Bertrand Porot Curriculum Vitæ
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Les Opéras De Lully Remaniés Par Rebel Et Francœur Entre 1744 Et 1767 : Héritage Ou Modernité ? Pascal Denécheau
Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Pascal Denécheau To cite this version: Pascal Denécheau. Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? : Deuxième séminaire de recherche de l’IRPMF : ”La notion d’héritage dans l’histoire de la musique”. 2007. halshs-00437641 HAL Id: halshs-00437641 https://halshs.archives-ouvertes.fr/halshs-00437641 Preprint submitted on 1 Dec 2009 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. P. Denécheau : « Les opéras de Lully remaniés par Rebel et Francœur : héritage ou modernité ? » Les opéras de Lully remaniés par Rebel et Francœur entre 1744 et 1767 : héritage ou modernité ? Une grande partie des œuvres lyriques composées au XVIIe siècle par Lully et ses prédécesseurs ne se sont maintenues au répertoire de l’Opéra de Paris jusqu’à la fin du siècle suivant qu’au prix d’importants remaniements : les scènes jugées trop longues ou sans lien avec l’action principale furent coupées, quelques passages réécrits, un accompagnement de l’orchestre ajouté là où la voix n’était auparavant soutenue que par le continuo. -
Queerness in French Baroque Opera: the Relationship Between Achilles and Patroclus in Jean Baptiste Lully’S Achille Et Polyxène
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-7-2021 Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène Jason Thompson [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Thompson, Jason, "Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène" (2021). Master's Theses. 210. https://digscholarship.unco.edu/theses/210 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2021 JASON TRAVIS THOMPSON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School QUEERNESS IN FRENCH BAROQUE OPERA: THE RELATIONSHIP BETWEEN ACHILLES AND PATROCLUS IN JEAN-BAPTISTE LULLY’S ACHILLE ET POLYXÈNE A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Jason Travis Thompson College of Performing and Visual Arts School of Music Music History and Literature May 2021 This Thesis by: Jason Travis Thompson Entitled: Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène has been approved as meeting the requirement for the Degree of Master of Music in the College of Performing and Visual Arts in the School of Music, Program of Music History and Literature. -
Les Talens Lyriques Announces 20-21 Season with First Modern Performances of Salieri’S Armida
Les Talens Lyriques announces 20-21 season with first modern performances of Salieri’s Armida 31 December 2020, 28 February, 3 April 2021 London: Wigmore Hall concerts 16 January, 19 February 2021 Vienna: Festival Resonanzen & Theater an der Wien 10-13 May 2021 Paris: St. John Passion staged with Calixto Bieito 11-12 June 2021 Würzburg: Mozartfest Centenary with Idomeneo Also touring to: Dortmund, Heidelberg, Linz, Innsbruck, Ferrara, Bologna, Genoa, Bilbao, Brussels, Liège, Caen, Rouen, Qatar Christophe Rousset and Les Talens Lyriques announce their 2020-21 season championing heroines, with the first modern performances of Salieri’s breakthrough success Armida, 250 years after the work’s premiere. A recording of Armida to be made during the season is complemented by the release of Mozart’s Betulia liberata on Aparté this autumn. In June 2021, Les Talens Lyriques join the centennial Mozartfest Würzburg with performances of Idomeneo. Rousset and Les Talens Lyriques express their love of the French Baroque, pairing ballets by Lully and Pascal Collasse to tell of the birth and life of Venus. On tour in Europe, Les Talens Lyriques make multiple visits to Germany and Austria, and give three concerts at London’s Wigmore Hall in Spring 2021. At home in Paris, Les Talens Lyriques are joined by Calixto Bieito for a staged production of Bach’s St. John Passion at the Théâtre du Châtelet. Further recordings from the ensemble include a DVD of Stefano Landi’s La Morte d’Orfeo from the Dutch National Opera’s 2018 production, and a solo disc of Armand-Louis Couperin’s harpsichord works from Christophe Rousset. