DOCSLIB.ORG

French Baroque With

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
French Baroque With FRENCH BAROQUE WITH Sydney and Melbourne July/August 2015 Paul Dyer Artistic Director/Conductor Yaron Lifschitz Artistic Director, Circa Claire Lefilliâtre (France) soprano Performers of Circa Members of the Brandenburg Choir Mark Nowicki, Richard Sanchez, Philip Murray Australian Brandenburg Orchestra PROGRAM Rameau Ouverture to Naïs Le Camus Laissez durer la nuit Rameau Suite from Les Indes Galantes Interval A pasticcio created by Paul Dyer and Yaron Lifschitz featuring Marais, Lully, Tessier, Boesset and more Sydney City Recital Hall Angel Place Wednesday 22 July, Friday 24 July, Wednesday 29 July, Friday 31 July, Saturday 1 August all at 7pm, Matinee Saturday 1 August at 2pm Melbourne Melbourne Recital Centre Saturday 25 July at 7pm, Sunday 26 July at 5pm Chairman's 11 Proudly supporting our guest artists The duration of this concert is approximately 2 hours including interval. We kindly request that you turn off all electronic devices during the performance. SERIES PARTNER PRINCIPAL PARTNER CIRCA Program_#6.indd 1 13/07/2015 10:52 am SHARED VISIONS Macquarie is proud to be the principal partner of the Australian Brandenburg Orchestra for the 2015 concert season. In French Baroque with Circa, the Brandenburg marries old and new, beautiful French baroque music with contemporary Australian circus. The result is an innovative collaboration between two organisations employing some of the most pre-eminent performers in their fields. Presenting both classics of the baroque repertoire as well as unfamiliar compositions enables the depth of the baroque period to be shared with modern listeners. It is this ability of the ensemble to perform baroque pieces in as fresh and exciting a way as when they were first performed that is one of the most enticing aspects of a Brandenburg concert. It is a privilege to continue our support for the Brandenburg and congratulations once again to Artistic Director Paul Dyer for creating a wonderful year of concerts. Our partnership with the Orchestra in bringing these works to life means the immense talents of its musicians and visiting artists can be widely enjoyed and appreciated. We commend this year’s program to you. Shemara Wikramanayake 2 Chair, Macquarie Group Foundation CIRCA Program_#6.indd 2 13/07/2015 10:52 am ARTISTIC DIRECTOR'S MESSAGE I walked into the huge towered the small fragments that I’ve found. rehearsal room and looked up. Feeling Each piece reflects various moods of nervous and excited at the same time, the night through the eyes of our the various props littered the room: heroine, soprano Claire Lefilliâtre. soft cushioning, ropes, long silks cascading from the ceiling, rigging, One of my great joys has been mats and various singlets, arm bands working with the Artistic Director of and other items of clothing associated CIRCA, Yaron Lifschitz. It’s been a with an Acrobatic circus. I had entered perfect combination of artistic minds the world of CIRCA. exploring the mediums of ballet, theatre, traditional languages of circus This creative space had an air of and music. Yaron writes: danger, a space of physical exertion, sweat and energy … Paul’s vision for the pasticcio brilliantly mixes the longing of night with the Our worlds are different. playful side of the French Baroque. I have responded by creating a river Walking into our creative Brandenburg of moonlight that divides the stage, space, organised chairs, music reflecting singer and acrobat, musician stands, instrument cases: our world is and vocalist. In the interplay between sound and tonight these two worlds delight and desire, between pleasure will collide beautifully to bring and abandonment we see a world something new. created where bodies seamlessly meld into song, where lives and loves A ravishing soprano from Paris, a intermingle and where the simple contemporary Australian circus and an magic of singing speaks clearly to the Australian period instrument orchestra heart. Centred around our heroine’s fuse together to explore the beauty of dreams, the circus extends from the French Baroque. Exquisite