DOCSLIB.ORG

Philiponet, Gabrielle - Soprano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Philiponet, Gabrielle - Soprano Philiponet, Gabrielle - Soprano Biography Gabrielle Philiponet was born in France and studied as a flutist and cellist before singing. Her singing teacher is Daniel Ottevaere. She was a member of the Opera Studio of the Chapelle Musicale Reine Elisabeth in Brussels und was a prize winner of the prestigious Reine Elisabeth Competition. Her future plans include Falstaff (Alice) at Oéra de Lille and Beethoven’s 9th with Orchestre National del Lille in 2020. During 2021/22 she will sing Desdemona (Otello) at the Opéra de Saint-Etienne and Mireille (Gounod) at Opéra de Metz. Recently she sung Les Pêcheurs de Perles (Leïla) at Opéra de Lille, L’elisir d’amore (Adina) at Théâtre du Capitole de Toulouse. For 2018/2019, she made her debut in the role of Leïla (Les Pêcheurs de Perles) at the Opera de Nice, her debut at Paris Opera singing again Frasquita (Carmen) and her debut in the role of Micaëla (Carmen) at the Opera de Metz and with the Orchestre National de Lille. The 2017/2018 season ended with her debut in Marguerite (Faust) at the Saint-Etienne’s Opera. Earlier, she sang Musetta (La Bohème) in Metz and Massy Opera, her first Adina ( L’Elisir d’Amore) at the Opera de Nice and she made her debut at the Bayerische Staatsoper in Munich as Frasquita (Carmen). Her recent interpretation of Magda (La Rondine) at the National Opera de Lorraine, Violetta (La Traviata) at the Opera de Massy, Donna Anna (Don Giovanni) on tour in Spain, Antonia (Les Contes d'Hoffmann) at the Opera de Toulon and Portia (Le Marchand de Venise, Reynaldo Hahn) at the Opera de Saint-Etienne confirm her evolution to the Lyric soprano repertoire. She has performed the roles of Susanna (Le nozze di Figaro) at the Opera national de Lorraine, Oscar (Ballo in Maschera) at the Opera de Massy, Parasha (Mavra, Stravinsky) at Fribourg (Swissland), Musetta (La Bohème) at the Opera de Marseille, Despina (Così fan tutte) and Gabrielle (La Vie Parisienne) at the Opera de Toulon, Corinna (Il Viaggio a Reims) on tour at Reims, Vichy, Montellier, Tours, Nancy, Nice, Saint-Etienne, Marseille, Bordeaux and at the Capitole de Toulouse, Eurydice (Orphée aux Enfers) at the Opera National de Montpellier, Marie (Les Mousquetaires au Couvent) and Mi (Le Pays du Sourire) at the Tourcoing's Theater, Rosita (Un Mari à la Porte) with the Royal Philharmonic Orchestra of Liverpool and Le Feu/ La Princesse/ Le Rossignol (L'Enfant et les Sortilèges) with the Symphonic Orchestra of Montréal, La Fée (Cendrillon de Massenet) at the Royal Theater of La Monnaie and at the Grand Théâtre de Luxembourg and Lauretta (Gianni Schicchi) with the Belgian National Orchestra. Gabrielle Philiponet has worked together with conductors such as Roberto Rizzi-Brignoli, Alain Altinoglu, Nicolas André, Karel Mark Chichon, José Cura, Paul Goodwin, Stefan Klingele, Andreas Spering, Kent Nagano, Gunter Neuhold, Hervé Niquet, Vasily Petrenko, Roberto Forés-Veses, Roland Boer, Luciano Accocella, Emmanuel Plasson, Laurent Campellone, Michel Piquemal, György Vashegyi and Pascal Verrot. Repertoire Opera Symphonic/Oratorio Bizet, G. Les Pêcheurs de Perles Leïla Beethoven, L.van 9th Symphony Carmen Frasquita Dvorák, A. Stabat Mater Micaëla Debussy, C. La Demoiselle Élue Donizetti, G. L'elisir d'amore Adina Händel, G.F. The Creation Gounod, Ch. Faust Marguerite Honneger, A. Jeanne au Bûcher Mireille Mireille Mozart, W.A. Mass in C minor Hahn, R. Le Marchand de Venice Portia Requiem Mozart, W.A. Cosi Fan Tutte Despina Rossini, G. Stabat Mater Fiordiligi Petite messe solennelle Don Giovanni Donna Anna Poulenc, F. Gloria Zerlina Sept Répons des Ténèbres Le Nozze di Figaro Susanna Offenbach, J. Les Contes d'Hoffmann Antonia La Vie Parisienne Gabrielle Puccini, G. La bohème Mimi Musetta Gianni Schicchi Lauretta La rondine Magda Rameau, J.Ph. Le Temple de la Gloire Plautine Rossini, G. Il viaggio a Reims Corinna Strauss, J. Die Fledermaus Rosalinde Stravinsky, I. Mavra Parasha Verdi, G. Un ballo in