DOCSLIB.ORG

Les Fêtes Vénitiennes

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Les Fêtes Vénitiennes 2016 BAM Winter/Spring #LesFetesVenitiennes Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Les Fêtes Katy Clark, President Joseph V. Melillo, Executive Producer Vénitiennes BAM Howard Gilman Opera House Apr 14 & 16 at 7:30pm; Apr 17 at 2pm Running time: approx. three hours including intermission By André Campra Les Arts Florissants Opéra Comique Conducted by William Christie Directed by Robert Carsen Scenic design by Radu Boruzescu Choregraphy by Ed Wubbe Costume design by Petra Reinhardt Lighting design by Robert Carsen and Peter van Praet English titles by Christopher Bergen Season Sponsor: In memory of Robert W. Wilson, with gratitude for his visionary and generous support of BAM. Major support provided by the Selz Foundation. Leadership support for opera at BAM provided by Aashish & Dinyar Devitre and The Andrew W. Mellon Foundation. Additional support provided by Anne H. Bass; Norman S. Benzaquen; Michael E. & Mary Gellert; The Fan Fox & Leslie R. Samuels Foundation; Robert L. Turner; and Sam & Ellen Sporn. Endowment funding provided by The Andrew W. Mellon Foundation Fund for Opera and Music-Theater. Support for the Signature Artist Series provided by the Howard Gilman Foundation. Major support for opera at BAM provided by The Francena T. Harrison Foundation Trust. Les Fêtes Vénitiennes CAST Magali Léger, Soprano La Raison, Lucile, Lucie Elodie Fonnard, Soprano Iphise, La Fortune Rachel Redmond, Soprano Irène, Léontine, Flore Emilie Renard, Mezzo Soprano La Folie, Isabelle Reinoud Van Mechelen, Tenor Thémir, Un Masque, Zéphyr Cyril Auvity, High tenor Maître de Danse, Suivant de la Fortune, Adolphe Sean Clayton, Tenor Démocrite Marcel Beekman, Tenor Maître de Musique, Maître de Chant Jonathan McGovern, Baritone Alamir, Damir, Borée François Lis, Bass Le Carnaval, Léandre, Rodolphe Geoffroy Buffière, Bass Héraclite WILLIAM CHRISTIE CYRIL AUVITY MARCEL BEEKMAN GEOFFROY BUFFIÈRE SEAN CLAYTON ELODIE FONNARD MAGALI LÉGER FRANÇOIS LIS JONATHAN MCGOVERN RACHEL REDMOND EMILIE RENARD REINOUD VAN MECHELEN ROBERT CARSEN RADU BORUZESCU ED WUBBE PETRA REINHARDT PETER VAN PRAET Les Fêtes Vénitiennes—Synopsis Les Fêtes Vénitiennes, an opéra-ballet by André Irène. From her window, she responds with Campra, with a prologue and three entrées—Le an Italian tune in which she calls him a fickle Bal, Les Sérénades, and L’Opéra—premiered at butterfly and spurns him. But Léandre,seeing a the Académie Royale de Musique in 1710. woman approach in the dark, believes that Irène came down to join him. He assures her that PROLOGUE neither Lucile nor Isabelle have ever charmed The Triumph of Folly over Reason during Carnival him. But it turns out that he actually spoke to Venice. Carnaval appears and invites the crowd the two girls who eventually reject him forever. to join him for the festivities. Folie joins him He comes to terms with it and rejoins a troupe with her retinue of Pleasures and supports his of gamblers who celebrate the power of Fortune: ambition to amuse and entertain. But a killjoy she exhibits the influence of her fickleness on arrives: Reason. Assisted by wise Democrite and gambling and love alike. Heraclite, she attempts to disenchant the crowd and warns everybody against the aberrations of THE OPERA Carnaval. In vain: she must leave Venice, letting In a theater where an opera is to be performed, Folie and Carnaval lead the festivities. a new actor enters—Borée, who hopes to approach Léontine, a singer he adores. Adolphe, THE BALL a singer himself and Damire’s friend, tries to Prince Alamir courts Iphise without revealing his divert the knight from his venture, to no avail. identity. To test her sincerity, he swaps clothes Damire is determined to abduct the woman with his servant Thémir. A music master and a performing the part of Flore that