Keck; graphics: Goscha Nowak) graphics: hristophe Keck; C World premiere recording: Prière et Boléro Camille Thomas, cello | Orchestre National de Lille | Alexandre Bloch, conductor Deutsche Grammophon DG 47975205 ork 1876 (archive of Jean- ork 1876 (archive Y Selected chamber music New ora, Harmonies des bois La Prière de Moïse (1853) Décaméron dramatique – Les Roses du Bengale M aria Le Soir | La Chanson de Berthe | Trio for two violins and Album du Théâtre Français (around 1840) M Les Larmes de Jacqueline concertante cello with piano (1855) Six Valses sentimentales for cello and piano and organ accompaniment Six dances for solo piano for solo piano ISMN 979-0-2025-3507-3 ISNM 979-0-2025-3111-2 ISMN 979-0-2025-3066-5 ISNM 979-0-2025-3473-1 ffenbach by José O ront cover based on a photograph of Jacques cover based on a photograph ront F Published by BOOSEY & HAWKES · BOTE & BOCK GmbH Lützowufer 26 | 10787 Berlin Tel.: +49 (30) 25 00 13–0, Fax: –99 Managing director Winfried Jacobs [email protected] Editorial Promotion Department www.boosey.com Layout Jens Luckwaldt www.offenbach-edition.com July 2018 Boosey BooseyandHawkes 4 | NOTA BENE SPECIAL | OFFENBACH 2019.
Load more

Recommended publications
  • PB-PP Numéro D’Agrément : P605079 BELGIE(N)-BELGIQUE Erkenningsnummer : P605079
    Bureau de dépôt : bpost Bruxelles De Brouckère Afgiftekantoor : Brussel De Brouckere PB-PP Numéro d’agrément : P605079 BELGIE(N)-BELGIQUE Erkenningsnummer : P605079 ________________________________________________________________________ AMRG - Rue du Tabellion 9 – 1050 BRUXELLES – VKMG - Notarisstraat 9 – 1050 BRUSSEL Tél 02/726.00.52 - E-Mail : [email protected] www.amrg-vkmg.be ________________________________________________________________________ TRIMESTRIEL Editeur responsable DRIEMAANDELIJKS Verantwoordelijke uitgever 2019 – Jul-Aou-Sep Paul RICAILLE 2019 – Jul-Aug-Sep Sommaire – Inhoudstafel Sommaire - Inhoudstafel 2 Editorial 3 Artikel van de Redactie 4 Galaconcert : betalingsmodaliteiten 5 Concert de Gala : modalités de paiement 6 Het Boek - Le livre : Francis Pieters 7 The Royal Symphonic Band of the Belgian Guides 8 A Legendary Wind Band Nieuwtjes van de KMG – Nouvelles de la MRG 9 Kalender – Calendrier 2019 : Ils sont nés, il y a … 12 Nouvelle Génération : Paul Baudouin Michel 16 Giften – Dons Omdat de VZW “De Vrienden van de Koninklijke Muziekkapel van de Gidsen” een culturele instelling is erkend door het K.B. van de Openbare Federale Dienst Financiën en door het Ministerie van Defensie, zijn alle giften van minimum 40 €, welke gestort worden op rekening van VKMG vzw : BE96 0012 2399 5005, fiscaal aftrekbaar zijn. Mededeling : GIFT * * * Comme l’ASBL « les Amis de la Musique Royale des Guides » est une institution culturelle reconnue par Arrêté Royal du Service Public Fédéral Finances et par le Ministère de la Défense, il en résulte que les libéralités de minimum 40 € versées sur le compte bancaire de l’AMRG asbl : BE96 0012 2399 5005 sont fiscalement déductibles. Communication : DON 3 Editorial Voici le 3e « Concerto » de l’année : il précède le temps des vacances que je vous souhaite déjà bien agréables.
