La Princesse Jaune (1872) Camille Saint-Saëns (1835-1921)

Total Page:16

File Type:pdf, Size:1020Kb

La Princesse Jaune (1872) Camille Saint-Saëns (1835-1921) Il Palazzetto Bru Zane presenta LA PRINCESSE JAUNE (1872) CAMILLE SAINT-SAËNS (1835-1921) Opéra-comique in un atto. Libretto di Louis Gallet. Musica di Camille Saint-Saëns. Rappresentato per la prima volta all’Opéra-Comique a Parigi il 12 giugno 1872. In aggiunta, le Mélodies persanes (1870) dello stesso compositore sono state registrate dopo La Princesse jaune. Registrazione realizzata alla Halle aux Grains di Tolosa (Francia) dall’11 al 13 febbraio 2021. Edizioni musicali del Palazzetto Bru Zane. Data di uscita: 27 agosto 2021 Leo Hussain direzione ORCHESTRE NATIONAL DU CAPITOLE DE TOULOUSE La Princesse jaune Judith van Wanroij, Mathias Vidal, Anaïs Constans Mélodies persanes Philippe Estèphe, Jérôme Boutillier, Éléonore Pancrazi, Artavazd Sargsyan, Anaïs Constans, Axelle Fanyo 1 CD / 104 pagine (testi e libretto) Etichetta Bru Zane Distribuzione Registrazione disponibile in download e streaming sulle piattaforme digitali con libretto scaricabile online BZ 1045 COLLANA «OPÉRA FRANÇAIS» – vol. 29 CD con libro: edizione bilingue (inglese e francese) Saggi di Alexandre Dratwicki, Vincent Giroud e Stéphane Leteuré, e testo storico di Ernest Reyer. Camille Saint-Saëns, artista giramondo, compose La Princesse jaune nel 1872; l’opera testimonia l’infatuazione dell’epoca per tutto ciò che aveva a che fare con il Giappone. Kornélis, interpretato dal tenore Mathias Vidal, sogna solo la terra del Sol Levante. Sotto l’effetto di una pozione allucinogena, si innamora di Ming, una principessa immaginaria. Sua cugina Lena – il soprano Judith van Wanroij – si dispera per questa passione e non osa confessare i propri sentimenti a Kornélis, che finirà per tornare in sé. La durata dell’opera permette di integrare la registrazione con una versione inedita delle sei Mélodies persanes di Saint-Saëns, offrendo un’ulteriore declinazione della moda dell’esotismo, qui rivolta verso altri orizzonti. Entrambi i lavori sono eseguiti dall’Orchestre national du Capitole di Tolosa diretta da Leo Hussain. LA PRINCESSE JAUNE ANDRÀ IN SCENA NEL CORSO DELLA STAGIONE 2021-2022 DEL PALAZZETTO BRU ZANE La Princesse jaune di Camille Saint-Saëns e Djamileh di Georges Bizet Géraldine Martineau (della Comédie-Française) regia con Jenny Daviet, Sahy Ratia, Aude Extrémo, Philippe-Nicolas Martin, Maxime Le Gall, Sonia Duchesne 1°, 3 e 5 ottobre 2021 – Opéra de Tours (Francia) 19, 21 e 22 maggio 2022 – Théâtre municipal Raymond Devos, Tourcoing (Francia) Esecuzione in forma scenica La Princesse jaune: Edizioni musicali del Palazzetto Bru Zane Djamileh: Edizioni Hugh MacDonald © Fishergate Music 2020 PUBBLICAZIONI SU CAMILLE SAINT-SAËNS CD CON LIBRO | ETICHETTA BRU ZANE Camille