music, metaphor to alternate reality to breathtakingly beautiful artists – all obstacle to finally a force of love and transforming our stage with elegance transcendence. Sinuous lines, and joy. marching beats, intricate arias, intimate songs and soaring rhapsodic I have gathered the music from many textures create an eccentric, eclectic different sources around the world and ravishing surface through which designing twelve small pieces of music we have weaved our acrobatics and into my Pasticcio. Many of the pieces physical languages. We aim to expand are rare and a few had to be arranged. and enhance the wonderful flavours of Some are only fragments of music and the French Baroque – adding a little my brilliant musicians work with me to drama, some mystery, a touch of Paul Dyer AO improvise ‘in the French style’ around sensuality and a few thrills. Artistic Director and Conductor 3 CIRCA Program_#6.indd 3 13/07/2015 10:52 am OUR SHARED DIGITAL JOURNEY I am delighted that Accenture is the Digital Partner of the Australian Brandenburg Orchestra. Our goal is to ensure that the ABO is as far reaching as possible and to help create the best experience for the ABO’s audiences. By enhancing the ABO’s digital footprint we will give people of all ages and interests the opportunity to experience the creativity and inspired leadership that Artistic Director Paul Dyer continues to bring to Baroque. The ABO and Accenture will work in partnership over the next three years to build the ABO’s digital presence. We will use our digital technology capabilities to ensure fans can enjoy the Brandenburg Orchestra’s music through multiple channels, as well as in person. As a music enthusiast, I have enormous respect for the level of commitment and preparation of every musician performing today and I wish them every success for the concert series. Jack Percy, Chairman and Managing Director, 4 Accenture Australia and New Zealand SERIES PARTNER CIRCA Program_#6.indd 4 13/07/2015 10:52 am AUSTRALIAN BRANDENBURG ORCHESTRA WITH Paul Dyer Artistic Director/Conductor Yaron Lifschitz Artistic Director, Circa Claire Lefilliâtre (France) soprano Performers of Circa Members of the Brandenburg Choir Mark Nowicki, Richard Sanchez, Philip Murray Australian Brandenburg Orchestra Costume designs for the pasticcio by Libby McDonnell, Circa Creative Associate The musicians on period instruments Baroque Violin 1 Baroque Double Bass Theorbo/Baroque Guitar/ Shaun Lee-Chen, Perth Andrew Sinclair, Perth+3 Classical Guitar (Guest Concertmaster)1 Libby Browning, Perth Tommie Andersson, Sydney+* Matt Bruce, Sydney (Resident Concertmaster)* Baroque Flute/Piccolo/ Harpsichord Catherine Shugg, Melbourne Recorder Paul Dyer, Sydney+* Skye McIntosh, Sydney Melissa Farrow, Sydney+* Matt Greco, Sydney Mikaela Oberg, Sydney Vocalists Rafael Font, The Hague Mark Nowicki, Sydney Baroque Oboe Richard Sanchez, Sydney Baroque Violin 2 Kirsten Barry, Melbourne+* Philip Murray, Sydney Ben Dollman, Adelaide+* Owen Watkins, Bega Simone Slattery, Adelaide Circa Stephanie Eldridge, Bendigo Baroque Bassoon Robbie Curtis, Brisbane Shane Lestideau, Melbourne Peter Moore, Perth+* Jarred Dewey, Brisbane Natalia Harvey, Melbourne Ben Hoadley, Auckland Freyja Edney, Brisbane Alex Mizzen, Brisbane Baroque Viola Baroque Trumpet Paul O'Keeffe, Brisbane Monique O'Dea, Sydney+2 Leanne Sullivan, Sydney+ Katheryn O'Keeffe, Brisbane Marianne Yeomans, Sydney Matt Manchester, Sydney Billie Wilson-Coffey, Brisbane Shelley Sörensen, Sydney Christian Read, Melbourne Baroque Timpani/Percussion + * Denotes Brandenburg Core Musician Brian Nixon, Sydney + Section Leader 1 Shaun Lee-Chen appears courtesy of Baroque Cello West Australian Symphony Orchestra, Perth 2 + Monique O’Dea appears courtesy of Jamie Hey, Melbourne * Accordion Presbyterian Ladies’ College, Sydney (staff) 3 Andrew Sinclair appears courtesy of Anthea Cottee, Sydney Emily-Rose Sarkova, Sydney West Australian Symphony Orchestra 5 Harpsichord preparation by Geoffrey Pollard in Sydney Rosemary Quinn, Sydney and Alistair McAllister in Melbourne CIRCA Program_#6.indd 5 13/07/2015 10:52 am PAUL DYER In January 2013 Paul Dyer AO was awarded the Officer of the Order