maschera Oscar Falstaff Alice Nanetta Otello Desdemona Traviata Violetta Reviews Carmen, Opéra de Metz, 2019 Superb Marguerite in Faust in Saint-Etienne not long ago, Gabrielle Philiponet radiates her character with moving generosity, giving under the tremor of her vocal line all the sensitivity and lyricism of a character of first importance. – Emmanuel Andrieu, ConcertoNet.com [...] the magnificent soprano by Gabrielle Philiponet, sweet Micaëla, in an old dress close to the type of the young Navarrese. In her tunes and as a duo, the brave youngster fulfills her duty of courage, delicacy, and a new demonstration of mastery and charm by the very melodious singer from Tarn, with her exquisite timbre and lovely French diction... – François Cavaillès, ANACLASE.com Les Pêcheurs de Perles, Opéra de Nice, 2018 To give life to the young woman who capsizes the two fishermen, Gabrielle Philiponet offers a Leïla with a ductile voice with an exemplary focus and projection. The colors are vibrant, and the registers are perfectly unified. The soprano combines lightness and power imposed by the role; her most famous tune receives almost a minute of applause! – Tania Bracq, Forumopera.com Faust, Opéra de Saint-Etienne. 2018 As Marguerite, Gabrielle Philiponet offers the freshness, the sincerity of the character, the inner evolution from her first sentence to the bedroom scene, then to the momentum of the church and the final trio. The "Song of the King of Thule" and the "Air of Jewels" form a part of this construction which marks an incarnation. – Patrice Henriot, Opera Magazine L’Elixir d’Amore, Opéra de Nice, 2017 ...After her Antonia (Les Contes d'Hoffmann) from Toulon or her Caroline (La Chauve-Souris) from Avignon, Gabrielle Philiponet confirms that she has everything in her voice to make a great career in the repertoire of lyric soprano: quality of the timbre, homogeneity of the program, ease in the treble, ease in the vocalizations… to which a particularly attractive scenic presence is added... – Emmanuel Andrieux. Opera-online.com La Bohème, Opéra de Metz, 2017 Musette, the cheeky young woman, daring, sincere in her love for Marcel, yet frivolous, Gabrielle Philiponet, seduced Alcindor, who maintains her, but above all the public. Her vocal and scenic qualities are extraordinary. Comfortable in all registers, a sonorous, agile voice reveals itself whether in her waltz "Quando me'n vo 'soletta" where she sends herself up in the air on a swing... – Albert Dacheux, Classiquenews.com Don Giovanni, Angers-Nantes Opéra, 2016 The soprano Gabrielle Philiponet delivers a remarkable performance in Donna Anna. Vocally, her round timbre supports a perfectly mastered vibrato. The fury expressed in grief tears hearts apart. Dramatically, she impresses with the accuracy of the feelings expressed, despite their tremendous violence. It is inhabited by her character, without over-playing, and her performance on the opening stage would alone give credibility to the situation and the universe created on stage. – Damien Dutilleul, Olyrix.com La Traviata, New Orleans Opera (USA), 2015 The principal singers are almost always vocally reliable and, on occasion, considerably more than that. French soprano Gabrielle Philiponet's Violetta, whose defining personality evolves radically from salon to country house to deathbed, is a success if not quite an unalloyed triumph. Philiponet appreciates the idiomatic Italianate style – she can spin out a lush, evenly supported legato, and her points of expressive emphasis, regardless of dynamic, are intuitively truthful. In the totality of her interpretation, and her ability to maintain poise and shading amid the taxing final 15 minutes, Philiponet was an affecting, authentic Violetta... – Andrew Adler, pour nola.com The NOAA production stars French soprano Gabrielle Philiponet as Violetta Valery. Philliponet is a bit of a Violetta virtuoso, playing the role in numerous productions worldwide. It shows. The soprano nailed her notes is some of the form’s most recognizable arias... – Claude Robichaux, pour noladefender.com.
