Samson Et Dalila De Camille Saint-Saëns
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Takte 1-09.Pmd
[t]akte Das Bärenreiter-Magazin Wundersame Mischungen Ernst und komisch zugleich: Haydns „La fedeltà premiata” 1I2009 Das geheime Leben Informationen für Miroslav Srnka auf Entdeckungstour Bühne und Orchester Plädoyer für ein großartiges Repertoire Marc Minkowski über die französische Oper des 19. Jahrhunderts [t]akte 481018 „Unheilvolle Aktualität“ Abendzauber Das geheime Leben Telemann in Hamburg Ján Cikkers Opernschaffen Neue Werke von Thomas Miroslav Srnka begibt sich auf Zwei geschichtsträchtige Daniel Schlee Entdeckungstour Richtung Opern in Neueditionen Die Werke des slowakischen Stimme Komponisten J n Cikker (1911– Für Konstanz, Wien und Stutt- Am Hamburger Gänsemarkt 1989) wurden diesseits und gart komponiert Thomas Miroslav Srnka ist Förderpreis- feierte Telemann mit „Der Sieg jenseits des Eisernen Vorhangs Daniel Schlee drei gewichtige träger der Ernst von Siemens der Schönheit“ seinen erfolg- aufgeführt. Der 20. Todestag neue Werke: ein Klavierkon- Musikstiftung 2009. Bei der reichen Einstand, an den er bietet den Anlass zu einer neu- zert, das Ensemblestück „En- Preisverleihung im Mai wird wenig später mit seiner en Betrachtung seines um- chantement vespéral“ und eine Komposition für Blechblä- Händel-Adaption „Richardus I.“ fangreichen Opernschaffens. schließlich „Spes unica“ für ser und Schlagzeug uraufge- anknüpfen konnte. Verwickelte großes Orchester. Ein Inter- führt. Darüber hinaus arbeitet Liebesgeschichten waren view mit dem Komponisten. er an einer Kammeroper nach damals beliebt, egal ob sie im Isabel Coixets Film -
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. -
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. -
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. -
B-RECORDS Ascanio B-RECORDS Ascanio P.1
B-RECORDS Ascanio P.1 B-RECORDS Ascanio P.2 B-RECORDS Ascanio P.4 CAMILLE SAINT-SAËNS — ASCANIO Opéra en cinq Actes et sept Tableaux livret de Louis Gallet Première exécution absolue de la version conforme au manuscrit autographe de 1888. Concerts enregistrés les 24 et 26 novembre 2017 à Genève. Guillaume Tourniaire direction musicale Raphaël Hardmeyer Charles Quint Olivia Doutney Une Ursuline Jean-François Lapointe Benvenuto Cellini Joé Bertili Pagolo Choeur de la Haute école Bernard Richter Ascanio de musique de Genève Ève-Maud Hubeaux Scozzone Choeur du Grand Théâtre de Genève Jean Teigten François Ier Alan Woodbridge chef de chœur Karina Gauvin La Duchesse d'Étampes Clémence Tilquin Colombe D'Estourville Orchestre de la Haute école Mohammed Haidar Un Mendiant de musique de Genève Bastien Combe D'Estourville Maxence Billiemaz D'Orbec Joidy Blanco flûte solo B-RECORDS Ascanio P.5 B-RECORDS Ascanio P.6 ORCHESTRE DE LA HAUTE CLARINETTES CHŒUR DU GRAND THÉÂTRE ALTOS ÉCOLE DE MUSIQUE DE GENÈVE Marina Yamashita, Mio Yamashita DE GENÈVE Leilla Attigui, Camille Bourquin, Pierre-Antoine Marçais Roberto Balistreri Ornella Corvi, Alina Delgadillo, chef d’orchestre assistant BASSONS Assistant du chef de choeur Zoé Vauconsant Aline Kalchofner, Citlalli Medina Durán, VIOLONS Carla Rouaud (et contrebasson) SOPRANOS TÉNORS Lucie Menier (1er VS), Camille Guilpain Fosca Aquaro, Chloé Chavanon, Paul Belmonte, Quentin Monteil, (2ème VS), Jou Chan, Sen Chan, CORS Magali Duceau, Györgyi Garreau-Sarlos, Jeka Pawel, Marin Yonchev Seat Byeol Choi, Benjamin -
CAVALLERIA RUSTICANA/PAGLIACCI Cast Biographies Cavalleria Rusticana
CAVALLERIA RUSTICANA/PAGLIACCI Cast Biographies Cavalleria Rusticana Before making his San Francisco Opera debut in 1993 as Rodolfo in La Bohème, tenor Roberto Aronica (Turiddu) studied with famed singer Carlo Bergonzi and completed his training at the Accademia Chigiana in Siena. He made his professional debut as the Duke of Mantua in Rigoletto at Teatro Municipal in Santiago de Chile. More recent engagements have included Manrico in Il Trovatore at the Teatro Comunale di Bologna, the title role of Don Carlos at the Royal Opera House, Pinkerton in Madama Butterfly at the Gran Teatre del Liceu in Barcelona, Calaf in Turandot at Turin’s Teatro Regio, and Alfredo