A Gendered Faust
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LA REVUE HEBDOMADAIRE, 28 Octobre 1893, Pp. 621-627. Nous Ne Voulons Faire Ici Aucune Critique De Son Œuvre
LA REVUE HEBDOMADAIRE , 28 octobre 1893, pp. 621-627. Nous ne voulons faire ici aucune critique de son œuvre; la popularité dont elle jouit dans l’Europe entière suffit à la juger. Charles Gounod, en effet, a eu de son vivant cette joie qui fut refusée à tant de maîtres illustres: se voir compris de la foule et triompher de ses préventions. C’est, d’ailleurs, parce qu’il a exprimé en mélodies caractéristiques des états d’âme familiers à la généralité que Charles Gounod a remporté les succès qui ont fait sa gloire. Les accents qu’il a prêtés à Faust, à Marguerite, à Juliette, à Roméo, restent définitifs pour tous ceux qui recherchent avant tout dans la musique l’écho de leur propre sentiment plutôt que l’expression exacte de la nature d’un personnage déterminé. L’immense majorité des auditeurs demeure peu sensible à la vérité dramatique du théâtre chanté. Pourvu que la musique qui accompagne l’action la séduise, elle n’en demande point davantage: la fortune des opéras de Gounod s’explique en partie par ceci. Nulle musique, en effet, n’est plus séduisante. Les caressantes mélodies que le maître a répandues à profusion dans son œuvre expriment si merveilleusement les sentiments qui, pour le plus grand nombre, accompagnent la notion de passion, qu’elles sont devenues, en passant par bien des bouches, le langage de la passion même. D’après un propos, tenu peu de temps avant sa mort, le maître aurait exprimé le regret sincère d’avoir, par la scène du jardin de Faust , «causé bien des fautes». -
Palazzetto Bru Zane -Ciclo Gounod
La sua musica è divina tanto quanto la sua persona è nobile e distinta. Gounod è giustamente considerato l’apostolo di un romanticismo lirico, sensuale e seduttivo. Dal rapito stupore dell’«aria dei gioielli» del Faust CICLO Gounod ha un al candore pastorale di Mireille passando per la voluttuosità della scena del giardino in Roméo et Juliette, il compositore ha saputo cogliere immenso avvenire. e tradurre in musica i palpiti dell’anima umana vittima dell’amore, CHARLES Pauline Viardot sia esso folgorante o contrastato. Ma Gounod non fu solo il cantore del desiderio: l’obiettivo del ciclo che il Palazzetto Bru Zane gli dedica è appunto mostrarne tutti i diversi aspetti. E dunque, composizioni GOUNOD, poco note (il Concerto per pianoforte con pedaliera, la trascrizione da Mozart per coro a cappella) affiancheranno un evento quale la prima creazione in tempi moderni della sua ultima opera lirica, Le Tribut (1818-1893) de Zamora; al contempo, verrà rivolto uno sguardo nuovo a brani più famosi, in particolare la prima versione del Faust con testi parlati, DALLA CHIESA interpretata con strumenti d’epoca. ALL'OPERA In occasione del bicentenario della nascita del compositore, il Palazzetto Bru Zane si propone di far conoscere meglio un musicista che non fu soltanto l’autore del Faust e di Roméo et Juliette. 17 La sua musica è divina tanto quanto la sua persona è nobile e distinta. Gounod è giustamente considerato l’apostolo di un romanticismo lirico, sensuale e seduttivo. Dal rapito stupore dell’«aria dei gioielli» del Faust CICLO Gounod ha un al candore pastorale di Mireille passando per la voluttuosità della scena del giardino in Roméo et Juliette, il compositore ha saputo cogliere immenso avvenire. -
Roméo Et Juliette a Guide for Educators
GOUNOD Roméo et Juliette A Guide for Educators ken howard / met opera Roméo et Juliette THE WORK An opera in five acts, sung in French William Shakespeare’s Romeo and Juliet is filled with some of the best- Music by Charles Gounod known images in literature: young lovers on a balcony, bathed in moonlight as they express their newfound passion; a secret wedding Libretto by Jules Barbier and Michel Carré that flies in the face of longstanding familial strife; a desperate plan to Based on the play Romeo and Juliet be together in spite of hatred and exile; and a tragic finale in a dark by William Shakespeare tomb. For Charles Gounod, a composer in 19th-century France, these First performed April 27, 1867, indelibly dramatic scenes were the perfect seeds for an opera, and his at the Théâtre Lyrique, Paris music for Roméo et Juliette offers a thrilling, rapturous, and heartbreaking PRODUCTION counterpart to Shakespeare’s transcendent poetry. In adapting Romeo and Juliet for the operatic stage, Gounod was Bartlett Sher taking part in a long tradition of retelling and reimagining Shakespeare’s Production work. Yet even Shakespeare was but one link in a chain of transmission Michael Yeargan Set Designer connecting an Italian novella from the first half of the 16th century to Catherine Zuber a ballet by Sergei Prokofiev, the 1957 Broadway musical West Side Story, Costume Designer and film adaptations by Franco Zeffirelli and Baz Luhrmann. Nor are Jennifer Tipton Lighting Designer Shakespeare’s lovers unique in the canon of world literature: Tragic stories Chase Brock of impossible love are found around the globe, including the ancient Choreographer Babylonian Pyramus and Thisbe, the medieval Perso-Arabic Layla and B. -