Load more

Recommended publications
  • William Shakespeare (1564- 1616) He Was an English Poet and Playwright of the Elizabethan Period
    William Shakespeare (1564- 1616) He was an English poet and playwright of the Elizabethan period. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". He was born and raised in Stratford-upon-Avon. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men. After the plagues of 1592–3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain north of the Thames. When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames. 1610 portrait The Globe theatre opened in After the death of Queen Elizabeth in 1603, the company was awarded a 1599. royal patent by the new king, James I, and changed its name to the King's Men. Acting was considered dishonourable for women and women did not appear on the stage in England until the seventeenth century. In Shakespeare's plays, the roles of women were often played by young boys. His works consist of about 38 plays, 154 sonnets and several other poems. He produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories. He then wrote mainly tragedies until about 1608.
    [Show full text]
  • Le Marchand De Venise » Et « Le Marchand De Venise De Shakespeare À Auschwitz » Marie-Christiane Hellot
    Document généré le 29 sept. 2021 19:34 Jeu Revue de théâtre De Shakespeare à Auschwitz « Le Marchand de Venise » et « Le Marchand de Venise de Shakespeare à Auschwitz » Marie-Christiane Hellot « Roberto Zucco » Numéro 69, 1993 URI : https://id.erudit.org/iderudit/29188ac Aller au sommaire du numéro Éditeur(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (imprimé) 1923-2578 (numérique) Découvrir la revue Citer ce compte rendu Hellot, M.-C. (1993). Compte rendu de [De Shakespeare à Auschwitz : « Le Marchand de Venise » et « Le Marchand de Venise de Shakespeare à Auschwitz »]. Jeu, (69), 168–176. Tous droits réservés © Cahiers de théâtre Jeu inc., 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ De Shakespeare à Auschwitz «Le Marchand de Venise «Le Marchand de Venise» de Shakespeare à Auschwitz» Texte de William Shakespeare; traduction de Michelle Allen. Texte de William Shakespeare, Elie Wiesel et Tibor Egervari; Mise en scène : Daniel Roussel, assisté de Roxanne Henty; traduction de Shakespeare : François-Victor Hugo. Mise décor : Guy Neveu; costumes : Mérédith Caron; éclairages : en scène : Tibor Egervari; décor et éclairages ; Margaret Michel Beaulieu; musique : Christian Thomas.