Saint-Saëns Camille Saint-Saëns Le Timbre d’argent (1864) Proserpine (1887) LES SIÈCLES MÜNCHNER RUNDFUNKORCHESTER ACCENTUS FLEMISH RADIO CHOIR François-Xavier Roth direzione Ulf Schirmer direzione con Hélène Guilmette, Jodie Devos, Edgaras Montvidas, con Véronique Gens, Marie-Adeline Henry, Frédéric Antoun, Yu Shao, Tassis Christoyannis, Jean-Yves Ravoux, Andrew Foster-Williams, Jean Teitgen, Mathias Vidal, Philip- Matthieu Chapuis pe-Nicolas Martin, Artavazd Sargsyan, Clémence Tilquin Collana «Opéra français» – vol. 25 Collana «Opéra français»– vol. 15 BRU ZANE – 2020 BRU ZANE – 2017 Camille Saint-Saëns Camille Saint-Saëns Les Barbares (1901) et le prix de Rome ORCHESTRE SYMPHONIQUE BRUSSELS PHILHARMONIC ET CHŒUR LYRIQUE FLEMISH RADIO CHOIR SAINT-ÉTIENNE LOIRE Hervé Niquet direzione Laurent Campellone direzione con Julie Fuchs, Marina De Liso, Solenn’ Lavanant-Linke, con Catherine Hunold, Julia Gertseva, Edgaras Montvidas, Bernard Richter, Pierre-Yves Pruvot, Nicolas Courjal, Jean Teitgen, Shawn Mathey, Philippe Rouillon, Tigran Bart Cypers, François Saint-Yves Guiragosyan, Laurent Pouliaude, Ghezlane Hanzazi Collana «Prix de Rome» – vol. 2 Collana «Opéra français»– vol. 8 GLOSSA – 2010 BRU ZANE – 2014 LIBRI Libro tascabile in francese Libro in francese Croquer Saint-Saëns Camille Saint-Saëns, di Stéphane Leteuré le compositeur globe-trotter (1857-1921) Un centinaio di caricature raffiguranti Camille di Stéphane Leteuré Saint-Saëns sono pubblicate e commentate in Viaggiatore instancabile, Saint-Saëns trascorre questo volume, che getta nuova luce sull’autore del molti anni in Algeria e in Egitto nel periodo del Carnevale degli animali, il quale peraltro non esito ad colonialismo, caratterizzato da influenze e scambi attaccare i suoi contemporanei. culturali. ACTES SUD / PALAZZETTO BRU ZANE ACTES SUD / PALAZZETTO BRU ZANE 2021 2017 Libro in francese Libro in francese Correspondance entre Camille Saint-Saëns Lettres de compositeurs à et Jacques Rouché Camille Saint-Saëns presentata e commentata da presentate e annotate Marie-Gabrielle Soret da Eurydice Jousse e Yves Gérard Il volume presenta lo scambio epistolare tra il Dai semplici biglietti di Berlioz, Bizet, e Wagner direttore dell’Opéra di Parigi intorno a 1914-1920 all’estesa corrispondenza di Gounod, Liszt e Widor, e Saint-Saëns, allora al crepuscolo della sua vita. diverse generazioni di celebri compositori sono ACTES SUD / PALAZZETTO BRU ZANE rappresentate da quasi seicento documenti tratti 2016 dall’archivio personale di Camille Saint-Saëns. SYMÉTRIE / PALAZZETTO BRU ZANE 2009 Coordinatrice stampa Katia Amoroso [email protected] Palazzetto Bru Zane Centre de musique romantique française Per approfondimenti è San Polo 2368 disponibile la mediabase della 30125 Venezia musica romantica francese BRUZANEMEDIABASE.COM BRU-ZANE.COM.