    [Show full text]
  • L'enfance Du Christ by HECTOR BERLIOZ
    FRIDAY EVENI NG DECEMBER 20th f/27 I q C:'-.C. ) o~'C!- THE LITTLE ORCHESTRA SOCIETY THOMAS SCHERMAN, conductor L'Enfance du Christ BY HECTOR BERLIOZ PROGRAM NOTES BY HERBERT WEINSTOCK OPERA HOUSE Brooklyn Academy of Music FRIDAY EVENING· DECEMBER 20 , 1957 THE CAST LA SAINTE MARIE-Frances Bible, MEZZO-SOPRANO LE RECITANT} . Leopold s~moneau, TENOR UN C ENTURION LE SAINT JOSEPH} . , M artwl Smgher, BARITONE HERODE , POLYDORUS} ]an Rubes BASS LEPERE DE FAMILLE ' THE AMERICAN CO CERT CHOIR-Margaret HiUis, DIRECTOR PART I • Herod's Dream INTERMISSION PART II • The Flight into Egypt PART III • The Arrival at Sais L'ENFANCE DU CHRIST Hector Berlioz, 1803-1869 ISITI'{G at a friend's home one evening during 1849. Berlioz was bored because the other V guests were playing cards. He began idly to sketch out a brief organ composition. His friend Pierre Due. architect of the Bastille Column, dissuaded him from continuing thi Andantino, however, and turned him to composing something for a souvenir album. The resulting mu ic. thus idly begun ~ shortly became a chorus in which a group of shepherds bids farewell to the Holy Family leaving for the fli ght into Egypt. The text was by Berlioz himself. As a joke of which Due shared the knowledge, Berlioz next invented a seventeenth· century chapel-master named Pierre Ducre, "dated" the "Adieu des Bergers" 1679, and gave out that it was Ducre's work. Within one year Berlioz had added to the "Adieu" a brief orchestral overture, an in­ strumental interlude entitled "Le Repos de la Sainte Famille," a tenor recitative describing the Holy Family's rest by the wayside, and a very short final chorus of angels chanting " Alleluia." To the entire brief cantata he gave the title "La Fuite en Egypte," allowing it to be performed on November 17, 1850, as the work of " Ducre." Although Berlioz knew that a listener would have to be as "ignorant as a fish" to believe that any seventeenth-century composer could have produced a work so clearly modern in harmony, most Parisian critics swallowed the hoax.
    [Show full text]
  • Student Recital
    STUDENT RECITAL Center for Faith and Life Main Hall Luther College ~ Decorah, Iowa 8:00 P.M., Wednesday, July 17, 1996 9 ° > TRI Gitano (Gypsy) Cathy Anderson, marimba Dirait-on (So they say) (1993) Morten Johannes Lauridsen No. 5 from Les Chansons des Roses text by Rainer Maria Rilke (1875-1926) Lori Bormet, soprano Anna McKnight, alto David Von Bargen, tenor Mark Galinat, bass David Mennicke, piano Concerto in B-Flat Major Luigi Boccherini (1743-1805) I. Allegro moderato Maggie Darby, cello Robert Satterlee, piano Concerto in E Major Carl Ditters von Dittersdorf (1739-1799) ed. Franz Tischer-Zeitz II. Adagio Ill. Allegro Dylan Vanderhoof, bass Craig Mueller, piano Perpetuum Mobile Ottakar Novatek (1866-1900) Rachel Brosz, violin Robert Satterlee, piano aa ltalian Concerto, BWV 971 (1735) J. S. Bach (1685-1750) I Allegro Franco Holder, piano Ludwig Maurer (1789-1878) I Maestoso all marcia Il Andante con moto II Allegro grazioso, un poco agitato Erik Riesterer, trum pet Evan Roverud, trumpet Suzanna Collerd, horn Marci Major, trombone John Spurlock, trombone Nocturne, Op. 33 Samuel Barber (Homage to John Field) (1910-1981) Cole Burger, piano Sonata in B-Flat (1959) Halsey Stevens (1908-1989) I. Allegro moderato Kyle Haugen, trumpet Robert Satterlee, piano We gratefully acknowledge the generous support of this concert through the donation of Program Patrons: Greg Peterson Saint Peter, Minnesota Harlan and Mildred Hartner Mission, Kansas We ask that all members of the audience refrain from photographing or recording the performance. A high-fidelity tape recording of this concert may be ordered at the desk in the lobby after the concert.