    [Show full text]
  • DOSSIER PÉDAGOGIQUE Dossier Proposé Dans Le Cadre Du Dispositif Lycéens À L’Opéra, Financé Par La Région Rhône-Alpes
    14/15 LE MARCHAND DE VENISE REYNALDO HAHN DOSSIER PÉDAGOGIQUE Dossier proposé dans le cadre du dispositif Lycéens à l’Opéra, financé par la Région Rhône-Alpes. Dossier réalisé sous la direction d'Oumama Rayan Coordination Clarisse Giroud Rédaction des textes Jonathan Parisi CONTACT Mise en page et suivi de fabrication Aurélie Souillet Clarisse Giroud Document disponible en téléchargement sur Chargée de la médiation et de l'action culturelle www.operatheatredesaintetienne.fr 04 77 47 83 34 / [email protected] LE MARCHAND DE VENISE REYNALDO HAHN OPÉRA EN 3 ACTES ET 5 TABLEAUX LIVRET DE MIGUEL ZAMACOÏS D’APRÈS LA COMÉDIE DE SHAKESPEARE CRÉÉ À L’OPÉRA DE PARIS LE 25 MARS 1935 DIRECTION MUSICALE FRANCK VILLARD MISE EN SCÈNE, DÉCORS ET LUMIÈRES ARNAUD BERNARD ASSISTANT MISE EN SCÈNE GIANNI SANTUCCI ASSISTANT DÉCORS VIRGILE KOERING COSTUMES CARLA RICOTTI LUMIÈRES PATRICK MÉEUS CHEF DE chœur LAURENT TOUCHE CHEF DE CHANT CYRIL GOUJON ANTONIO FRÉDÉRIC GONCALVÈS SHYLOCK PIERRE-YVES PRUVOT BASSANIO GUILLAUME ANDRIEUX PORTIA GABRIELLE PHILIPONET GRATIANO FRANÇOIS ROUGIER LORENZO PHILIPPE TALBOT TUBAL HARRY PEETERS NÉRISSA ISABELLE DRUET JESSICA MAGALI ARNAULT-STANCZAK ANTONIO FRÉDÉRIC GONCALVÈS LA VOIX, LE PRINCE D’ARAGON, SALARINO VINCENT DELHOUME LE PRINCE DU MAROC, LE DOGE FRÉDÉRIC CATON L'AUDIENCIER, UN SERVITEUR FRÉDÉRIK PRÉVAULT LE GRAND DE VENISE ZOLTAN CSEKÖ UN SERVITEUR FRANÇOIS BESCOBO ORCHESTRE SYMPHONIQUE SAINT-ÉTIENNE LOIRE Chœur LYRIQUE SAINT-ÉTIENNE LOIRE GRAND THÉÂTRE MASSENET UNE HEURE AVANT CHAQUE REPRÉSENTATION, MERCREDI 27 MAI : 20H PROPOS D'AVANT SPECTACLE PAR JONATHAN VENDREDI 29 MAI : 20H PARISI, MUSICOLOGUE. DIMANCHE 31 MAI : 15H GRATUIT SUR PRÉSENTATION DE VOTRE BILLET.
    [Show full text]
  • Airs Et Mélodies
    LIVINE MERTENS Airs et mélodies MENU Tracklist p.4 Français p.10 English p.18 Nederlands p.26 Deustch p.36 LIVINE MERTENS Mezzo-soprano (Anvers, 1898 – Bruxelles, 1968) Airs et mélodies BOÏELDIEU François-Adrien (1775-1834) 1 « D’ici voyez ce beau domaine », Couplets de Jenny, dans La dame blanche (I, 5), 3’02 chœurs et orchestre du Théâtre royal de la Monnaie, dir. Maurice Bastin (Columbia RF29–WLB128) [ULB] THOMAS Ambroise (1811-1896) 2 « Connais-tu le pays ? », Cantabile de Mignon (I), 4’20 orchestre du Théâtre royal de la Monnaie, dir. Maurice Bastin (Columbia RFX30–LBX73) [KBR : Becko V/8/2b Mus] MASSENET Jules (1842-1912) 3 « Va ! laisse couler mes larmes », air de Charlotte dans Werther (III, 2), 2’28 avec accompagnement de piano (Edison 89259–F374) [KBR : Becko V/57/13 Mus] BIZET Georges (1838-1875) 4 « L’amour est un oiseau rebelle », Habanera de Carmen (I, 5), 2’43 avec accompagnement de piano (Edison 89257–F373) [KBR : Becko V/57/11a Mus] 5 « Près des remparts de Séville », Séguedille de Carmen (I, 10), 1’51 avec accompagnement de piano (Edison 89258–F373) [KBR : Becko V/57/11b Mus] GOUNOD Charles (1818-1893) 6 « Que fais-tu, blanche tourterelle », Chanson de Stéphano, dans Roméo et Juliette (III, 2e tableau) 2’44 avec accompagnement de piano (Edison 89260–F374) [ULB] 7 « Depuis hier je cherche en vain mon maître » – « Que fais-tu, blanche tourterelle », Chanson de Stéphano, dans Roméo et Juliette (III, 2e tableau), 4’09 orchestre du Théâtre royal de la Monnaie, dir. Maurice Bastin (Columbia RFX30–LBX74) [KBR: Becko V/8/2a MUS] OFFENBACH Jacques (1819-1880) 8 « Voici le sabre de mon père », Couplets de La grande duchesse de Gérolstein (I, 13), 3’12 chœurs et orchestre du Théâtre royal de la Monnaie, dir.
