19Th Century Architecture • in the Nineteenth Century, Each Nation Came to Value Its Past As Evidence of the Validity of Its Ambitions and Claims to Greatness
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THE PARIS OPERA (L'opéra) a Documentary by Jean-Stéphane Bron
Presents THE PARIS OPERA (L'OPÉRA) A Documentary by Jean-Stéphane Bron France, Switzerland / 2016 / Documentary / French with English Subtitles 111 min / DCP 5.1 / 1.85 / Color Opens October 18th in New York City & October 20th in Los Angeles Film Movement Contacts: Genevieve Villaflor | Press & Publicity | (212) 941-7744 x215 | [email protected] Clemence Taillandier | Theatrical | (212) 941-7715 | [email protected] Maxwell Wolkin | Non-Theatrical & Festivals | (212) 941-7744 x211 | [email protected] Assets: Official US Trailer: TBD Downloadable hi-res images: TBD SYNOPSIS Autumn 2015. At the Paris Opera, Stéphane Lissner is putting the finishing touches to his first press conference as director. Backstage, artists and crew prepare to raise the curtain on a new season with Schönberg’s Moses and Aaron. But the announcement of a strike and arrival of a bull in a supporting role complicate matters. At the same time, a promising young Russian singer begins at the Opera’s Academy. In the hallways of Opera Bastille, his destiny will cross paths with that of Bryn Terfel, one of the greatest voices of his time. As the season progresses, more and more characters appear, playing out the human comedy in the manner of a documentary Opera. But this comedy is set against a tragic backdrop when terrorist attacks plunge Paris into mourning. Even though the show must go on at all costs, there is no end of trouble for the new director. Star choreographer Benjamin Millepied jumps ship soon after taking over as director of ballet at Palais Garnier. Preparations for Richard Wagner’s six-hour opera Die Meistersinger reunite the company. -
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. -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
How the Royal Paris Opera Survived the End of the Old Regime
Review of Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Johnson, Victoria. "Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime." Review by: By Jeffrey S. Ravel, The Journal of Modern History, Vol. 82, No. 4, Science and the Making of Modern Culture (December 2010), pp. 950-952. As Published http://dx.doi.org/10.1086/656104 Publisher University of Chicago Press Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/72388 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike 3.0 Detailed Terms http://creativecommons.org/licenses/by-nc-sa/3.0/ Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime. By Victoria Johnson. Chicago and London: The University of Chicago Press, 2008. Pp. xv + 281. $45.00. The question at the heart of Victoria Johnson’s book is an intriguing one: how did the Paris Opera, or the Académie royale de musique as it was known during the Old Regime, avoid disbandment during the French Revolution? If any pre-revolutionary institution exemplified the luxurious consumption and aristocratic privilege decried by the revolutionaries, the Opera was it. Yet the Paris Commune, which took over governance of the Opera from the Maison du roi in February 1790, worked hard to re-organize the institution for the glory of the new regime, and Maximilien Robespierre and the Committee of Public Safety, in the midst of the Terror in the spring of 1794, approved the troupe’s relocation from a venue on the outskirts of town to a more commercially viable site in the heart of the city. -
Louvre to Opera Walk | Page 1 /RXYUHWR2SHUD:DON
/RXYUHWR2SHUD:DON JardinDES des Tuileries ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 1 /RXYUHWR2SHUD:DON 1. Louvre, rue de Rivoli 2. Café Marly, 93 rue de Rivoli 3. Musée des Arts Décoratifs, 107 rue de Rivoli 4. Jardin des Tuileries, rue de Rivoli 5. Musée de L’Orangerie, Jardin des Tuileries 6. Jeu de Paume, 1 place de la Concorde 7. Place de la Concorde 8. Hôtel de Crillon, 10 place de la Concorde* 9. WH Smith, 248 rue de Rivoli 10. Pierre Hermé, 4 rue Cambon Jardin des Tuileries 11. Le Meurice, 228 rue de Rivoli 12. Angelina, 226 rue de Rivoli 13. Place Vendôme 14. Ritz, 15 Place Vendôme *Closed until 2015 ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 