Recommended publications
  • Samson Et Dalila De Camille Saint-Saëns
    DOSSIER PÉDAGOGIQUE SAMSON © Christian Legay - Opéra-Théâtre de Metz Métropole de Metz - Opéra-Théâtre © Christian Legay ET DALILA DE CAMILLE SAINT-SAËNS CONTACTS ACTION CULTURELLE Marjorie Piquette / 01 69 53 62 16 / [email protected] Eugénie Boivin / 01 69 53 62 26 / [email protected] 1 SAMSON ET DALILA DE CAMILLE SAINT-SAËNS répétition générale : mercredi 7 novembre 2018 à 20h30 vendredi 9 novembre 2018 à 20h dimanche 11 novembre 2018 à 16h OPÉRA EN 3 ACTES ET 4 TABLEAUX Livret en français de Ferdinand Lemaire d’après la Bible (Juges 16, 4-30). Création au Théâtre de la Cour grand-ducale de Weimar, le 2 décembre 1877 grâce à Liszt et représenté à Paris en 1892. Direction Musicale David Reiland Mise en Scène Paul-Emile Fourny Assisté de Sylvie Laligne Décors Marco Japelj Costumes Brice Lourenço Lumières Patrice Willaume Chorégraphie Laurence Bolsigner-May Chef de Chant Nathalie Dang Chef de Chœur Nathalie Marmeuse Avec Samson Jean-Pierre Furlan Dalila Vikena Kamenica Le Grand Prêtre Alexandre Duhamel Abimélech Patrick Bolleire Un Vieillard Hébreu Wojtek Smilek Un Messager Daegweon Choi Le 1er Philistin Eric Mathurin Le 2e Philistin Jean-Sébastien Frantz Orchestre national d’Île-de-France Chœur de l’Opéra-Théâtre de Metz Métropole Chœurs Supplémentaires de l’Opéra de Massy Ballet de l’Opéra-Théâtre de Metz Métropole Production de l’Opéra-Théâtre de Metz Métropole En coproduction avec l’Opéra de Massy et le SNG-Opéra et Ballet National de Slovénie à Maribor ALLER PLUS LOIN : CONFÉRENCE CONFÉRENCE AUTOUR DE SAMSON ET DALILA : MARDI 6 NOVEMBRE À 19H Par Barbara Nestola, musicologue Entrée gratuite sur réservations au 01 60 13 13 13 (à partir du 23/10) 2 LE COMPOSITEUR On a pris la fâcheuse habitude de croire que, là où il y a des sons musicaux, il y a nécessairement de la musique.
    [Show full text]
  • Ernest Guiraud: a Biography and Catalogue of Works
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 Ernest Guiraud: A Biography and Catalogue of Works. Daniel O. Weilbaecher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Weilbaecher, Daniel O., "Ernest Guiraud: A Biography and Catalogue of Works." (1990). LSU Historical Dissertations and Theses. 4959. https://digitalcommons.lsu.edu/gradschool_disstheses/4959 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • Nietzsche, Debussy, and the Shadow of Wagner
    NIETZSCHE, DEBUSSY, AND THE SHADOW OF WAGNER A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Tekla B. Babyak May 2014 ©2014 Tekla B. Babyak ii ABSTRACT NIETZSCHE, DEBUSSY, AND THE SHADOW OF WAGNER Tekla B. Babyak, Ph.D. Cornell University 2014 Debussy was an ardent nationalist who sought to purge all German (especially Wagnerian) stylistic features from his music. He claimed that he wanted his music to express his French identity. Much of his music, however, is saturated with markers of exoticism. My dissertation explores the relationship between his interest in musical exoticism and his anti-Wagnerian nationalism. I argue that he used exotic markers as a nationalistic reaction against Wagner. He perceived these markers as symbols of French identity. By the time that he started writing exotic music, in the 1890’s, exoticism was a deeply entrenched tradition in French musical culture. Many 19th-century French composers, including Felicien David, Bizet, Massenet, and Saint-Saëns, founded this tradition of musical exoticism and established a lexicon of exotic markers, such as modality, static harmonies, descending chromatic lines and pentatonicism. Through incorporating these markers into his musical style, Debussy gives his music a French nationalistic stamp. I argue that the German philosopher Nietzsche shaped Debussy’s nationalistic attitude toward musical exoticism. In 1888, Nietzsche asserted that Bizet’s musical exoticism was an effective antidote to Wagner. Nietzsche wrote that music should be “Mediterranized,” a dictum that became extremely famous in fin-de-siècle France.