    [Show full text]
  • Shakespeare's
    Shakespeare’s ‘Forfended Place(s)’: Women and the City Sophie Chiari To cite this version: Sophie Chiari. Shakespeare’s ‘Forfended Place(s)’: Women and the City . Per Sivefors. Urban Encounters: Experience and Representation in the Early Modern City, Fabrizio Serra Editore, 2013. hal-01720066 HAL Id: hal-01720066 https://hal.archives-ouvertes.fr/hal-01720066 Submitted on 28 Feb 2018 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. SHAKESPEARE’S “FORFENDED PLACE(S)”: WOMEN AND THE CITY1 SOPHIE CHIARI In the early 17th century, Tommaso Campanella imagined a utopian city, The City of the Sun (1602), in which Love rules over a compulsory system of training and education, and attends to the implementation of political eugenics.2 Daughters under the age of 19 and sons under 21 must be sexually restrained and amorous feelings prohibited. However, a few brothels remain accessible to those individuals incapable of controlling their sexual drives. Generally speaking, sexual relationships are just tolerated in the city as far as the imperatives of reproduction are concerned. In order to beget perfectly sane and vigorous children, partners will mate only after digestion and prayers.
    [Show full text]
  • Monter Le Marchand De Venise Aujourd'hui?
    Comment (dé)monter le Marchand de Venise aujourd’hui? Isabelle Starkier To cite this version: Isabelle Starkier. Comment (dé)monter le Marchand de Venise aujourd’hui?. Coup de théâtre, RADAC (Recherche sur les Arts Dramatiques Anglophones Contemporains), 2014. hal-02475545 HAL Id: hal-02475545 https://hal-univ-evry.archives-ouvertes.fr/hal-02475545 Submitted on 12 Feb 2020 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. COMMENT (DE)-MONTER LE MARCHAND DE VENISE AUJOURD'HUI? Monter ou dé-monter Le Marchand de Venise? Telle est la question qui se pose au metteur en scène confronté au texte et à ses représentations, à ses fantômes et à ses fantasmes. Evoquant Le Marchand de Venise, Peter Brook affirmait haut et fort ne jamais vouloir monter cette pièce tant qu'il restera un antisémite au monde. Une façon élégante de renvoyer le texte au spectateur et de déclarer qu'une pièce ne se lit qu'à l'aune de son public. Sachant que je ne peux qu'abonder dans la prise en compte du contexte imbriqué dans le texte même, quelles raisons m'ont poussée alors, tant comme co-traductice que comme metteur en scène, à monter une pièce si controversée en 2003 ? Trois questions incontournables m'ont incitée à interroger Le Marchand de Venise, dans "le direct" du plateau, à l'épreuve de son interprétation : - la question de la mise en scène d'un texte dans toutes ses libertés, ses limites, ses digressions et ses transgressions qui commencent avec la traduction dont on sait qu'elle n'est pas trahison (traduttore/traditore) mais dévoilement, déploiement du texte dans son contexte scénique.