evening before dancing master, both French, have been asked to she is abducted by his rival Rodolphe, attending organize the sumptuous ball given by the prince the performance. It turns out that Léontine is in the evening. Each master endeavors to show really in love with Damire. Tired of pretending, he is the best and that his art prevails. Thémir, she wishes to be sincere despite the admonitions disguised as a prince, is to follow his efforts of her colleague Lucie who appreciates the while Alamir, dressed as a servant, puts Iphise duplicity of their situation. The singing master to the test by trying to convince her to accept the arrives to make Léontine rehearse her part. But love of “Prince” Thémir. Iphise is confused and he also loves her and shows his jealousy of her despair brings about the revelation: Alamir, Rodolphe, who is awaiting Léontine backstage. delighted to be loved for himself and not for his rank, proves to be the true patron of the festivity. The performance begins with Rodolphe in Charmed by the stratagem, Iphise reaffirms her attendance. It is a pastoral featuring shepherds love for Alamir. Both the prince and his new and shepherdesses with Zéphire and Flore, the princess can partake in the ball light-heartedly. latter played by Léontine. The entertainment is interrupted by the untimely arrival of the god of —INTERMISSION— wind Borée, who abducts Flore with the help of the north winds. While Zéphire mourns over SERENADES AND GAMBLERS Flore’s disappearance, Lucie declares that the One evening two anxious and jealous girls performance cannot go on since Léontine has meet in a Venetian square: Isabelle and Lucile truly been abducted, not by Borée but by he who have come to catch their unfaithful lover, each was portraying him: Damire! Rodolphe, furious one believing that her lover deceives her with of having been abused, can only leave the the other. It is indeed one and the same man, theater and run to the port as the two lovers are Léandre, but the two rivals find out that a about to leave Venice. third girl is involved. They hesitate to unite for revenge, each one thinking that the other wants EPILOGUE to keep Léandre. The gallant is coming with a The carnival ends and life is back to normal troupe of musicians and plays a serenade under again… or so it seems! the balcony of the one he hopes to conquer, Les Fêtes Vénitiennes DANCERS Alexandre Jolicoeur Reid Cuming Mara Hulspas Jean Gabriel Maury Bonnie Doets Maya Roest Kiyan Khoshoie Bryndis Brynjolfsdottir Debora Soto (ballet master) Mischa van Leeuwen Leslie Humbert CHORUS SOPRANOS HIGH TENORS TENORS BASSES Solange Añorga Camillo Angarita Edouard Hazebrouck Geoffroy Buffière Maud Gnidzaz Sean Clayton Thibaut Lenaerts Anicet Castel Eugénie Lefèbvre Bruno Renhold Nicolas Maire Laurent Collobert Virginie Thomas Marcio Soares Jean-Yves Ravoux Simon Dubois Violaine Lucas Holanda Michael-Loughlin Christophe Gautier Brigitte Pelote Jonathan Spicher Smith Geoffroy Heurard Juliette Perret Julien Neyer Isabelle Sauvageot ORCHESTRA VIOLINS CELLOS PERCUSSION Florence Malgoire (violin solo) Elena Andreyev Marie-Ange Petit Myriam Gevers Magali Boyer Liv Heym Ulrike Brütt MUSETTE Christophe Robert* Brigitte Crépin Maillard François Lazarevitch Catherine Girard Damien Launay Sophie Gevers-Demoures Cécile Verolles BASSO CONTINUO Michèle Sauvé Alix Verzier VIOLONCELLO Emmanuel Resche* David Simpson FLUTES VIOLAS I Serge Saitta* CONTRABASS Galina Zinchenko Charles Zebley* Jonathan Cable Simon Heyerick OBOES I THEORBO, LUTE VIOLAS II Pier Luigi Fabretti Thomas Dunford* Kayo Saito Yanina Yabubsohn Brian Feehan Deirdre Dowling OBOES II HARPSICHORD VIOLAS III Machiko Ueno Béatrice Martin Jean-Luc Thonnerieux Vincent Blanchard Samantha Montgomery *Musicians on stage BASSOONS Claude Wassmer Evolène Kiener Co-produced with the support of the SELZ Foundation, Théâtre du Capitole de Toulouse, Théâtre