    [Show full text]
  • 1. Belle Nuit, Ô Nuit D'amour
    Table of Contents Title Page 1. Belle nuit, ô nuit d’amour . 4 Jacques Offenbach (1819–1880) 2. Laudamus te. .12 Antonio Vivaldi (1678–1741) 3. Shepherd, Shepherd Leave Decoying . 20 Henry Purcell (1659–1695) Oboe (or Flute) and Bassoon (or Cello) Parts . .27 4. Sous le dôme épais . 31 Léo Delibes (1836–1891) 5. Stabat Mater dolorosa. .44 Giovanni Battista Pergolesi (1710–1736) Cello Part . .52 6. Sull’aria . 53 Wolfgang Amadeus Mozart (1756–1791) 7. When at Night I Go to Sleep . 60 Engelbert Humperdinck (1854–1921) 8. Wir eilen mit schwachen, doch emsigen Schritten . 66 Johann Sebastian Bach (1685–1750) Cello and Violone (or Cello) Parts. 84 Alfred Music P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com © 2015 by Alfred Music All Rights Reserved. Printed in USA. Book & CD (43492) ISBN-10: 1-4706-2663-2 ISBN-13: 978-1-4706-2663-1 Book (43493) ISBN-10: 1-4706-2664-0 ISBN-13: 978-1-4706-2664-8 Accompaniment CD (43494) NOTE: The purchase of this book carries with it the right to photocopy pages 27–30, 52, and 84–87. Limited to one school/organization. NOT FOR RESALE. 4 Belle nuit, ô nuit d’amour Jacques Offenbach (1819–1880) Especially famous today for his enduring and beloved “Belle revised numerous times. Offenbach’s additional works include nuit, ô nuit d’amour,” Jacques Offenbach was one of the one ballet (Le papillon), individual waltzes and polkas, dance most influential musicians in France in the Romantic period. suites, an orchestral work with cello solo, and more than 50 Born in Cologne and originally named Jacob, Offenbach non-operatic songs, mostly set to French texts.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 74, 1954-1955
    jCfa BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 7 fe X •ml UIIHIl H #1 SEVENTY-FOURTH SEASON 1954-1955 Academy of Music, Brooklyn Under the auspices of the Brooklyn Institute of Arts and Sciences and the Philharmonic Society of Brooklyn 1954 - 1955 THE WOMEN'S COMMITTEE FOR The Boston Symphony Orchestra Concerts IN BROOKLYN Mrs. Carroll J. Dickson, Chairman Mrs. Edward C. Blum Mrs. William H. Good Mrs. H. Haughton Bell Vice-Chairman Vice-Chairman Vice-Chairman Mrs. Frederick H. Rohlfs Mrs. Miles Kastendieck Chairman Membership Co-Chairman Membership Mrs. Irving G. Idler Mrs. Thomas K. Ware Chairman Boxes Chairman Junior Committee Mrs. Elias J. Audi Mrs. Percy R. Gray Mrs. Valentine K. Raymond Mrs. Charles L. Babcock, Jr. Mrs. Arthur C. Hallan Mrs. Donald Ross Mrs. Bernard S. Barr Mrs. J. Morton Halstead Mrs. Irving J. Sands Mrs. John R. Bartels Mrs. James M. Hills Mrs. Donald Gray Schenk Mrs. George M. Billings Mrs. Raymond V. Ingersoll Mrs. Oscar P. Schoenemann Mrs. Robert E. Blum Mrs. Henry A. Ingraham Mrs. Eliot H. Sharp Mrs. Irving L. Cabot Mrs. Charles Jaffa Mrs. Frank E. Simmons Mrs. Otis Swan Carroll Mrs. Darwin R. James, Jr. Mrs. Donald G. C. Sinclair Mrs. Oliver G. Carter Mrs. James Vincent Keogh Mrs. Ainsworth L. Smith Mrs. Francis T. Christy Mrs. John Bailey King Mrs. Harry H. Spencer Mrs. Donald M. Crawford Mrs. Warner King Mrs. E. A. Sunde Mrs. Russell V. Cruikshank Mrs. Almet R. Latson, Jr. Mrs. David W. Swanson Mrs. Sidney W. Davidson Mrs. M. Paul Luther Mrs.