in La Traviata at the Metropolitan Opera. In 2018, Aronica performs Pinkerton at the Metropolitan Opera, Paolo in Francesca da Rimini at the Teatro alla Scala, and Don Carlo at the Teatro Comunale di Bologna. Russian mezzo-soprano Ekaterina Semenchuk (Santuzza) made her San Francisco Opera debut in 2015 as Federica in Luisa Miller and in 2016 she returned as Amneris in Aida. Her recent engagements include Eboli in Don Carlo at Teatro alla Scala and Royal Opera, Covent Garden; Azucena in Il Trovatore with Rome Opera, St. Petersburg’s Mariinsky Theatre, and Covent Garden; Fricka in Das Rheingold at the Edinburgh International Festival; and Lady Macbeth in Macbeth at Los Angeles Opera opposite Plácido Domingo. Career highlights encompass Marina Mnishek in Boris Godunov at the Metropolitan Opera; Azucena and Amneris at Milan’s Teatro alla Scala; Iocasta in Oedipus Rex and Ascanio in Benvenuto Cellini at the Théâtre des Champs-Élysées; the title role of Carmen at Arena di Verona; Preziosilla in La Forza del Destinoand Amneris with Berlin State Opera; Didon in Les Troyens at the Mariinsky Theatre, Carnegie Hall, and in Vienna and Tokyo; Laura Adorno in La Gioconda and Dalila inSamson et Dalila at Rome Opera; Giovanna Seymour in Anna Bolena at the Vienna State Opera; and Eboli and Azucena at the Salzburg Festival. -
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. -
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. -
Notes De Programme |
OPERA DE LILLE SAISON 2007 2008 LES CONCERTS DU MERCREDI RECITAL D’OUVERTURE C’EST ÇA L’AMOUR 10 OCTOBRE 07 / FOYER PROGRAMME AVEC Isabelle Cals soprano Rodolphe Briand ténor Antoine Palloc piano ➔ PROGRAMME > DES VICTOIRES Jacques Offenbach (1819-1880) La Périchole (Livret de Henri Meilhac et Ludovic Halévy) : « Le conquérant dit à la jeune indienne... » > DE LA FATALITE Jacques Offenbach La Belle Hélène (Livret de Henri Meilhac et Ludovic Halévy) : « On me nomme Hélène la blonde… » > DES TOURMENTS Jacques Offenbach La Périchole : « On me proposait d’être infâme… » > DES CONTRADICTIONS Jacques Offenbach La Périchole : « Dans ces couloirs obscurs…Tu n’es pas beau… » > DES MIRACLES André Messager (1853-1929) L’Amour masqué : « Mon rêve » > DE L’EXOTISME Jacques Offenbach La Vie Parisienne (Livret de Henri Meilhac et Ludovic Halévy) : « Je suis brésilien, j’ai de l’or… » > DES PETITS MENSONGES Reynaldo Hahn (1874-1947) O mon bel inconnu (Livret de Sacha Guitry) : « C’est très vilain d’être infidèle… » > DES CRAINTES Jean Yanne (1933-2003) et Popoff « Si tu t’en irais » > DE LA FIDELITE Maurice Yvain (1891-1965) Pas sur la bouche (Livret d’André Barde) : « Comme j’aimerais mon mari… » > DU BIZARRE Jean Yanne et Popoff « Camille » > DE LA SEDUCTION Erik Satie (1866-1925) « La Diva de l’Empire » (Texte de Dominique Bonnaud et Numa Blès) > DES RISQUES Maurice Yvain Pas sur la bouche : « Yes » > DU REVE Jacques Offenbach La Belle Hélène : « C’est le ciel qui m’envoie… » ➔ REPERES BIOGRAPHIQUES Isabelle Cals soprano Diplômée de Hautes Etudes Internationales et titulaire d’une maîtrise de chinois, Isabelle Cals intègre le Centre de Formation Lyrique de l’Opéra National de Paris en 1995. -
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. -
Dr. Camille Saint-Saëns Author(S): MD Calvocoressi
Dr. Camille Saint-Saëns Author(s): M. D. Calvocoressi Source: The Musical Times, Vol. 53, No. 832 (Jun. 1, 1912), pp. 365-367 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907323 Accessed: 10-02-2016 08:49 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 84.88.136.149 on Wed, 10 Feb 2016 08:49:34 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JUNE I, I912. 365 that despite his youth, he-naturally enough- found Halivy's teaching uncongenial to him: for SZe lusical~imes he followedthe course duringa fewmonths only. AND SINGING-CLASS CIRCULAR. In 1852 he enteredthe competitionfor the 'Prix JUNE I, 1912. de Rome,' but withoutsuccess. He was to renew the attempt,though to no better purpose,in I864, just beforereaching the limitage of thirty. DR. CAMILLE SAINT-SAENS. The same year (1852) his firstpublished work- a set of threepieces forthe harmonium-appeared; M.-D. CALVOCORESSI.