de Caen, and Centre de Musique Baroque de Versailles Les Arts Florissants receives financial support from the Ministry of Culture and Communication. Since January 2015, the ensemble has been artist in residence at the Philharmonie de Paris. The American Friends of Les Arts Florissants support all its activities. Thanks to the support of The Danny Kaye and Sylvia Fine Kaye Foundation, the Baroque L1VE Xperience program of Les Arts Florissants allows a group of teenagers to discover the concert under the best conditions and to continue the experience on the Internet. Who’s Who WILLIAM CHRISTIE (conductor), a at the Festival d’Aix en Provence, including harpsichordist, conductor, musicologist, and Orlando (BAM, 1996 Spring), The Magic Flute, teacher, is the inspiration behind one of the and Semele. Carsen’s numerous works for most exciting musical adventures of the last drama theater include Brecht’s Mother Courage 30 years. Born in Buffalo, Christie studied at and Her Children for Piccolo Teatro di Milano, Harvard and Yale Universities and has lived Wilde’s Lady Windermere’s Fan for Bristol in France since 1971. He founded Les Arts Old Vic Theatre, and Stoppard’s Rosencrantz Florissants in 1979 and received major public and Guildenstern Are Dead in New York. For recognition in 1987 with the production of Atys Théâtre du Châtelet, Paris, Carsen has directed at the Opéra Comique in Paris (the production’s Ute Lemper’s show Nomade, Bernstein’s US debut was presented at BAM in 1989; its Candide, and Loewe’s musical My Fair Lady. much-anticipated revival was presented at BAM He staged Andrew Lloyd Webber’s Beautiful in September 2011). His pioneering work has Game (Cambridge Theatre, London) and Sunset led to a renewed appreciation of 17th- and 18th- Boulevard (Great Britain tour). century French repertoire. He is equally adept at other European repertoire and has given many RADU BORUZESCU (scenic design) worked acclaimed performances of works by Monteverdi, with his wife Miruna as a scenographer and Rossi, Scarlatti, Purcell, Handel, Haydn, and costume designer since the start of his career. Mozart. His extensive discography (more than They worked together on the production of 100 recordings, many of which have won Les Fêtes Vénitiennes until Miruna’s death awards in France and abroad) with Harmonia in April 2014.
Load more

Recommended publications
  • Wednesday Playlist
    September 25, 2019: (Full-page version) Close Window “Art and life are not two separate things.” — Gustav Mahler Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Sibelius The Swan of Tuonela Boston Symphony/Davis Philips 446 160 028944616026 Awake! 00:11 Buy Now! Elgar The Sanguine Fan, Op. 81 London Philharmonic/Boult EMI 63133 077776313320 00:30 Buy Now! Mozart Piano Quartet No. 2 in E flat, K. 493 Bronfman/Zukerman/Marks/Forsyth RCA Red Seal 88697160442 886971604429 01:00 Buy Now! Gershwin Lullaby for Strings Cincinnati Pops/Kunzel Telarc 80503 089408050329 01:10 Buy Now! Bach English Suite No. 4 in F, BWV 809 Glenn Gould Sony 52606 n/a 01:28 Buy Now! Strauss, R. Le Bourgeois Gentilhomme Suite Chicago Symphony/Reiner RCA 5721 07863557212 01:59 Buy Now! Mozart Overture ~ The Magic Flute, K. 620 Academy of St. Martin-in-the-Fields/Marriner EMI 47014 077774701426 Virgin Classics 02:07 Buy Now! Rameau Fourth Concert (for harpsichord and strings) Trio Sonnerie 90749 07567907492 Digital 02:19 Buy Now! Beethoven Piano Concerto No. 5 in E flat, Op. 73 "Emperor" Arrau/Dresden State Orchestra/Davis Philips 416 215 028941621528 03:01 Buy Now! Mascagni Intermezzo ~ Cavalleria rusticana Philadelphia Orchestra/Ormandy Sony 48260 07464482602 03:05 Buy Now! Shostakovich Cello Concerto No. 1 in E flat, Op. 107 Kanneh-Mason/CBSO/Grazinyte-Tyla Decca 483 2948 028948329489 03:38 Buy Now! Telemann Paris Quartet No. 10 Kuijken Bros/Leonhardt Sony 63115 074646311523 03:59 Buy Now! Chopin Scherzo No.