    [Show full text]
  • Saint-Saëns Voyageur L’Ailleurs Est Un Puissant Moteur
    Les colloques de l’Opéra Comique Exotisme et art lyrique. Juin 2012 Sous la direction d’Alexandre DRATWICKI et Agnès TERRIER Saint-Saëns voyageur L’ailleurs est un puissant moteur Marie-Gabrielle SORET Saint-Saëns disait de lui-même : « Le juif errant était un sédentaire à côté de moi1 », ou encore : « J’ai la réputation d’un nomade2. » Cette réputation était bien justifiée ; entre janvier et août 1912 par exemple, le musicien a parcouru 25 000 km, et c’est ainsi à peu près tous les ans depuis le début des années 1870. Ses confrères s’en étonnent, les journaux s’en amusent3 et se font souvent l’écho de ses déplacements. Saint-Saëns est un très grand voyageur et rien, ni son grand âge, ni la dégradation de son état de santé, ne ralentiront le rythme de ses pérégrinations. Mais quelles motivations, quels « moteurs », l’ont donc poussé à mener cette vie de perpétuelle transhumance, à rechercher sans cesse un « ailleurs » – et ce jusqu’à son dernier souffle, puisqu’il s’éteint dans un hôtel d’Alger, le 16 décembre 1921, à l’âge de 86 ans. Comment ces voyages ont-ils marqué l’homme et influencé l’œuvre ? La première explication que met en avant Saint-Saëns pour justifier ces longues absences, est une raison de santé. Les voyages sont pour lui quasiment une condition nécessaire à sa survie. Il est en effet phtisique depuis l’enfance, maladie héritée de son père, Jacques-Victor Saint-Saëns, mort à 37 ans, à peine trois mois après la naissance de ce fils unique.
    [Show full text]
  • The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
    The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918.
    [Show full text]
  • Femmes Fatales Soprano Heroines from the Orient
    Femmes Fatales Soprano Heroines from the Orient Seljan Nasibli, Soprano National Symphony Orchestra of Ukraine Yalchin Adigezalov Femmes Fatales Soprano Heroines from the Orient Maurice RAVEL (1875–1937) Shéhérazade (1903) 17:57 (Text: Tristan Klingsor, 1874–1966) 1 Asie (‘Asia’) 10:31 2 La Flûte enchantée (‘The Enchanted Flute’) 3:14 3 L’Indifférent (‘The Indifferent One’) 4:10 Samuel BARBER (1910–1981) 4 Andromache’s Farewell (1962) 13:00 (Text: from The Trojan Women by Euripides, translated by J.P. Creagh, 1930–2012) Georges BIZET (1838–1875) Les Pêcheurs de perles (‘The Pearl Fishers’) (1863) 6:44 (Text: Michel Carré, 1822–1872, Eugène Cormon, 1810–1903) 5 Comme autrefois dans la nuit sombre (‘As once in the dark night’) (Léïla) Karol SZYMANOWSKI (1882–1937) Pieśni księżniczki z baśni (‘Songs of a Fairy-Tale Princess’) (1915/1933) 9:31 (Text: Zofia Szymanowska, 1898–1946) 6 I. Samotny księżyc (‘The Solitary Moon’) 4:36 7 II. Słowik (‘The Nightingale’) 2:54 8 IV. Taniec (‘Dance’) 2:00 8.579066 2 Nikolay Andreyevich RIMSKY-KORSAKOV (1844–1908) Le Coq d’or (‘The Golden Cockerel’) (1909) 5:06 (Text: Vladimir Belsky, 1866–1946, derived from Alexander Pushkin’s poem, The Tale of the Golden Cockerel) 9 Ответь мне, зоркое светило (‘Hymn to the Sun’) (Queen of Shemakha) Giacomo PUCCINI (1858–1924) Turandot (1924) 6:10 (Text: Giuseppe Adami, 1878–1946, Renato Simoni, 1875–1952) 0 Tu che di gel sei cinta (‘You who are bound in ice’) (Liù) 3:19 ! Signore, ascolta! (‘Listen, master!’) (Liù) 2:50 Jules MASSENET (1842–1912) Thaïs (1898) 6:47 (Text: Libretto by Louis Gallet, 1835–1898, based on the novel Thaïs by Anatole France) @ Dis-moi que je suis belle (‘Tell me that I am beautiful’) (Thaïs) Seljan Nasibli, Soprano National Symphony Orchestra of Ukraine Yalchin Adigezalov 3 8.579066 Artist’s Foreword In recent years, the role of women and their importance in our society has been put to the forefront.