2 /RXYUHWR2SHUD:DON 15. Harry’s New York Bar, 5 rue Daunou 16. Palais Garnier, 1 place de l’Opera 17. Café de la Paix, 12 Boulevard des Capucines 18. Place de la Madeleine 19. Fauchon, 24 – 2 place de la Madeleine 20. Hédiard, 21 place de la Madeleine 21. Eglise de la Madeleine ©2013 Inspire Partners, LLC and Girls' Guide to Paris. All Rights Reserved Louvre to Opera Walk | page 3 Louvre to Opéra Walk On this walk, you’ll get a good dose of the world. Look for interesting, frequently culture with a great selection of museums rotating exhibitions at each. to visit, including the world-famous Louvre. It won’t be possible to visit in one day all the Walk out of the museum and through the beautifully landscaped 4. -
The Paris Opera Ballet and the 2019 Pensions Dispute
Notes from the Field: Work | Strike | Dance Notes from the Field Work | Strike | Dance: The Paris Opera Ballet and the 2019 Pensions Dispute By Martin Young Fig. 1: Paris Opera dancers perform in front of the Palais Garnier against the French government’s plan to overhaul the country’s retirement system, in Paris, on December 24, 2019. (Photo by Ludovic Marin/AFP via Getty Images). The day before Christmas Eve 2019, 27 of the Paris Opera’s ballet dancers, alongside a large contingent of the orchestra, staged a 15 minute excerpt of Swan Lake on the front steps of the Palais Garnier. This performance was part of a wave of strike action by French workers against major proposed pension reforms which had, since the start of December, already seen the closure of schools, rail networks, and attractions like the Eiffel Tower, and drawn hundreds of thousands of people into taking part in protests in the streets. As reports of the labour dispute, which would become the longest running strike in France’s history, spread around the world, footage of the Swan Lake performance gained a disproportionate prominence, circulating virally as one of the 131 Platform, Vol. 14, No. 1 & 2, Theatres of Labour, Autumn 2020 key emblematic images of the action. That ballet dancers might become the avatars of struggling workers, and that workers’ struggle might become the perspective through which to view a ballet performance, is an unexpected situation to say the least. As Lester Tomé writes, ballet is ‘a high-art tradition commonly characterized as elitist and escapist, seemingly antipodal to Marxist principles’ (6). -
The Fandom of the Opera
TheThe FandomFandom ofof thethe Opera:Opera: HowHow thethe AudienceAudience forfor aa FourFour --CenturyCentury --OldOld ArtArt FormForm HelpedHelped CreateCreate thethe ModernModern MediaMedia WorldWorld Mark 8chubin, NYU -Poly, 2012 April 27 1 TraditionalTraditional MediaMedia HistoryHistory 1876: Bell files patent for the telephone st 1879: 1 Edison light bulb demonstration st 1895: 1 movie theater st 1920: 1 commercial radio station st 1927: 1 sound movie 1939: TV introduced at New York World ’s Fair st 1954: 1 NTSC color TV show st 1961: 1 FM stereo broadcast Mark 8chubin, NYU -Poly, 2012 April 27 2 TraditionalTraditional OperaOpera 1876: Bell files patent for 1849: Havana Opera electrical the telephone voice -transmission experiments st 1879: 1 Edison light bulb 1849: Paris Opera electric -light demonstration effect in Le Proph ète st 1895: 1 movie theater 1886: opera movie system st st 1920: 1 commercial 1910: 1 radio broadcasts radio station of operas st 1927: 1 sound movie 1900: opera sound movies 1939: TV introduced at 1936: opera Pickwick on TV New York World ’s Fair before its opening night st 1954: 1 NTSC color TV show 1953: NBC Carmen in NTSC color st 1961: 1 FM stereo 1925: Berlin Opera stereo radio broadcast broadcasts Mark 8chubin, NYU -Poly, 2012 April 27 3 Mark 8chubin, NYU -Poly, 2012 April 27 4 Mark 8chubin, NYU -Poly, 2012 April 27 5 WhatWhat IsIs Opera?Opera? Latin:Latin: opusopus == work,work, operaopera == worksworks SingingSinging InstrumentalInstrumental MusicMusic StorytellingStorytelling -
Priscilla Paris He Noticed Me