of Australia (AO) for his ‘distinguished service to the performing arts, particularly orchestral music as a director, conductor and musician, through the promotion of educational programs and support for emerging artists’ in recognition of his achievements as Co-founder and Artistic Director of the Australian Brandenburg Orchestra and Brandenburg Choir. Paul Dyer is one of Australia’s leading specialists in period performance styles. He founded the ABO in 1990 and has been the orchestra’s Artistic Director since that time. Paul has devoted his performing life to the harpsichord, fortepiano and chamber organ as well as conducting the Brandenburg Orchestra and Choir. Paul completed postgraduate studies in solo performance with Bob van Asperen at the Royal Conservatorium in The Hague, performed with many major European orchestras and undertook ensemble direction and orchestral studies with Sigiswald Kuijken and Frans Brüggen. Paul appears as a soloist, continuo player and conductor August 2001 Paul toured the orchestra to Europe with with many major ensembles including the Sydney guest soloist Andreas Scholl. As a recitalist, he has Symphony Orchestra, West Australian Symphony toured Germany, France, Belgium, the Netherlands and Orchestra, Queensland Orchestra, Australia Ensemble, the United
Load more

Recommended publications
  • Art and Culture: Memories from the Past Royal Monarchy of France
    https://journal.hass.tsukuba.ac.jp/interfaculty Inter Faculty, 7 (2016): 101–116 https://journal.hass.tsukuba.ac.jp/interfaculty/article/view/109 DOI: 10.15068/00147455 Published: September 10, 2016 Article Art and Culture: Memories from the Past Royal Monarchy of France Margareta KASTBERG SJÖBLOM University of Franche-Comté (France) To cite this article: SJÖBLOM, M. (2016). Art and Culture: Memories from the Past Royal Monarchy of France. Inter Faculty, Vol. 7, pp.101–116. <https://doi.org/10.15068/00147455> [Accessed: 2021.9.24] This is an open access article under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. <https://creativecommons.org/licenses/by-nc-sa/4.0/> Inter Faculty ©2012 ICR (ISSN:1884-8575) Art and Culture Memories from the Past Royal Monarchy of France Margareta KASTBERG SJÖBLOM EA 4661 ELLIADD University of Franche-Comté Abstract This article focuses on the analysis of textual data and the extraction of lexical semantics. The techniques provided by different lexical statistics tools, such as Hyperbase (Brunet), today open the door to many avenues of research in the field of corpus linguistics, including reconstructing the major semantic themes of a textual corpus in a systematic way, thanks to a computer-assisted semantic extraction. The object used as a testing ground is a corpus made up by a patrimonial corpus which includes the entire repertoire of the first generation of French Opera librettos performed at the Royal Music Academy at the Palais Royal. The aim of the contribution is to show how an artistic genre can be a bearer of a political message and a vehicle for its propaganda.
    [Show full text]
  • CMBV-2006-Marin Marais. Sémélé.Pdf
    Lundi 23 octobre 2006 — 19h30 Théâtre des Champs-Élysées Frontispice du livret de Sémélé, extrait du Recueil General des opera representez par l’Academie Royale de Musique depuis son etablissement, Tome neuvième, Paris, Christophe Ballard, 1710 SÉMÉLÉ - LE CONCERT SPIRITUEL - LUNDI 23 OCTOBRE 251 Sémélé Tragédie lyrique (1709) Musique de Marin Marais (1656-1728) Livret d’Antoine Houdar de La Motte (1672-1731) Sémélé: Blandine Staskiewicz, dessus Dorine: Bénédicte Tauran, bas-dessus Junon: Hjördis Thébault, bas-dessus Adraste: Emiliano Gonzalez-Toro, haute-contre Jupiter: Thomas Dolié, basse-taille Cadmus: Marc Labonnette, basse-taille Mercure: Stephan MacLeod, basse Le Concert Spirituel Direction : Hervé Niquet Alice Piérot (1er violon), Olivier Briand, Myriam Cambreling, Benjamin Chénier, Virginie Descharmes, Yannis Roger, dessus de violon Judith Depoutot, Marie-Liesse Barau, Géraldine Roux, hautes-contre de violon Alain Pégeot, Fanny Paccoud, tailles de violon Hilary Metzger, Julie Mondor, quintes de violon Tormod Dalen*, Nils de Dinechin, Annabelle Luis, basses de violon Yuka Saïtô*, viole de gambe Luc Devanne, contrebasse Philippe Allain-Dupré, flûte François Lazarevitch, flûte et musette Luc Marchal, Fabrice Gand, Benoit Richard, Yanina Yacubsohn, hautbois Laurent Le Chenadec, Nicolas André, Stéphane Tamby, bassons Claire Antonini*, Caroline Delume*, Bruno Helstroffer*, théorbes Sébastien d’Hérin*, Elisabeth Geiger*, clavecins Jean-Luc Machicot, trompette Stephen Eelhart, percussions (* Basse continue) 252 MARAIS, VIOLISTE À L’OPÉRA