    [Show full text]
  • Download Document
    camille saint-saëns: le timbre d’argent A word from the composer Camille Saint-Saëns On three occasions in his career, Camille Saint-Saëns explained the genesis and artistic aspirations of an opera that was particularly close to his heart. The article of May 1911 and the programme note of January 1914 are especially enlightening. These two texts, partially reproduced below, were published in 2012 by Marie-Gabrielle Soret in Camille Saint-Saëns, Écrits sur la musique et les musiciens . ‘the story of an opéra-comique’ [may 1911] Carvalho gave me Le Timbre d’argent , which he did not know what to do with, several composers having refused it. There were good reasons for that; along with an excellent subject matter, very well suited to music, this libretto presented enormous defects. I requested substantial changes to which the authors, Barbier and Carré, agreed at once, and, having with - drawn to the heights of Louveciennes, in two months I drafted the five acts that the work originally comprised. It took me two years to get Carvalho to agree to hear my music. Finally, weary of my solicitations and determined to get rid of me, Carvalho invited me to dinner with my score: and after dinner, I found myself at the piano, M. Carvalho on one side, Mme Carvalho on the other, both extremely gracious, but with that sort of graciousness whose hidden meaning could not escape me. They had no idea what was waiting for them. Both of them genuinely loved music; and, little by little, they fell under the spell of mine; seriousness replaced perfidious amiability; and 80 in the end, it was enthusiasm! Carvalho declared that he would have the work scheduled for study as soon as possible; it was a masterpiece, it would be a great success; but to ensure that success, Mme Carvalho must sing the leading role.
    [Show full text]
  • Exposition Saint-Saëns Un Esprit Libre – Dossier De Presse –
    Saint-Saëns un esprit libre 25 JUIN - 10 OCTOBRE 2021 exposition Bibliothèque-musée de l’Opéra. Palais Garnier, Paris 9e bnf.fr operadeparis.fr #Saint-Saëns DOSSIER DE PRESSE Sommaire Communiqué de presse et renseignements pratiques 3 Iconographie 5 Présentation 7 Parcours de l’exposition 8 Publication 15 Autour de l’exposition 17 La BnF I Opéra 18 L’Opéra national de Paris 19 Communiqué de presse La Bibliothèque nationale de France et l’Opéra national de Paris célèbrent le centenaire de la disparition de Camille Saint-Saëns (1835 – 1921) à travers l’exposition Saint-Saëns : un esprit libre, première grande rétrospective consacrée à ce musicien. On lui doit Le Carnaval des animaux ou la Danse macabre, qui l’ont rendu extrêmement populaire ; mais Saint-Saëns composa pas moins de 600 œuvres, dont 13 opéras. Avec des centaines de concerts donnés à travers le monde, une forte présence au sein des institutions, il devint, au fil de sa carrière, une personnalité incontournable de la vie musicale. Républicain de la première heure, d’une curiosité insatiable, polyglotte et voyageur infatigable, il fut à la fois un pianiste virtuose, un compositeur de génie et l’un des meilleurs représentants de la culture française. L’exposition retrace ce parcours extraordinaire, à travers plus de 200 pièces - manuscrits musicaux, correspondances, photographies, objets, tableaux, maquettes de décors et de costumes -, autant de jalons qui mènent à la redécouverte d’un artiste étonnant, figure marquante de notre histoire culturelle mais aussi esprit libre. Une vie extravagante, une carrière d’une longévité exceptionnelle et un impressionnant catalogue d’ouvrages, dont chacun a dans l’oreille au moins l’un des nombreux « tubes » : le célèbre Carnaval des animaux, la Danse macabre, la Troisième symphonie avec orgue, ou la Bacchanale de Samson et Dalila pour ne citer que ceux-là.