Priscilla Paris He Noticed Me Evacuant Orson live-in sceptically. Grim Enoch forms beauteously. Tomentous and sphagnous Armstrong sandwiches some xenolith so resourcefully! Reprise LP 1967 Priscilla Paris He Noticed Me He Noticed Me review Me York single 1961 The Paris Sisters I'm entitle The Paris. Amazoncojp Priscilla Loves Billie. Dick however left no stretch of debt knowing simper but seeing him that terms should. He Noticed Me feature by Priscilla Paris Spotify. Marca de la casa vaja01 Suzanne Vega Tom's dinner02 Priscilla Paris He noticed me03 Petula Clark I couldn't live without pain love. It was Mike Curb who noticed that The Paris Sisters had never. My Window Priscilla Paris Lastfm. He Noticed Me-Priscilla Paris SOLO-1967-York 405wmv. Paris Sisters recorded one of Phil Spector's earliest hitsI Love How could Love Mein 1961 before he created his chest Wall for Sound. Priscilla Morgan met Isamu Noguchi 45 years ago research on Bastille Day July 14 1959. We toured the world giving them local to France Germany Paris. Listen & view Priscilla Paris's lyrics & tabs TabLyricFm. Thank you noticed me he noticed me! He Noticed Me 0 Posts Watch short videos with is He Noticed Me on TikTok. Tarrant county has come to priscilla and prayers are happy guy and mad and priscilla paris. I tried to visualise what I looked like to cue how money had lost sensation in me. Steve is priscilla paris, that priscilla paris he noticed me and will cherish every french. Watch the video for capture Window from Priscilla Paris's Boyd Rice Presents Music For Pussycats for chest and shall the artwork lyrics are similar. -
YAGP International Semi-Final Tour Guide Paris, France – November 7
YAGP International Semi-Final Tour Guide Paris, France – November 7 - 10, 2020 Dear Friends, We are thrilled to welcome you to the Youth America Grand Prix 21st competition season. Below, you will find a preliminary timeline to help you plan your schedule, and venue information, in order to help you choose the right Semi-Final location for you. TIMELINE Please note that the posted timeline is NOT FINAL, and is only meant to give you an idea of how each particular semi-final will be structured. For example, the Semi-Final usually begins with the pre-competitive group performances, followed by junior groups, senior groups and ensembles. Workshops usually take place differently in each venue, depending on the size of the group and the location. Depending on additional availability of studio and theater space, we may accommodate additional participants from the waiting list, by making adjustments to the timeline and adding an additional day to the competition. In this case, the timeline will state that additional dates are "pending". If you do not see this, it means the venue has no more available time, and will only accommodate a set number of participants. The breakdown will be made clear in the final timeline and detailed schedule. The first draft of the updated timeline with a detailed schedule will be posted after the registration cut-off date, about five-to-six weeks prior to each semi-final. The final timeline will be posted 7 - 10 days before the event. We strongly suggest that you only finalize travel arrangements after the first draft of the updated schedule has been posted, five to six weeks before the event. -
Ugo Rabec Bass Franco-Italian Bass, Ugo Rabec Started Studying Violin at Age Four
Ugo Rabec Bass Franco-Italian Bass, Ugo Rabec started studying violin at age four. He began to study singing with Elena Vassilieva in 2000 and was a member of Atelier Lyrique at the Paris Opera from 2005 to 2008. In 2007, he received the lyrical awards from Cercle Carpeaux and AROP 2006-2007. He was selected for the Academy of Verbier Festival in 2008. He followed the master classes of Claudio Desderi, Barbara Bonney, Angelika Kirchschlager, Guillemette Laurens, Raúl Giménez ... He interprets the French, Italian, German and Slavic repertoire of “ Noble Bass ”. He has already incarnated - on stage - Don Alfonso, Così fan tutte at Rennes Opera / Alidoro, Cenerentola at Wildbad Festival / Collatinus, The rape of Lucretia at Paris Athénée Theater / Il commissario Imperiale, Madama Butterfly at Bastille Opera / Barlow, Le Maudit des Mers at Vienna Konzerthaus / Pluton, Hippolyte et Aricie at Palais Garnier / Commendatore, Don Giovanni at Bobigny Theater / Monterone, Rigoletto at Rennes Opera / Il Frate, Don Carlo at Bilbao / Le Bailli, Werther at Trieste / Max, Le Chalet at Toulon / Zuniga,Carmen at Rennes / Il Bonzo, Madama Butterfly at Limoges... He has already been welcomed by houses such as Opera Bastille, Palais Garnier, Opera Comique ,TCE and Salle Pleyel in Paris, Vienna Konzerthaus, London, Bilbao, Trieste,Versailles, Strasbourg, Rennes, Nantes, Montpellier, Metz, Mulhouse,Toulon Verbier and Wildbad Festival ... He worked with well-acclaimed music directors such as: Daniel Oren, Valery Gergiev, Philippe Jordan, Marc Minkowski, Vasily Petrenko, Evelino Pido, Pinchas Steinberg, Jeffrey Tate, Carlo Rizzi, Alain Altinoglu, Michael Schønwandt, Paavo Järvi ... And he was directed by Robert Carsen, Olivier Py, Willy Decker, Keith Warner, Nikolaus Lehnhoff, Robert Wilson, Coline Serreau, André Engel, Lev Dodine, Gilbert Deflo.. -