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title A Second Refuge: French Opera and the Huguenot Migration, c. 1680 - c. 1710 Permalink https://escholarship.org/uc/item/6ck4p872 Author Ahrendt, Rebekah Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 By Rebekah Susannah Ahrendt A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Chair Professor Richard Taruskin Professor Peter Sahlins Fall 2011 A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 Copyright 2011 by Rebekah Susannah Ahrendt 1 Abstract A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 by Rebekah Susannah Ahrendt Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Chair This dissertation examines the brief flowering of French opera on stages outside of France around the turn of the eighteenth century. I attribute the sudden rise and fall of interest in the genre to a large and noisy migration event—the flight of some 200,000 Huguenots from France. Dispersed across Western Europe and beyond, Huguenots maintained extensive networks that encouraged the exchange of ideas and of music. And it was precisely in the great centers of the Second Refuge that French opera was performed. Following the wide-ranging career path of Huguenot impresario, novelist, poet, and spy Jean-Jacques Quesnot de la Chenée, I construct an alternative history of French opera by tracing its circulation and transformation along Huguenot migration routes. -
Transcripts of Dramatic Musical Works in Full Score
TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS MUSIC DIVISION Compiled by Susan Clermont Senior Music Specialist Library of Congress Music Division A BIBLIOGRAPHY OF TRANSCRIPTS OF DRAMATIC MUSICAL WORKS IN FULL SCORE AT THE LIBRARY OF CONGRESS This bibliography comprises close to 700 transcripts of dramatic musical works in full score copied from original music manuscripts and early imprints for the Library of Congress’s Music Division between 1903 and 1939. The original sources were located in over three dozen European libraries in Austria, Belgium, France, Great Britain, Germany, Hungary, Italy and Russia. The majority of the operas cited in this document date from the seventeenth and eighteenth centuries; about fifteen percent are reproductions of nineteenth-century works. Also included in this bibliography are transcripts of incidental music for dramas, melodramas, ballets, and pantomimes (see Appendix B). Finally, Appendix C comprises a short list of instrumental works, mostly for viola da gamba, that were transcribed over a two-year period when the parameters of this project were provisionally broadened. In 1902, a new set of guidelines for the systematic development of the newly-reorganized Music Division’s collections was instituted: opera immediately received a considerable share of attention because, “the peculiar condition of opera in the United States seemed to demand that a center of reference and research be created for the students of opera.” [Oscar Sonneck, Dramatic Music: Catalogue of Full Scores…, 1908] Accordingly, a series of “want lists” were compiled; however, when it was determined after a comprehensive search that hundreds of items included on the Music Division’s desiderata list for operas in full score were unprocurable in manuscript or print versions, the option of contracting copyists to generate transcripts was explored. -
Jacques Hotteterre Le Romain and His Father, Martin: a Re-Examination Based on Recently Found Documents
Jacques Hotteterre le Romain and His Father, Martin: A Re-Examination Based on Recently Found Documents Tula Giannini Early Music, Vol. 21, No. 3, French Baroque II. (Aug., 1993), pp. 377-386+389-390+393-395. Stable URL: http://links.jstor.org/sici?sici=0306-1078%28199308%2921%3A3%3C377%3AJHLRAH%3E2.0.CO%3B2-X Early Music is currently published by Oxford University Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/oup.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. -
Cremona Baroque Music 2018
Musicology and Cultural Heritage Department Pavia University Cremona Baroque Music 2018 18th Biennial International Conference on Baroque Music A Programme and Abstracts of Papers Read at the 18th Biennial International Conference on Baroque Music Crossing Borders: Music, Musicians and Instruments 1550–1750 10–15 July 2018 Palazzo Trecchi, Cremona Teatro Bibiena, Mantua B Crossing Borders: Music, Musicians and Instruments And here you all are from thirty-one countries, one of Welcome to Cremona, the city of Monteverdi, Amati and the largest crowds in the whole history of the Biennial Stradivari. Welcome with your own identity, to share your International Conference on Baroque Music! knowledge on all the aspects of Baroque music. And as we More then ever borders are the talk of the day. When we do this, let’s remember that crossing borders is the very left Canterbury in 2016, the United Kingdom had just voted essence of every cultural transformation. for Brexit. Since then Europe—including Italy— has been It has been an honour to serve as chair of this international challenged by migration, attempting to mediate between community. My warmest gratitude to all those, including humanitarian efforts and economic interests. Nationalist the Programme Committee, who have contributed time, and populist slogans reverberate across Europe, advocating money and energy to make this conference run so smoothly. barriers and separation as a possible panacea to socio- Enjoy the scholarly debate, the fantastic concerts and political issues. Nevertheless, we still want to call ourselves excursions. Enjoy the monuments, the food and wine. European, as well as Italian, German, French, Spanish, And above all, Enjoy the people! English etc. -