    [Show full text]
  • Opera & Ballet 2017
    12mm spine THE MUSIC SALES GROUP A CATALOGUE OF WORKS FOR THE STAGE ALPHONSE LEDUC ASSOCIATED MUSIC PUBLISHERS BOSWORTH CHESTER MUSIC OPERA / MUSICSALES BALLET OPERA/BALLET EDITION WILHELM HANSEN NOVELLO & COMPANY G.SCHIRMER UNIÓN MUSICAL EDICIONES NEW CAT08195 PUBLISHED BY THE MUSIC SALES GROUP EDITION CAT08195 Opera/Ballet Cover.indd All Pages 13/04/2017 11:01 MUSICSALES CAT08195 Chester Opera-Ballet Brochure 2017.indd 1 1 12/04/2017 13:09 Hans Abrahamsen Mark Adamo John Adams John Luther Adams Louise Alenius Boserup George Antheil Craig Armstrong Malcolm Arnold Matthew Aucoin Samuel Barber Jeff Beal Iain Bell Richard Rodney Bennett Lennox Berkeley Arthur Bliss Ernest Bloch Anders Brødsgaard Peter Bruun Geoffrey Burgon Britta Byström Benet Casablancas Elliott Carter Daniel Catán Carlos Chávez Stewart Copeland John Corigliano Henry Cowell MUSICSALES Richard Danielpour Donnacha Dennehy Bryce Dessner Avner Dorman Søren Nils Eichberg Ludovico Einaudi Brian Elias Duke Ellington Manuel de Falla Gabriela Lena Frank Philip Glass Michael Gordon Henryk Mikolaj Górecki Morton Gould José Luis Greco Jorge Grundman Pelle Gudmundsen-Holmgreen Albert Guinovart Haflidi Hallgrímsson John Harbison Henrik Hellstenius Hans Werner Henze Juliana Hodkinson Bo Holten Arthur Honegger Karel Husa Jacques Ibert Angel Illarramendi Aaron Jay Kernis CAT08195 Chester Opera-Ballet Brochure 2017.indd 2 12/04/2017 13:09 2 Leon Kirchner Anders Koppel Ezra Laderman David Lang Rued Langgaard Peter Lieberson Bent Lorentzen Witold Lutosławski Missy Mazzoli Niels Marthinsen Peter Maxwell Davies John McCabe Gian Carlo Menotti Olivier Messiaen Darius Milhaud Nico Muhly Thea Musgrave Carl Nielsen Arne Nordheim Per Nørgård Michael Nyman Tarik O’Regan Andy Pape Ramon Paus Anthony Payne Jocelyn Pook Francis Poulenc OPERA/BALLET André Previn Karl Aage Rasmussen Sunleif Rasmussen Robin Rimbaud (Scanner) Robert X.
    [Show full text]
  • Je Croyais Qu’Une Âme Grande, Une Figure Humaine Me Rendait L’Égal Des Autres Hommes; Je Ne Savais Pas Que Le Titre D’Esclave Était Attaché Aux Vêtements De Ma Nation
    DOI: 10.2478/v10320-012-0003-z READINGS OF THE QUESTION OF RIGHTS IN THE MERCHANT OF VENICE--A ROMANIAN PERSPECTIVE MĂDĂLINA NICOLAESCU Bucharest University, 36-46, M. Kogălniceanu Blvd, Sector 5, 050107, București, România [email protected] Abstract: It is the main aim of this essay to analyse the modulations and inflections introduced in the treatment of law in Shakespeare’s Merchant of Venice in the process of cross-cultural transmission and dissemination of the play in the nineteenth century. Focus will be placed on the shift of emphasis from issues related to the law in Shakespeare’s text to issues related to rights in two Romanian adaptations derived from French and German texts. Keywords: audience reception, adaptation, dissemination, cross-cultural transmission, vocabulary of the rights of man, The Merchant of Venice Introduction In the French adaptation of the Merchant of Venice by Du Lac and Alboise Shylock confesses to his daughter: J’étais né avec une âme tendre et généreuse … et le juif comme le chrétien était un frère à mes yeux; … je croyais qu’une âme grande, une figure humaine me rendait l’égal des autres hommes; je ne savais pas que le titre d’esclave était attaché aux vêtements de ma nation. 26 I was born with a loving and generous soul … and the Jew just like the Christian was a brother to me … I believed that a large soul and a human appearance would render me the equal of other men; I did not know that the label ‘slave’ had been attached to the clothes of my nation.