    [Show full text]
  • SEASON 2020/2021 Stickers for Programme Choice ARTISTS LIST
    SEASON 2020/2021 Stickers for Programme Choice ARTISTS LIST STRING QUARTET Arditti Quartet Cuarteto Casals Quatuor Modigliani Artemis Quartett Jerusalem Quartet Quatuor Van Kuijk Belcea Quartet Novus String Quartet Schumann Quartett Brooklyn Rider Quatuor Ébène VIOLIN VIOLA CELLO Marc Bouchkov Amihai Grosz Miklós Perényi Isabelle Faust Jean-Guihen Queyras Vadim Gluzman Alisa Weilerstein Gidon Kremer Nikolaj Szeps-Znaider PIANO FORTEPIANO MANDOLIN Piotr Anderszewski Alexander Melnikov Avi Avital Saleem Ashkar Elena Bashkirova Jonathan Biss Alexander Melnikov CLARINET VOICE RECITATION Sharon Kam Georg Nigl (Baritone) Martina Gedeck CONDUCTOR ENSEMBLE PROJECTS Ariane Matiakh Brandt Brauer Frick Building Bridges Nikolaj Szeps-Znaider Ensemble Beethoven Cycle Scharoun Ensemble International ARDITTI QUARTET & JAKE ARDITTI STRING STRING QUARTET & COUNTER-TENOR Dillon: String Quartet No. 9 Paredes: “Canciones Lunáticas” QUARTET Henze: String Quartet No. 5 Sciarrino: “Cosa resta” On the occasion of the string quartet biennals in Paris and Amsterdam, as well as at the invitation of the Cologne Philharmonie, several world premieres are pending, by Ben Mason and Christian Mason, as well as Betsy Jolas and Toshio Hosokawa. ARTEMIS QUARTETT The Artemis Quartett, in their new top-class lineup, has created a first programme for the fall of 2020. Additional ones for the spring of 2021 to follow. Mendelssohn: String Quartet No. 2 in A minor, Op. 13 Vasks: New work for String Quartet (2020) Beethoven: String Quartet No. 15 in A minor, Op. 132 BELCEA QUARTET In the fall of 2020 with the Beethoven string quartet cycle, however, already fully booked. Spring 2021: Britten: String Quartet No. 1 in D major, Op. 25 Shostakovich: String Quartet No.