    [Show full text]
  • Holover-Opera-Part-1.Pdf
    J & J LUBRANO MUSIC ANTIQUARIANS Item 69 Catalogue 82 OPERA SCORES from the Collection of Jerome Holover (1943-2013) Part 1: A-L 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to insure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased v Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
    [Show full text]
  • Exposition Saint-Saëns : Un Esprit Libre – Dossier De Presse –
    Saint-Saëns un esprit libre 25 JUIN - 10 OCTOBRE 2021 exposition Bibliothèque-musée de l’Opéra. Palais Garnier, Paris 9e bnf.fr operadeparis.fr #Saint-Saëns DOSSIER DE PRESSE Sommaire Communiqué de presse et renseignements pratiques 3 Iconographie 5 Présentation 7 Parcours de l’exposition 8 Publication 15 Autour de l’exposition 17 La BnF I Opéra 18 L’Opéra national de Paris 19 Communiqué de presse La Bibliothèque nationale de France et l’Opéra national de Paris célèbrent le centenaire de la disparition de Camille Saint-Saëns (1835 – 1921) à travers l’exposition Saint-Saëns : un esprit libre, première grande rétrospective consacrée à ce musicien. On lui doit Le Carnaval des animaux ou la Danse macabre, qui l’ont rendu extrêmement populaire ; mais Saint-Saëns composa pas moins de 600 œuvres, dont 13 opéras. Avec des centaines de concerts donnés à travers le monde, une forte présence au sein des institutions, il devint, au fil de sa carrière, une personnalité incontournable de la vie musicale. Républicain de la première heure, d’une curiosité insatiable, polyglotte et voyageur infatigable, il fut à la fois un pianiste virtuose, un compositeur de génie et l’un des meilleurs représentants de la culture française. L’exposition retrace ce parcours extraordinaire, à travers plus de 200 pièces - manuscrits musicaux, correspondances, photographies, objets, tableaux, maquettes de décors et de costumes -, autant de jalons qui mènent à la redécouverte d’un artiste étonnant, figure marquante de notre histoire culturelle mais aussi esprit libre. Une vie extravagante, une carrière d’une longévité exceptionnelle et un impressionnant catalogue d’ouvrages, dont chacun a dans l’oreille au moins l’un des nombreux « tubes » : le célèbre Carnaval des animaux, la Danse macabre, la Troisième symphonie avec orgue, ou la Bacchanale de Samson et Dalila pour ne citer que ceux-là.
    [Show full text]
  • MARIE-MAGDELEINE Composer: Jules Massenet Libretto by Louis Gallet Marie-Magdeleine Was Massenet's First Major Success And
    MARIE-MAGDELEINE Composer: Jules Massenet Libretto by Louis Gallet Marie-Magdeleine was Massenet's first major success and the first of his four dramatic oratorios. It was later restaged as an opera, but was not successful in this new form. Act I At the gates of Magdala, townspeople await the coming of Jesus of Nazareth. Mary, who has given up her evil ways for Jesus, arrives; the people mock her, reminding her of her former life. Judas advises her to continue living as she had done before her conversion, but Jesus appears and chastises the crowd for judging her. Act II At Mary's house, servants are preparing for Jesus' arrival; Judas fears that his master's dining in Mary's house will allow the Pharisees to bring Jesus down with gossip, but Martha will not listen to him. Jesus arrives and sings of the beauty of repentance. The disciples arrive, and Jesus tells them that one of them will betray him; Jesus and the disciples end the act with the Lord's Prayer. Act III Jesus is dying on the cross between the two thieves. The people passing by mock him, but he only prays for their forgiveness. Mary arrives, and throws herself at the feet of the Cross, asking Jesus not to leave them. He comforts her, then dies. Act IV Mary arrives in the garden of Joseph of Arimathea to see Jesus' body, but he instead appears to her alive. Angelic voices sing a hymn of praise, and Mary leads the chorus in a song of rejoicing.
    [Show full text]
  • The Allure and Scandal of Otherness in the Operas of Georges Bizet and Their Source Texts
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2014 The Allure and Scandal of Otherness in the Operas of Georges Bizet and their Source Texts Maria E. Santini College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the French and Francophone Literature Commons, and the Other French and Francophone Language and Literature Commons Recommended Citation Santini, Maria E., "The Allure and Scandal of Otherness in the Operas of Georges Bizet and their Source Texts" (2014). Undergraduate Honors Theses. Paper 108. https://scholarworks.wm.edu/honorstheses/108 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. The Allure and Scandal of Otherness in the Operas of Georges Bizet and their Source Texts By Maria Elena Santini College of William & Mary Department of French & Francophone Studies May 1, 2014 Table of Contents Acknowledgements _____________________________________________________3 Introduction ___________________________________________________________4 Chapter 1: Parisian Opera in the 19th Century ______________________________10 An opera of social dynamics ___________________________________________11 Wagner and French opera _____________________________________________15 Changing operatic
    [Show full text]