    [Show full text]
  • Le Marchand De Venise À L'opéra-Comique
    THE,.\TRE N,\TION,,\L ,Al)M I N I S'l'RA.l'EU R (; F.N l--RAI - ROLF LIEBERMANN SALLE RT LE MARCHAND DE VENISE OPERA EN 3 ACTES ET 5 TABLEAUX DE REYNALDO HAHN D'APRÈS LA COMEDIE DE WILLIAM SHAKESPEARE ADAPTATION EN VERS DE MIGUEL ZAMACOIS DIRECTION MUSICALE: MANUEL ROSENTHAL MISE EN SCÈNE : MARC CHEIFETZ DÉCORS ET COSTUMES: BERNARD ARNOULD LE MARCHAND DE VENISE DISTRIBUTION PORTIA MICHÈLE COMMAND MASQUE CHRISTIAN JEAN NÉRISSA ANNICK DUTERTRE DOGE PIERRE NEQUEçAUR JESSICA ELIANE LUBLIN LA VOIX CHRISTIAN JEÀN SHYLOCK CIIRISTIAN POULIZAC AUDIENCIER LUCIEN DALMON BASSANIO ARMAND ARAPIÀN GRAND DE VENISE ÀLAIN CIIARLES ANTONIO MARC VENTO PREMIERVÉNITIEN MICHEL MARIMPOUY GRATIANO LÉONARD PEZZINO DEUXIÈMEVÉNNIEN MICHEL CADIOU LORENZO TTBÈRERAFFALI PREMIERJUIF GEORGESSCAMPS TUBAL JEAN.LOUIS SOUMAGNAS DEUXTEMEJUIF ROBERT TALEC ARAGON JEAN DUPOUY TROISIEMEJUIF JEAN DEGUARRÀ MAROC PIERRE NEQUEÇAUR SERVITEUR MTCHEL TAVERNE SALARINO HENRI PICHON Séquencefilmée du " PRINCED'ARAGON ' Réalisation:YVON GERAULT - Directeurphoto: ALAIN DEROBE - Mise en scène:MARC CHEIFETZ ORCHESTRE PREMIERS VIOI,ONS ALTI TIMBALE - PERCUSSIONS HARPE ANDRÉ HADJAJE FRECHON CORDONNIER KOUSNETZOFF NAVEAU GASTAUD MICHEL SIMON CHEVAL DEPANNEMACKER SAVARD VARRON DILLIES FLTJTES REMY VASSEUR CIPRIANI CANTIN TORCOMIAN DAMBRINE PLUDERMACHER COTTON PHELY CHERET DEJEAN CELLI HAUTBOIS HOFER VARRON PIERLOT CLARINETTES CHEROND MAISONNEUVE BOUTARD SECONDS VIOLONS LACROUTS SAPIN DEPLUS GENTIS LABADIE MAUGRAS C.A. 1 SAXOPHONE GALI ROLAND CARACILLY TROMPETTES BASSONS BASSES MOUCHEL BOUCHER
    [Show full text]
  • Memorial Library of Music Collection
    http://oac.cdlib.org/findaid/ark:/13030/kt6r29p0pm No online items Partial Guide to the Memorial Library of Music Collection Special Collections staff Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc/ © 2006 The Board of Trustees of Stanford University. All rights reserved. Partial Guide to the Memorial MLM 1 Library of Music Collection Partial Guide to the Memorial Library of Music Collection Collection number: MLM Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Special Collections staff Date Completed: 2003 Encoded by: Bill O'Hanlon © 2006 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Memorial Library of Music collection Collection number: MLM Collector: Keating, George T. Collection Size: ca. 27 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: This library is a collection of musical manuscripts and of printed and engraved scores inscribed by great composers, and constitutes a unique addition to Stanford's educational and cultural resources. Languages: Languages represented in the collection: English Access Collection is open for research; materials must be requested at least 24 hours in advance of intended use. Publication Rights Property rights reside with the repository. Literary rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Public Services Librarian of the Dept. of Special Collections. Preferred Citation Memorial Library of Music Collection, MLM. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.