    [Show full text]
  • Offenbach Et L'opéra-Comique
    Offenbach et l’opéra-comique Lionel Pons avril 2017 Les rapports de Jacques Offenbach (1819-1880) avec le genre opéra-comique relèvent, tout au long de la vie créatrice du compositeur, d’un paradoxe amoureux. La culture lyrique d’Offenbach, son expérience en tant que violoncelliste dans l’orchestre de l’Opéra-Comique, son goût personnel pour ce genre si français, qui ne dissimule pas sa dette envers le dernier tiers du XVIIIe siècle vont nécessairement le pousser à s’intéresser au genre. Le répertoire de François Adrien Boieldieu (1775-1834), de Ferdinand Hérold (1791-1833), de Nicolò Isouard (1773-1818) lui est tout à fait familier, et quoique d’un esprit particulièrement mordant, il en apprécie le caractère sentimental et la délicatesse de touche. Et presque naturellement, il développe pourtant une conscience claire de ce que réclame impérativement la survie du genre. Offenbach sauveteur de l’opéra-comique ? L’opéra-comique, tel qu’Offenbach le découvre en ce début de XIXe siècle, est l’héritier direct des ouvrages d’André-Ernest-Modeste Grétry (1741-1813), de Pierre-Alexandre Monsigny (1729-1817) ou de Nicolas Dalayrac (1753-1809). Le genre est le fruit d’une période transitionnelle (il occupe dans le répertoire français la place chronologique du classicisme viennois outre Rhin, entre le crépuscule baroque et l’affirmation du romantisme), et reflète assez logiquement le goût de l’époque pour une forme de sentimentalité, sensible en France dans toutes les disciplines artistiques entre 1760 et 1789. Les gravures de Jean-Baptiste Greuze (1725-1805), l’architecture du Hameau de Marie-Antoinette (1783-1876), due à Richard Mique (1728-1794), l’orientation morale de L’autre Tartuffe ou la mère coupable (1792) de Pierre-Augustin Caron de Beaumarchais (1732-1799), La nouvelle Héloïse (1761) de Jean-Jacques Rousseau (1712-1778) ou Paul et Virginie (1787) d’Henri Bernardin de Saint-Pierre (1737-1814) portent témoignage de cette tendance esthétique.
    [Show full text]
  • Offenbach 2019 Wiederentdeckungen Zum 200
    AUSGABE NR. 2 2018/19 WWW.BOOSEY.DE SPECIAL OFFENBACH 2019 WIEDERENTDECKUNGEN ZUM 200. GEBURTSTAG 20 JAHRE OFFENBACH EDITION KECK OEK EDITORIAL & INHALT 20 JAHRE OFFENBACH-ENTDECKUNGEN Yes, We Can Can ... Ein Grußwort Jedesmal ein Abenteuer ... so lautet das Motto, unter dem die Stadt und Region Köln von Marc Minkowski von den 200. Geburtstag Jacques Offenbachs mit einer Fülle von Veranstaltungen feiert ( yeswecancan.koeln). Es hätte auch Nun existiert sie zwanzig das Motto sein können, mit dem Boosey & Hawkes 1999 seine Jahre, und zwanzig Jahre monumentale Offenbach Edition, die OEK, in Angriff nahm arbeiten wir regelmäßig unter der Ägide von Jean-Christophe Keck. Aber das Bonmot lag zusammen – zu unserem noch nicht in der Luft. 2019 feiern wir den 20. Geburtstag der größten Vergnügen. Mit Anne or genau zwanzig Jahren starteten wichtigsten zu nennen, die uns unterstützt sion de Paris“ durchgesetzt hat; die Fas- Ausgabe zusammen mit dem 200. unseres Komponisten, und Sofie von Otters Rezital im wir die kritische Ausgabe der Wer- und mit uns zusammengearbeitet haben. sung der Pariser Uraufführung; schließlich wir freuen uns, dass dies in so enger Kooperation nicht nur mit Pariser Châtelet hat alles V ke Jaques Offenbachs mit seiner Auch die Archive der Verlagshäuser haben die überarbeitete Fassung für die Wiener der Stadt Köln, ihren Institutionen, den Organisatorinnen und begonnen. Seither reihen sich ersten abendfüllenden opéra-bouffon Or- oft schöne Funde ermöglicht, insbesonde- Bühnen. Dies sind die drei Eckpfeiler, die Organisatoren geschehen kann, sondern mit einer Fülle von Konzerte und Inszenierungen phée aux Enfers von 1858, unmittelbar ge- re diejenigen von Offenbachs historischen in der Regel den Takt für die Aufarbeitung Theatern, Orchestern und begeisterten Musiker*innen.