Orchestre Philharmonique Royal De Liège Saison 20-21 Passé/Présent Programme
Orchestre Philharmonique ] Royal de Liège 03 Saison 20-21 Passé/Présent [PROGRAMME Programme DUMESNY, HAUTE-CONTRE DE LULLY LULLY DE HAUTE-CONTRE DUMESNY, Directeur musical : Gergely Madaras Directeur général : Daniel Weissmann Salle Philharmonique Boulevard Piercot 25-27 B-4000 Liège [email protected] | www.oprl.be Tél. billetterie : +32 (0)4 220 00 00 Tél. général : +32 (0)4 220 00 10 VENDREDI 2 OCTOBRE 2020 VENDREDI 22 Vendredi 2 octobre 2020 | 20h Liège, Salle Philharmonique Dumesny, ] haute-contre de Lully 03 ● MUSIQUES ANCIENNES CHAPITRE I : LES DÉBUTS AVEC LULLY 1. Jean-Baptiste Lully : Isis (1677) — Ouverture [PROGRAMME 2. Jean-Baptiste Lully : Persée (1682) — Cessons de redouter la fortune cruelle… (Persée) 3. Jean-Baptiste Lully : Armide (1686) — Plus j’observe ces lieux, et plus je les admire… (Renaud) 4. Jean-Baptiste Lully : Amadis (1684) — Bois épais, redouble ton ombre… (Amadis) 5. Jean-Baptiste Lully : Acis et Galatée (1686) — Faudra-t-il encore vous attendre… (Acis) 6. Ritournelle CHAPITRE II : LA MORT DE LULLY ET SES PREMIERS SUCCESSEURS 7. Jean-Baptiste Lully : Achille et Polyxène (1687) — Patrocle va combattre, et j’ai pu consentir… (Achille) 8. Jean-Baptiste Lully — Miserere (1664) (évocation de la mort de Lully) 9-11. Pascal Collasse : Achille et Polyxène (1687) — Quand, après un cruel tourment… (Achille) — Entracte — Ah ! que sur moi l’amour règne… (Achille) — Prélude 12-13. Marin Marais et Louis de Lully : Alcide (1693) — Mon amoureuse inquiétude… (Alcide) — Ne pourrais-je trouver de remède… (Alcide) CHAPITRE III : LA VOIE SE LIBÈRE 14. Pascal Collasse : Thétis et Pélée (1689) — Ciel ! En voyant ce temple redoutable… (Pélée) 15. -
The Parallel Canons at the Opéra and the Comédie-Française at the End Databases, Revenues, & Repertory: the French Stage Online, 1680-1793 of the Ancien Régime
Databases, Revenues, & Repertory: The French Stage Online, 1680– 1793 • Databases, Revenues, & Repertory: The French Stage Online, 1680-1793 The Parallel Canons at the Opéra and the Comédie- Française at the End of the Ancien Régime William Weber Published on: Oct 08, 2020 DOI: 10.21428/671d579e.244e34b0 License: Creative Commons Attribution 4.0 International License (CC-BY 4.0) Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 • The Parallel Canons at the Opéra and the Comédie-Française at the End Databases, Revenues, & Repertory: The French Stage Online, 1680-1793 of the Ancien Régime The Opéra, or the Académie royale de musique, had a lot to do with the Comédie-Française in the long term. Formed eleven years apart—the Opéra in 1669 and the Comédie-Française in 1680—the two institutions were given similar monopolies by the monarchy and as such took central roles within the entertainment world and public life. What is particularly striking is that both theaters developed remarkably powerful canons of great works by, on the one hand, Jean-Baptiste Poquelin or Molière, Pierre Corneille, and Jean Racine, and on the other by Jean-Baptiste Lully and Jean-Philippe Rameau. Works by the two composers and the three playwrights can be considered to have played the role of high canon in the repertories of the two theaters. This essay will show how parallel canons evolved at the Opéra and the Comédie-Française and entered into periods of major change in the 1770s and 1780s. On the one hand, the arrival of Christoph- Willibald Gluck as the principal composer at the Opéra in 1774 led to the abandonment of its old repertory, save for Jean-Jacques Rousseau’s Le Devin du village, premiered in 1752, and stimulated an intense controversy as to the relative merits of music by Gluck and by Niccolò Piccinni, and indeed the whole future of French opera. -
The French Time Devices Revisited