    [Show full text]
  • Society for Seventeenth-Century Music Twelfth Annual Conference
    Society for Seventeenth-Century Music A SOCIETY DEDICATED TO THE STUDY AND PERFORMANCE OF 17TH-CENTURY MUSIC Twelfth Annual Conference La Jolla, California 15­17 April 2004 ABSTRACTS OF PRESENTATIONS * Index of presentations * Abstracts * Program Committee Index of Presentations Antonia L. Banducci (University of Denver), “Staging Music: The Dramatic Role of Preludes and Ritournelles in French Baroque Opera” Gregory Barnett (Rice University), “Church Music, Musical Topoi, and the Ethos of the Sonata da chiesa” Grey Brothers (Westmont College) and the Westmont Chamber Singers, “The Polyphonic Passion in Mexico City: The Passio secundum Mattheum of Antonio Rodríguez de Matta (d. 1643)” Michele Cabrini (Princeton University), “From the Visual to the Aural: Tempête and the Power of Instrumental Sound in the French Cantata” Stuart Cheney (Goucher College), ”Transcriptions for Solo Viol of the Music of Jean- Baptiste Lully” Michael R. Dodds (Southern Methodist University), “Plainchant at Florence Cathedral in the Late Seicento: Unwritten Sharps and Shifting Concepts of Tonal Space” David Dolata (Eastern Washington University), “Bellerofonte Castaldi’s Extraordinary Capricci a due stromenti” Don Fader (Indiana University), “Marin Mersenne and the French View of Musical Rhetoric” Alex Fisher (University of British Columbia), “Approaching Music and Religious Identity in Early Modern Germany: Sacred Music in Augsburg during the Thirty Years’ War" Wendy Heller (Princeton University), “I pianti d’Apollo: Desire, Melancholy, and the Power of Song”
    [Show full text]
  • The Parallel Canons at the Opéra and the Comédie-Française at the End Databases, Revenues, & Repertory: the French Stage Online, 1680-1793 of the Ancien Régime
    Databases, Revenues, & Repertory: The French Stage Online, 1680– 1793 • Databases, Revenues, & Repertory: The French Stage Online, 1680-1793 The Parallel Canons at the Opéra and the Comédie- Française at the End of the Ancien Régime William Weber Published on: Oct 08, 2020 DOI: 10.21428/671d579e.244e34b0 License: Creative Commons Attribution 4.0 International License (CC-BY 4.0) Databases, Revenues, & Repertory: The French Stage Online, 1680–1793 • The Parallel Canons at the Opéra and the Comédie-Française at the End Databases, Revenues, & Repertory: The French Stage Online, 1680-1793 of the Ancien Régime The Opéra, or the Académie royale de musique, had a lot to do with the Comédie-Française in the long term. Formed eleven years apart—the Opéra in 1669 and the Comédie-Française in 1680—the two institutions were given similar monopolies by the monarchy and as such took central roles within the entertainment world and public life. What is particularly striking is that both theaters developed remarkably powerful canons of great works by, on the one hand, Jean-Baptiste Poquelin or Molière, Pierre Corneille, and Jean Racine, and on the other by Jean-Baptiste Lully and Jean-Philippe Rameau. Works by the two composers and the three playwrights can be considered to have played the role of high canon in the repertories of the two theaters. This essay will show how parallel canons evolved at the Opéra and the Comédie-Française and entered into periods of major change in the 1770s and 1780s. On the one hand, the arrival of Christoph- Willibald Gluck as the principal composer at the Opéra in 1774 led to the abandonment of its old repertory, save for Jean-Jacques Rousseau’s Le Devin du village, premiered in 1752, and stimulated an intense controversy as to the relative merits of music by Gluck and by Niccolò Piccinni, and indeed the whole future of French opera.