    [Show full text]
  • Le Marchand De Venise
    LE MARCHAND DE VENISE PERSONNAGES LE DOGE DE VENISE LE PRINCE DE MAROC LE PRINCE D’ARAGON ANTONIO , le marchand de Venise BASSANIO , son ami SOLANIO, SALARINO , amis d’Antonio et de Bassanio GRATIANO, LORENZO, amoureux de Jessica SHYLOCK, juif TUBAL, autre juif, ami de Shylock LANCELOT GOBBO , le clown, valet de Shylock LE VIEUX GOBBO , père de Lancelot LEONARDO , valet de Bassanio BALTHAZAR , STEPHANO , valets de Portia PORTIA , riche héritière NERISSA , sa suivante JESSICA , fille de Shylock MAGNIFIQUES SENATEURS DE VENISE, OFFICIERS DE LA COUR DE JUSTICE, GEOLIER, VALETS, GENS DE SERVICE . La scène est tantôt à Venise, tantôt à Belmont, château de Portia, en terre ferme. ACTE PREMIER SCÈNE PREMIERE Venise. Le comptoir d’Antonio. Entrent ANTONIO, SALARINO, et SOLANIO . ANTONIO . — Ma foi, je ne sais pourquoi j’ai cette tristesse. Elle m’obsède ; vous dites qu’elle vous obsède aussi! Mais comment je l’ai gagnée, trouvée ou rencontrée, de quelle étoffe elle est faite, d’où elle est née, je suis encore à l’apprendre. Elle me rend si stupide que j’ai grand-peine à me reconnaître. SALARINO . — Votre pensée roule sur l’Océan, partout où vos galions à la voile majestueuse, seigneurs et riches bourgeois des flots, ou, si vous voulez, décors mouvants de la mer, planent sur les petits navires marchands qui leur font courtoisement la révérence, alors qu’ils volent près d’eux avec leurs ailes de toile. SOLANIO . — Croyez-moi, monsieur, si je courais de pareils risques, la meilleure partie de mes émotions voyagerait avec mes espérances. Je serais sans cesse à arracher des brins d’herbe pour savoir d’où le vent souffle, à observer sur cartes les ports, les môles et les rades ; et tout ce qui pourrait me faire craindre, par conjectures, un accident à mes cargaisons, me rendrait triste.
    [Show full text]
  • Copyright by John Edvard Bielenberg 1971
    70- 26,261 OIELENBERG, John Edward, 1933- SCENE DESIGN AT THE COMEDIE-FRANCAISE 1901 - 1920. The Ohio State University, Ph.D., 1970 Theater University Microfilms, A XEROX Company , Ann Arbor, Michigan Copyright by John Edvard Bielenberg 1971 SCENE DESIGN AT THE COMEDIE-FRANCAISE 1901 - 1920 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Deqree Doctor of Philosophy in the Graduate School of the Ohio State University By John Edvard Bielenberq, D.S., M.A. The Ohio State University 1970 Approved by Adviser Department of Theatre Please Note: Some pages have very light type. Filmed as received. University Microfilms. ACKNOWLEDGMENTS I would like to express my deepest appreciation to Madame Sylvie Chevalley, Archivist of the Cornedie- Francaise, and to the administrators and members of the Coinedie-Francaise, for permitting the microfilming of those materials in their archives without which this study could not have been attempted, and for granting me permission to reproduce selected items for inclusion as illustrations. In turn, I would like to thank Dr. John McDowell and the staff of the Ohio State University Theatre Collection for securing the microfilms from the Comedie- Francaise and making them available to me. ii VITA April 15, 1933 Born, Milwaukee, Wisconsin 1955 B.S., Carroll College, Waukesha, Wisconsin 1955 , 1956 Union Theological Seminary, New York, New York 1956 -1958 U.S. Army 1959 N.A., Northwestern University, Evanston, Illinois 1959 - 1961 Instructor of Theatre Arts, Eastern Illinois University, Charleston, Illinois 1961 - 1963 Student, The Ohio State University, Columbus, Ohio 1963 - 1966 Assistant Professor of Theatre Arts, Eastern Illinois University 1966 - 1970 Associate Professor of Theatre, The State University of New York at Binghamton, New York iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS......................................
    [Show full text]