    [Show full text]
  • La Belle Hélène Opéra Bouffe in Tre Atti Libretto Di Henri Meilhac E Ludovic Halévy
    Jacques Offenbach La belle Hélène Opéra bouffe in tre atti Libretto di Henri Meilhac e Ludovic Halévy PERSONAGGI Paride figlio del re Priamo tenore Menelao re di Sparta tenore Agamennone re dei re baritono Calcante Grande Augure di Giove basso Achille re di Ftia tenore Ajace primo re di Salamina tenore Ajace secondo re dei Locriesi baritono Elena regina di Sparta soprano Oreste figlio del re Agamennone soprano Bacchide confidente di Elena mezzo-soprano Leena etera soprano Partenide etera soprano Filocomo servo di Calcante recitante Euticle fabbro recitante Guardie, schiavi, popolo, principi, principesse, prefiche di Adone, seguito di Elena. La scena si svolge nell’antichità a Sparta Prima rappresentazione Parigi, Théâtre des Variétés, 17 dicembre 1864 1 Offenbach: La belle Hélène - atto primo [Ouverture] ATTO PRIMO L’oracolo A Sparta. Una pubblica piazza. Sul fondo il tempio di Giove. Davanti al tempio una scalinata di cinque o sei scalini. Da ogni lato delle scala, un treppiede acceso. [N°1 – Coro] Scena I° Popolo, poi Calcante e Filocomo. Al levar del sipario, uomini e donne, inginocchiati davanti al tempio pre- sentano offerte: fiori, frutti, latticini, cesti di vimini con tortorelle. Dominano i fiori CORO LE CHŒUR Verso i tuoi altari, Jupin, noi accorriamo gioiosi, Vers tes autels, Jupin, nous accourons joyeux, Per te i nostri voti! A toi nos voeux! Eccoci tutti qui Nous voici tous in ginocchio davanti a te! À tes genoux! Dio sovrano degli Dei, Dieu souverain des Dieux Tu, dalla barba d’oro Toi dont la barbe est d’or ascolta le nostre suppliche, o Giove Statore! Écoute nos accents, ô Jupiter Stator! Verso i tuoi altari, Jupin, noi accorriamo gioiosi.
    [Show full text]
  • Narrative Variants and Theatrical Constants: Towards a Dramaturgy O F Theballet Fantastique (1830- 1860 )
    University of Surrey Department of Dance Studies School of Arts Narrative Variants and Theatrical Constants: Towards a Dramaturgy o f theBallet Fantastique (1830- 1860 ) by MgA. Astrid Bemkopf September 2005 Thesis submitted in fulfilment of the requirement of the degree of Doctor of Philosophy © Astrid Bemkopf 2005 ProQuest Number: 27557546 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27557546 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract Ballet is often perceived as a danced fairy tale and, therefore, considered to be like the fairy tale. In this research, the literary form of the fairy tale is compared with the narrative of the ballet fantastique in two acts. The analytical method of Vladimir Propp’s Morphologie des Màrchens (1975) serves as starting point for an investigation into storytelling and the narrative of the ballet scenario. Until now, narrative analyses have been overlooked by dance analysis. Therefore, the task of this study is to propose the first dramaturgy of the ballet fantastique and, thus, a first independent model of narrative analysis for dance.