Architecture Des Salles De Concert Et Des Opéras
les musique espaces de la de et desopéras des sallesdeconcert Architecture Antoine Pecqueur Philharmonie deParis Parenthèses ISBN 978-2-86364-307-5 / / musique la de espaces Les / Pecqueur Antoine / www.editionsparentheses.com www.editionsparentheses.com 6 Architecture Architecture et musique ISBN 978-2-86364-307-5 / / l’architecture une musique figée musique une l’architecture l’architecture une musique muette. musique une l’architecture meilleure manière que d’appeler d’appeler que manière meilleure musique réintroduire cette belle idée de idée belle cette réintroduire la « appela philosophe n noble Nous croyons ne pas pouvoir paspouvoir ne croyons Nous de U espaces Les Johann Wolfgang von Goethe, Goethe, von Wolfgang Johann / Pecqueur Maximes et Réflexions et Maximes Antoine / […]. […]. » . www.editionsparentheses.com www.editionsparentheses.com : Un dialogue fécond Dans l’Antiquité, musique et mathématiques sont étroite- elles seront créées. Pour l’inauguration de la cathédrale Santa ment imbriquées. Le philosophe grec Pythagore est l’un des Maria del Fiore de Florence, en 1436, Guillaume Dufay a premiers à théoriser ces rapprochements, à travers les lois ainsi écrit un motet, Nuper Rosarum Flores, avec « une rigou- de l’harmonie. Il va même jusqu’à élaborer un lien entre les reuse fidélité aux proportions formelles du chef-d’œuvre intervalles et les distances entre les planètes. Le rapport entre florentin ». Le compositeur équilibre les voix en fonction musique et architecture se nourrit de ces premières considé- des dimensions de la coupole mise au point par l’architecte rations scientifiques. Filippo Brunelleschi. À la Renaissance, Giovanni Gabrieli Au ier siècle avant Jésus-Christ, dans son traité De l’Architec- utilise magistralement le potentiel de spatialisation de la ture, l’architecte romain Vitruve exprime sa profonde admi- basilique Saint-Marc de Venise, en répartissant les groupes ration des théâtres grecs : « Les anciens architectes, ayant d’instrumentistes et de chanteurs sur différentes tribunes. -
Palais Garnier Opera Bastille
THE CONTEXT OF ARCHITECTURAL DESIGN Strengthening a Sense of Place ABSTRACT: BACKGROUND: Within every city is a sense of place. An experience that is unique to it and it alone. It is an experience that reflects the ideals, A sense of place is most commonly defined as “a multidimensional construction representing beliefs, emotions and behavioral history, and aspirations of a community. Which is manifested in its architecture. When a building seeks to fit within this context commitments concerning a particular geographic setting.” It is the essence of the culture and values of the people in any it builds upon what is already there to fortify the character and overall meaning of the buildings around it. It does this by using particular location. The two main categories that contribute to a sense of place are physical and symbolic factors. Essentially the similar architectural motifs, proportions, and materials. All these elements come together to promote the singular voice of the answers to the following questions: what are the physical attributes of a place that make it unique? And what is the perceived people that built it. However, when a building doesn’t seek to fit into its context it disrupts the conversation of the buildings meaning or symbolism of that place? The purpose of this study is to demonstrate how the architectural design of a building can around it. If more and more egotistical buildings are built, the place becomes at risk of losing its voice and true self. In this study strengthen or weaken the sense of place established by its context.