    [Show full text]
  • CMBV-2006-Extraits D'ariane & Bacchus Et Alcyone.Pdf
    Samedi 14 octobre 2006 — 20h30 Opéra royal Airs et suites d’Ariane & Bacchus et Alcyone Frontispice du livret d’Ariane & Bacchus, extrait du Recueil General des opera representez par l’Academie Royale de Musique depuis son etablissement, Tome cinquième, Paris, Christophe Ballard, 1703 RICERCAR CONSORT - SAMEDI 14 OCTOBRE 189 Airs et suites d’Ariane & Bacchus et d’Alcyone Ariane & Bacchus Ouverture Air pour la suite de la Nymphe « Quel plaisir prenez-vous » (Ariane) Air des Matelots « Hélas! Ce n’est point la tendresse » (Ariane) Symphonie du Sommeil «Dois-je m’abandonner à cette ardeur nouvelle? » (Ariane) Chaconne Alcyone Prologue Ouverture Air des Faunes et des Dryades « Fuyez, Mortels » (Pan) « Aimable Paix » (Apollon) Marche Menuets 1 et 2 Passepieds 1 et 2 Acte premier Air « Ecoutez nos serment » (Alcyone, Céix) « Quel bruit! Quels terribles éclats! » (Alcyone, Céix, le Grand Prêtre) Acte deuxième Prélude « Dieux cruels, punissez ma rage » (Ceix) « Vous, dont les mystères affreux » (Phorbas, Ismène) Premier Air des Magiciens « Sévère Fille de Cérès » (Phorbas) Deuxième Air des Magiciens Acte troisième « O Mer, dont le calme infidèle » (Pélée) Airs des Matelots 1, 2 et 3: « Amants malheureux » « Quoi, les soupirs & les pleurs d’Alcyone » (Alcyone, Céix) « Il fuit… il craint mes pleurs » (Alcyone) Pause Acte quatrième Prélude « Amour, cruel Amour » (Alcyone) 190 MARAIS, VIOLISTE À L’OPÉRA « O Toi, qui de l’Hymen défends les sacrez nœuds » (La Prêtresse) Symphonie « Le sommeil semble ici verser tous ses pavots » (Alcyone) Le Sommeil,
    [Show full text]
  • L'opéra Du Roi Soleil Katherine Watson
    1 Enregistré par Little Tribeca à l’Arsenal de Metz les 27, 28 et 29 septembre 2018 Direction artistique : Nicolas Bartholomée Prise de son : Nicolas Bartholomée et Maximilien Ciup Montage, mixage et mastering : Gaëtan Juge Accord : la = 392 Hz English translation by Charles Johnston Photos : couverture et p. 32 © Yags Murayenko ; p. 7, 34-35 © Caroline Doutre ; p. 33 © Aurélie Rémy Design par 440.media Coproduction Centre de musique baroque de Versailles | Cité musicale Metz | Les Ambassadeurs Partitions éditées par le Centre de musique baroque de Versailles - responsable éditorial : Julien Dubruque Les Ambassadeurs sont soutenus par la Caisse des Dépôts, la DRAC Nouvelle Aquitaine et la Spedidam. AP209 Little Tribeca · CMBV ℗ 2019 Little Tribeca · CMBV © 2019 [LC] 83780 1 rue Paul Bert, 93500 Pantin, France apartemusic.com cmbv.fr 2 L’OPÉRA DU ROI SOLEIL KATHERINE WATSON soprano LES AMBASSADEURS ALEXIS KOSSENKO direction 3 LOUIS DE LULLY – Orphée (1690) 1. « Ah ! que j’éprouve bien que l’amoureuse flamme… » (Eurydice) 6’14 MARIN MARAIS – Alcyone (1706) 2. Ouverture 3’14 MARIN MARAIS – Ariane et Bacchus (1696) 3. « Croirai-je, juste ciel ! ce que je viens d’entendre ? » (Ariane) 4’48 4. Symphonie du sommeil 1’40 5. Air pour les flûtes 1’13 (François Nicolet, Lorenzo Brondetta : flûtes allemandes ; Alexis Kossenko : basse de flûte) ANDRÉ CAMPRA – Idoménée (1712, version de 1731) 6. Chaconne 2’43 JEAN-BAPTISTE LULLY – Acis et Galatée (1686) 7. « Enfin, j’ai dissipé la crainte… » (Galatée) 5’32 HENRI DESMAREST – Circé (1694) 8. « Sombres marais du Styx, Cocyte, Phlégéton… » (Circé) 3’28 9. « Calmez votre violence… » (Circé) 2’10 JEAN-BAPTISTE LULLY (double de Michel Lambert) – Psyché (1671) 10.