Charles Gounod a Centennial Tribute
CHARLES GOUNOD A CENTENNIAL TRIBUTE By JULIEN TIERSOT Downloaded from NE HUNDRED YEARS have passed since Charles Gou- nod was born—June 17, 1818—at Paris. It was scarcely O fifteen years ago that musical France celebrated the cen- tenary of another of her glorious children, Hector Berlioz; while the coming quarter-century will furnish numerous occasions for http://mq.oxfordjournals.org/ analogous commemorations, by which the glories of the French School, hitherto too lightly considered, shall be set forth, and its lofty flight during the nineteenth century shall be made manifest. Despite other claims on our attention at this period, it is proper that we should call to mind a time which, in the annals of French art and genius, shines with an unquenchable lustre. The subject is sufficiently remote for us to examine, in its ensemble, the life- work and career of a master who died twenty-five years ago at University of Birmingham on June 8, 2015 (October 17, 1893), and who, variously appraised while living, nevertheless occupied a conspicuous position in the musical specu- lations of the entire world. Let us attempt to make a rapid survey of these topics and, from a distant and commanding point of view, to scan simultaneously the life of the man, the career of the artist, and the productions of the musician. I. The first characteristic trait revealed by this examination is that Gounod was, first and foremost, an artist. To certain minds this statement may seem supererogatory. And, none the less, this trait is not always the most prominent one when certain mas- ters are under consideration. -
The Operas of Charles Gounod by Nick Fuller
The Operas Of Charles Gounod by Nick Fuller I. Introduction Charles Gounod’s fame rests on one immortal opera, Faust . Roméo et Juliette and Mireille are regularly performed around the world, but many of his other operas were failures, did not hold the stage, or have been forgotten. Nevertheless, his music influenced and was admired by later generations of French composers. Debussy believed that Gounod represented an important stage in the evolution of French sensitivity, and that he modelled for an entire generation the principles of clarity, balance and suavity. Ravel held that the musical renaissance of his day began with Gounod. Saint-Saëns, Massenet and Bizet were his protégés and disciples, while Fauré admired him and César Franck considered Gounod his master. Reynaldo Hahn’s musical trinity was Mozart, Gounod and Saint-Saëns, and called Gounod the French Schubert and Schumann. Tellingly, most of these musicians were not primarily opera composers. It is, to be honest, more difficult to make the case for Gounod as an opera composer than it is for Meyerbeer or Massenet, who ruled the French lyric stage before and after him. Meyerbeer’s operas are rich and imaginative, while the quality and individuality of Massenet’s operas is astonishing. Although even his dramatically most feeble operas contain at least one delightful melody, Gounod’s operas are often less than the sum of their parts. What makes him a good composer of religious music or of mélodies makes him a weaker composer of opera. The problem, as Steven Huebner suggests, may be that Gounod was fundamentally not a dramatic composer; his tastes were too refined for the opera stage. -
Gounod Charles
GOUNOD CHARLES COMPOSITORE FRANCESE (PARIGI, 17 GIUGNO 1818 – SAINT-CLOUD, 18 OTTOBRE 1893)\ 1 Fu il secondogenito di François Louis Gounod, pittore, e di Victoire Lemachois, pianista e figlia di un famoso avvocato del Parlamento di Normandia. Il primogenito, Louis-Urbain, era nato nel 1807. Nel 1823, quando Charles aveva cinque anni, la famiglia venne a trovarsi in seri problemi finanziari derivanti dalla morte del padre François, e Victoire si vide costretta a dare lezioni di pianoforte per poter crescere i figli. Nel 1829 Charles Gounod entrò al liceo Saint-Louis, terminandolo poi nel 1835, iniziando nel frattempo gli studi musicali con Antonin Reicha, coetaneo nonché amico di Beethoven, proseguendoli poi al Conservatorio di Parigi sotto la guida dei maestri Halévy, Paer e Lesueur. Nel gennaio del 1831 si recò, quasi per caso, con la madre ad una rappresentazione dell'Otello di Rossini; nel 1832 fu la volta del Don Giovanni di Mozart. I due avvenimenti convinsero il giovane Gounod a diventare un compositore. Nel 1839 si recò a Roma a Villa Medici in seguito alla vittoria del Prix de Rome. Vi rimase dal 1840 al 1843, per poi spostarsi a Vienna, ove diresse il proprio Requiem, e a Lipsia, dove ebbe modo di conoscere Felix Mendelssohn. Rientrato in patria, fu colto da una forte crisi interiore, per la quale trasse conforto dalla meditazione sacerdotale, vita che non riuscì mai a decidere di intraprendere. E fu proprio tale profonda devozione a portarlo a scrivere moltissime opere sacre fino alla morte, tra cui la celebre Ave Maria, nata inizialmente come parafrasi per violino e pianoforte sul primo preludio del Clavicembalo ben temperato di Bach, successivamente rielaborata per coro omofono e orchestra e, tuttavia, non destinata ad esecuzioni liturgiche.