    [Show full text]
  • RAMEAU LES BORÉADES Václav Luks MENU
    RAMEAU LES BORÉADES Václav Luks MENU Tracklist Distribution L'œuvre Compositeur Artistes Synopsis Textes chantés L'Opéra Royal 1 MENU LES BORÉADES VOLUME 1 69'21 1 Ouverture 2'28 2 Menuet 0'44 3 Allegro 1'32 ACTE I 4 Scène 1 - Alphise et Sémire 3'19 Récits en duo et Airs d'Alphise «Suivez la chasse» Deborah Cachet, Caroline Weynants 5 Scène 2 - Borilée et les Précédents 0'29 Air et Récit de Borilée «La chasse à mes regards» Tomáš Šelc 6 Scène 3 - Calisis et les Précédents 2'08 Récit et Air de Calisis «À descendre en ces lieux» Deborah Cachet, Benedikt Kristjánsson 7 Scène 4 - Troupe travestie en Plaisirs et Grâces 0'35 Air de Calisis «Cette troupe aimable» Caroline Weynants, Benedikt Kristjánsson 8 Air gracieux (Ballet) 1'51 9 Air de Sémire «Si l'hymen a des chaines» – Caroline Weynants 0'40 10 Première Gavotte gracieuse 0'32 11 Deuxième Gavotte (Ballet) 0'46 12 Première Gavotte da capo (Ballet) 0'18 2 13 Air de Calisis «C'est dans cet aimable séjour» – Benedikt Kristjánsson 0'46 14 Rondeau vif (Ballet) – Caroline Weynants 2'23 15 Gavotte vive (Ballet) 0'51 16 Deuxième Gavotte (Ballet) 0'53 17 Ariette pour Alphise ou la Confidente (Sémire) «Un horizon serein» 7'37 Deborah Cachet ou Caroline Weynants 18 Contredanse en Rondeau (Ballet) 1'57 19 L'Ouverture pour Entracte ACTE II 20 Scène 1 - Abaris 2'25 Air d'Abaris «Charmes trop dangereux» Mathias Vidal 21 Scène 2 - Adamas et Abaris 0'31 Récit d'Adamas «J'aperçois ce mortel» Benoît Arnould 22 Air d'Adamas «Lorsque la lumière féconde» – Benoît Arnould 1'08 23 Récit d'Abaris et Adamas «Quelle
    [Show full text]
  • Liturgical Drama in Bach's St. Matthew Passion
    Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy.
    [Show full text]
  • Brochure De La Saison 2021-2022
    Les Talens Lyriques Les Talens Lyriques ont 30 ans ! ui, nous célébrerons cet anniversaire coûte que coûte. O Quelle longévité ! Je ne l’aurais moi-même jamais espé- rée. Comment m’imaginer diriger tant d’opéras, italiens et français, comment imaginer Les Talens à l’opéra de Sydney, de Versailles ou de Drottningholm, comment aurais-je pu me voir diriger du Berlioz, du Verdi, du Gounod ? Ma grande satisfaction est d’avoir tenu ma ligne entre la France et l’Italie, d’avoir pu éviter l’effet pour l’effet, d’avoir pris des risques avec les trompettistes mais aussi les cornistes et autres aventuriers du baroque pour retrouver les techniques et les sonorités « justes ». Je ne rougis d’aucune eau dans le vin que je respecte trop pour l’édulcorer. Cette saison marquera aussi nos 15 ans d’actions pédagogiques dans les écoles et les collèges. Aujourd’hui, les partenariats se transforment et se multiplient, de nou- veaux projets se développent dans ce souci de transmis- sion qui m’est si cher. Bien sûr, tous ces accomplissements ne seraient pos- sibles sans l’aide de nos partenaires qui nous soutiennent fidèlement depuis de nombreuses années. Sans eux, Les Talens Lyriques n’auraient pu mener à bien tous ces beaux projets. Qu’ils en soient ici très chaleureusement remerciés. Et merci à vous cher public pour votre présence pas- sionnée à nos côtés depuis toutes ces années. Vous me manquez, et j’ai hâte de vous retrouver ! Et maintenant : que la fête commence ! Cette saison justement rassemble ce qui est le cœur de notre vocation : 3 beaucoup d’opéras, surtout méconnus ; de la musique de chambre (car le claveciniste que je suis tient à rester aussi chambriste) ; des récitals de jeunes chanteurs (car découvrir de nouveaux talents est aussi notre marque de fabrique) ; et des incursions dans le romantisme.
    [Show full text]
  • Caterina Corner in Venetian History and Iconography Holly Hurlburt
    Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol.