beverly jerold The French Time Devices Revisited Much disparity exists among the metronome marks derived from the tempo numbers for early eighteenth-century French time devices. While some are reasonable, others are implausibly rapid. A newly discovered source, which offers both Raoul Auger Feuillet’s numbers for various forms and a drawing of the pendulum device for which they were intended, solves the mystery of the conflicting numbers. Because only a clockwork mechanism can measure fractions of seconds, his numbers had to measure pendulum lengths (the simpler and most frequent form of measurement). A comparison of his numbers with those for the same dance forms from the two sources with consistently extreme tempos indicates an almost exact correlation when all are measured according to pendulum length, instead of the presumed sixtieths of a second. For some eighty years, the tempo numbers for French dance music and certain vocal pieces, derived from time-measuring devices and presented principally in a few French writings from 1696 to 1762, have been a topic of lively discussion.1 When converted into metronome marks, many of these numbers for the same form are significantly inconsistent. Although the very rapid tempos have often been considered valid, the conflict between these and the other much slower tempos for the same forms has not been explained adequately. Why are the numbers attributed to Joseph Sauveur’s clockwork measurement system (1701) by Michel L’Affilard (1705) and Louis-Léon Pajot, comte d’Onzembray (1732) completely -
(Dis) Embodying Myths in Ancien Régime Opera: Multidisciplinary
CONTENTS PREFACE iii CONTRIBUTORS’ BIOGRAPHIES xii MUSIC EXAMPLES AND ILLUSTRATIONS xiv LO SCHERNO DEGLI DEI: MYTH AND DERISION IN THE DRAMMA PER MUSICA OF THE SEVENTEENTH CENTURY 1 JEAN-FRANÇOIS LATTARICO HELPINGS FROM THE GREAT BANQUETS OF EPIC: HANDEL’S TESEO AND ARIANNA IN CRETA 19 ROBERT C. KETTERER ENVOICING THE DIVINE: ORACLES IN LYRIC AND SPOKEN DRAMA IN SEVENTEENTH- CENTURY FRANCE 53 GEOFFREY BURGESS ADDRESSING THE DIVINE: THE ‘NUMINOUS’ ACCOMPAGNATO IN OPERA SERIA 93 BRUNO FORMENT IPHIGENIA’S CURIOUS MÉNAGE À TROIS IN MYTH, DRAMA, AND OPERA 118 REINHARD STROHM SPECTATORSHIP AND INVOLVEMENT IN GLUCK’S IPHIGÉNIE EN TAURIDE 145 BRAM VAN OOSTVELDT BIBLIOGRAPHY 163 ii PREFACE Recent decades have seen a remarkable upsurge of interest in what was long declared the “dark ages”1 of opera: the massive repertoire composed between Claudio Monteverdi’s demise (1643) and Christoph Gluck’s Orfeo ed Euridice (1762). Numerous Baroque operas are currently being rediscovered, recorded, and (re)staged, renowned conductors are investing their time and energy in unperformed (or ‘unperformable’) works, and singers of high caliber assemble record-selling recitals from arias by such forgotten composers as Antonio Caldara or Nicola Porpora. Now that seventeenth- and eighteenth-century opera have returned sound and safe from the library to the theater, where they belong, it seems that even the most conservative spectator is ready to adapt his (post-)romantic expectations to re-embrace, say, simple recitative and da capo arias. Surfing this wave of enthusiasm, -
L'hiver De 1683-1684 Fut L'un Des Plus Froids Que L'on Ait Connu En Europe
21 MICHEL-RICHARD DE LALANDE VIE ET CARRIÈRE DE LALANDE L'hiver de 1683-1684 fut l'un des plus froids que l'on ait connu en Europe. La mort de la reine Marie-Thérèse, survenue lors de l'été précédent, dut le faire paraître particulièrement lugubre à Versailles. Avec l'influence grandissante de la dévote Madame de Maintenon, l'hiver à la Cour dut paraître encore plus déprimant et plus triste qu'à aucun autre moment du règne du Roi-Soleil. Ce fut dans ces mornes circonstances que le jeune et énergique Michel-Richard de Lalande entra en sa première charge de Sous-Maître de Chapelle, le 1er octobre, à l'âge de 25 ans. Son enthousiasme juvénile et ses dons de composition, déjà manifestes, frappèrent certainement les chanteurs et les instrumentistes à son service, parmi lesquels se trouvaient nombre de musiciens fort expérimentés. D'origine modeste (il naît le 15 décembre 1657, quinzième enfant d'un maître-tailleur parisien), Lalande bénéficie d'une solide éducation musicale. Le 15 avril 1667, à l'âge de neuf ans, il entre dans les chœurs de l'église royale de Saint-Germain-l'Auxerrois à Paris, en compagnie du jeune Marin Marais. Il y reste jusqu'au 18 novembre 1672, dans sa quinzième année. Le maître de chapelle François Chaperon réserve des solos au petit Lalande à cause de “ sa voix belle ” et parce qu'il “ aimait l'étude avec excès ”. En 1680, après son transfert à la Sainte-Chapelle à Paris, Chaperon invite Lalande, alors âgé de 22 ans, à enrichir le répertoire de la Semaine Sainte de quelques-unes de ses Leçons de Ténèbres.