    [Show full text]
  • Sir Hervé the Knight Errant Sets out to Conquer the Bouffes-Parisiens
    Pascal BLANCHET, « Sir Hervé the Kniht Errant sets out to conquer the Bouffes-Parisiens » Octobre 2015 Sir Hervé the Knight Errant sets out to conquer the Bouffes-Parisiens Pascal BLANCHET ‘It is one of my best scores, but the public doesn’t always crown the best things with success . .’ Such is the humble view expressed by Hervé in his Notes pour servir à l’histoire de l’opérette, a memoir he wrote in 1881 for the dramatic critic Francisque Sarcey. In the course of a long career marked by dazzling successes and resounding flops, the composer had had many opportunities to cultivate a philosophical frame of mind. The above quotation concerns his opéra-bouffe Alice de Nevers, but he might have said the same of Les Chevaliers de la Table ronde: Alice was a complete fiasco at its premiere in 1875, Les Chevaliers received a lukewarm reception when it was first given in 1866. In both cases, we are dealing with works that deserve to be reassessed – Hervé was right! Yes, these valiant Chevaliers who return today from a long exile are worthy of enjoying a rebirth. For the work is a more important one than it may at first seem. Why? Because it constitutes a turning point, not only in Hervé’s career but in the history of operetta: with it, the so-called ‘Crazy Composer’ (le Compositeur toqué), who is regarded as the father of operetta, wrote his first full-scale opéra-bouffe in three acts, and he intended it for the Théâtre des Bouffes-Parisiens, the stronghold of his rival Jacques Offenbach.
    [Show full text]
  • Jacques Offenbach : His Centenary
    Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. JACQUES OFFENBACH : HIS CENTENARY By MARTIAL TENEO O N June the 20th, 1819, at Cologne, in the Glockengasse (now only a memory), was born Jacques Offenbach,whose renown, forty years later, was to overspreadthe world. To rehabilitate such an artist, still held in contempt at the present day by our musical "scientists," to restore him to his rightful place on the occasion of the centennial of his birth, is a task worthy of an unbiassed historian.
    [Show full text]
  • Opéra-Comique ? Gérard Condé 35 Maître Péronilla : Opéra-Bouffe Or Opéra-Comique ?
    Collection « Opéra français / French opera » Editorial direction: Alexandre Dratwicki / Palazzetto Bru Zane Project management: Camille Merlin / Palazzetto Bru Zane Editorial consulting: Carlos Céster Layout, manufacturing and distribution co-ordination: Sémele Proyectos Musicales Design: Valentín Iglesias – assistance: Rosa Tendero Translations: Charles Johnston (English) © 2020 Palazzetto Bru Zane – Centre de musique romantique française San Polo 2368 – 30125 Venice – Italy bru-zane.com All rights reserved. Physical edition printed in Spain Legal deposit: Madrid, October 2019 – m-21801-2019 isbn : 978-84-09-15588-0 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owners and the publisher. livres-disques du palazzetto bru zane Le Palazzetto Bru Zane – Centre de musique romantique française a pour vocation the palazzetto bru zane’s book+cd series de favoriser la redécouverte du patrimoine musical français du grand xix e siècle (1780- 1920) en lui assurant le rayonnement qu’il mérite. Installé à Venise, dans un palais de 1695 restauré spécifiquement pour l’abriter, ce centre est une réalisation de la Fondation Opéra français Prix de Rome Bru. Il allie ambition artistique et exigence scientifique, reflétant l’esprit humaniste qui 1 Bach, Amadis de Gaule 1 Claude Debussy guide les actions de la fondation. Les principales activités du Palazzetto Bru Zane, 2 Kreutzer, La Mort d’Abel 2 Camille Saint-Saëns menées en collaboration étroite avec de nombreux partenaires, sont la recherche, 3 Massenet, Thérèse 3 Gustave Charpentier l’édition de partitions et de livres, la production et la diffusion de concerts à l’international, 4 Sacchini, Renaud 4 Max d’Ollone le soutien à des projets pédagogiques et la publication d’enregistrements discographiques.
    [Show full text]