    [Show full text]
  • Frederic Albou, Bass-Baritone
    Frederic Albou, bass-baritone 0033 1 46 63 88 19 0033 6 80 12 63 99 http://www.fredericalbou.com/ [email protected] After graduating in literature, musicology and conducting, and receiving an award from the CNR of Reims in clarinet, Frédéric Albou started to study singing with Christiane Patard, and worked with such coaches as Janine Reiss, Marie-Jeanne Serero, Olivier Reboul, Erika Guiormar, Jory Vinikour and Brigitte Clair. He also improved his mastery under the advices of Jorge Chamine, Teresa Berganza, Ruggero Raimondi, Alain Fondary, Sergei Leiferkus, Eva Märtson, Anna Ringart, Russel Smythe and Howard Crook. He has been trained as an actor by Ruth Ortmann, Roberto Maria Grassi and Catherine Riboli, and practises Chinese martial arts with Master Tien Shue. His is a passionate and committed path dedicated to a wide repertoire. Thus since 1999 he is a member of the Ensemble Kerylos, devoted to Ancient Greek musical scores, founded and conducted by Annie Bélis, with whom he has premiered several works (Medea by Karkinos, Hymn to Lemnos, by Euripides, Abstract from Theseus by Sophokles, Nequia from the Oslo Papyrus, Hymn to Apollo from the Yale Papyrus), and has performed in such renowned venues as the Grand Amphitheatre de la Sorbonne, the Auditorium du Louvre, or Lyon’s Archaeological Museum. Together with that band he also recorded several radio and television broadcasted programmes, and is to prepare a new double CD. He has also performed Renaissance polyphonic music, particularly with the Huelgas Ensemble, conducted by Paul Van Nevel, with whom he sang in various European festivals (Saintes, Noirlac, Tongeren), and recorded the CD Sommets de la polyphonie flamande (Harmonia Mundi).
    [Show full text]
  • La Sonnambula 3 Content
    Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013 Batchelor MIAMI BEACH Foundation Inc. Dear Friends, Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of © FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion. Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera.
    [Show full text]
  • Rameau Et L'opéra Comique
    2020 HIPPOLYTE ET ARICIE HIPPOLYTE ET ARICIEJEAN-PHILIPPE RAMEAU 11, 14, 15, 18, 21, 22 NOVEMBRE 2020 1 Soutenu par Soutenu par AVEC L'AIMABLE AVEC LE SOUTIEN DE PARTENARIAT MÉDIA Madame Aline Foriel-Destezet, PARTICIPATION DE Grande Donatrice de l’Opéra Comique Spectacle capté les 15 et 18 novembre et diffusé ultérieurement. 2 HIPPOLYTETragédie lyrique en cinq actes de Jean-Philippe ET ARICIE Rameau. Livret de l’abbéer Pellegrin Créée à l’Académie royale de musique (Opéra) le 1 octobre 1733. Version de 1757 (sans prologue) avec restauration d’éléments des versions antérieures (1733 et 1742). Raphaël Pichon Direction musicale - Jeanne Candel Mise en scène -Lionel Gonzalez Dramaturgie et direction d’acteurs - Lisa Navarro DécorsPauline - Kieffer Costumes -César Godefroy Lumières - Yannick Bosc Collaboration aux mouvements - Ronan Khalil * Chef de chant - Valérie Nègre Assistante mise en scène -Margaux Nessi Assistante décorsNathalie - Saulnier Assistante costumes - Reinoud van Mechelen Hippolyte - Elsa Benoit SylvieAricie Brunet-Grupposo - Phèdre - Stéphane Degout Opéra Comique Thésée - Nahuel Di Pierro Production Opéra Royal – Château de Versailles Spectacles Neptune, Pluton -Eugénie Lefebvre Coproduction Diane - Lea Desandre Prêtresse de Diane, Chasseresse, Matelote, BergèreSéraphine - Cotrez © Édition Nicolas Sceaux 2007-2020 Œnone - Edwin Fardini Pygmalion. Tous droits réservés Constantin Goubet* re Tisiphone - Martial Pauliat* e 1 Parque - 3h entracte compris Virgile Ancely * 2 Parque,e Arcas - Durée estimée : 3 ParqueGuillaume - Gutierrez* Mercure - * MembresYves-Noël de Pygmalion Genod Iliana Belkhadra Introduction au spectacle Chantez Hippolyte Prologue - Leena Zinsou Bode-Smith (11, 15, 18 et 22 novembre) / et Aricie et Maîtrise Populaire de(14 l’Opéra et 21 novembre) Comique sont temporairement suspendues en raison de la des conditions sanitaires.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 1993
    ~^I7^ TanglewGDci erau Wednesday, August 11, at 8:30 K^ LES ARTS FLORISSANT WILLIAM CHRISTIE, Director CHRISTINE BRANDES, soprano HIRO KUROSAKI, violin CLAIRE BRUA, soprano MIHOKO KIMURA, violin VERONIQUE GENS, soprano SIMON HEYERICK, viola SOPHIE MARIN-DEGOR, soprano PAUL CARLIOZ, cello STEVE DUGARDIN, countertenor WILLIAM CHRISTIE, harpsichord MARK PADMORE, tenor JEROME CORREAS, baritone JEAN-CLAUDE SARRAGOSSE, bass ^<^^: MARC-ANTOINE ACTEON CHARPENTIER (1634-1704) Acteon Mark Padmore Diane Sophie Marin-Degor Arthebuze Veronique Gens Junon Claire Brua Hyale Christine Brandes Daphne Claire Brua INTERMISSION •?'.' HENRY PURCELL DiDO AND y^NEAS v'f^ (1659-1695) Dido Veronique Gens Belinda Sophie Marin-Degor vEneas Jerome Correas The Sorceress Claire Brua First Witch /Second Woman Christine Brandes Second Witch Sophie Marin-Degor The Spirit/The Sailor Mark Padmore Les Arts Florissants is funded by the French Ministry of Culture, the town of Caen/Region Basse-Normandie, and the Pechiney Corporation. Week 6 . Acteon Scene premiere Scene I Dans la vallee de Gargaphie In the vale ofGargaphy Bruit de chasse Hunting sounds CHOEUR DES CHASSEURS CHORUS OF HUNTERS Allons, marchons, courons, Let us go, march, run, hastens nos pas . hasten our steps . Quelle ardeur du soleil qui brusle How fiery the sun that beats down noscampagnes; upon our fields; Que le penible acces des plus Let not the arduous way to hautes montagnes the highest peaks Dans un dessein si beau ne nous In so fair a view cause us retarde pas. to tarry. ACTEON ACTEON Deesse par qui je respire, Goddess who grants me breath, Aimable Reyne des forets, Amiable Queen of the forests.
    [Show full text]
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
    [Show full text]
  • Howard Mayer Brown Microfilm Collection Guide
    HOWARD MAYER BROWN MICROFILM COLLECTION GUIDE Page individual reels from general collections using the call number: Howard Mayer Brown microfilm # ___ Scope and Content Howard Mayer Brown (1930 1993), leading medieval and renaissance musicologist, most recently ofthe University ofChicago, directed considerable resources to the microfilming ofearly music sources. This collection ofmanuscripts and printed works in 1700 microfilms covers the thirteenth through nineteenth centuries, with the bulk treating the Medieval, Renaissance, and early Baroque period (before 1700). It includes medieval chants, renaissance lute tablature, Venetian madrigals, medieval French chansons, French Renaissance songs, sixteenth to seventeenth century Italian madrigals, eighteenth century opera libretti, copies ofopera manuscripts, fifteenth century missals, books ofhours, graduals, and selected theatrical works. I Organization The collection is organized according to the microfilm listing Brown compiled, and is not formally cataloged. Entries vary in detail; some include RISM numbers which can be used to find a complete description ofthe work, other works are identified only by the library and shelf mark, and still others will require going to the microfilm reel for proper identification. There are a few microfilm reel numbers which are not included in this listing. Brown's microfilm collection guide can be divided roughly into the following categories CONTENT MICROFILM # GUIDE Works by RISM number Reels 1- 281 pp. 1 - 38 Copies ofmanuscripts arranged Reels 282-455 pp. 39 - 49 alphabetically by institution I Copies of manuscript collections and Reels 456 - 1103 pp. 49 - 84 . miscellaneous compositions I Operas alphabetical by composer Reels 11 03 - 1126 pp. 85 - 154 I IAnonymous Operas i Reels 1126a - 1126b pp.155-158 I I ILibretti by institution Reels 1127 - 1259 pp.
    [Show full text]