    [Show full text]
  • Metamorphoses April 13 – May 19 Wurtele Thrust Stage WELCOME
    The Call Is Places 2018–2019 SUBSCRIBER NEWSLETTER Metamorphoses April 13 – May 19 Wurtele Thrust Stage WELCOME From Artistic Director Joseph Haj SEASON 2018–2019 Frankenstein – Playing with Fire Sept 15 – Oct 27, 2018 Dear Friends, Wurtele Thrust Stage The first lines of Mary Zimmerman’s Metamorphoses are a prayer of Noises Off transformation. A woman, gazing at her visage in the water, beseeches Oct 27 – Dec 16, 2018 the gods to change her. In this one intimate moment, the play’s trajectory McGuire Proscenium Stage is made plain. As we watch the myths of Ovid unfold, every story reveals humanity’s desire to shed its skin and change. A Christmas Carol Nov 13 – Dec 29, 2018 Mary’s choice to stage the scenes in and around a pool of water is Wurtele Thrust Stage ingenious, not to mention an aesthetic and technical triumph. But as she clarifies in the script, the pool is never a literal embodiment of the text. The Great Leap Rather, it is used to amplify, and in some cases contradict, the play’s Jan 12 – Feb 10, 2019 McGuire Proscenium Stage thematic action and poetry. As You Like It From its 1998 world premiere at Chicago’s Lookingglass Theatre Feb 9 – March 17, 2019 Company to its Broadway debut in 2002 to its incredibly successful Wurtele Thrust Stage revival at Berkeley Repertory Theatre in co-production with the Guthrie, Mary’s signature masterpiece continues to grip audiences, both visually Cyrano and emotionally. By examining love and loss in all its forms, these ancient de Bergerac stories plumb the depths of the human experience and allow us to March 16 – May 5, 2019 examine our own capacity for change.
    [Show full text]
  • Transformative Intersections: Theatre and Adaptation in Mary Zimmerman's Metamorphoses
    TRANSFORMATIVE INTERSECTIONS: THEATRE AND ADAPTATION IN MARY ZIMMERMAN'S METAMORPHOSES Jared M. Dorotiak A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2013 Committee: Dr. Michael Ellison, Advisor Dr. Ronald Shields, Committee Member ii ABSTRACT Dr. Michael Ellison, Advisor " Adaptation studies has been traditionally characterized by an emphasis on literature and film. The institutional grounding of adaptation studies in university English departments continues to reinforce the framing of adaptation as a transformation of literary texts into films. Despite the fact that many theatrical works are adaptations, theatre remains notably absent in much of the discourse on adaptation. Works like Mary Zimmerman!s Metamorphoses, a theatrical adaptation of Ovid!s retelling of Greek myths, bring tales of transformation to the stage. Myths are among the most adapted and retold stories, and Zimmerman!s play forms a generative intersection among theatre, myth, and adaptation. " This study begins with an overview of adaptation studies from which I distill four key elements of adaptation; these four elements provide a critical vocabulary through which to analyze theatrical adaptations. Then I focus on the work of adaptation scholar Linda Hutcheon and her modes of engagement, which serve to broaden adaptation studies beyond the dominance of literature-to-film adaptations. I apply four cliches created by Hutcheon from her modes of engagement to Zimmerman!s Metamorphoses as a methodology for analyzing theatre!s potential contribution to adaptation studies. Finally, I return to my fourfold vocabulary to examine the transformation of theatre and adaptation studies which can emerge from their mutual exchange.
    [Show full text]
  • Ovid's Ceyx and Alcyone: the Metamorphosis of a Myth Elaine
    Ovid's Ceyx and Alcyone: The Metamorphosis of a Myth Elaine Fantham Phoenix, Vol. 33, No. 4. (Winter, 1979), pp. 330-345. Stable URL: http://links.jstor.org/sici?sici=0031-8299%28197924%2933%3A4%3C330%3AOCAATM%3E2.0.CO%3B2-W Phoenix is currently published by Classical Association of Canada. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/cac.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Wed Aug 8 12:01:37 2007 OVID'S CEYX AND ALCYONE: THE METAMORPHOSIS OF A MYTH WHILE MANY OF THE LOVE STORIES in Ovid's Metamorphorrr are spiced with the Hellenistic seasoning of incest, treason, rape, and violence, there are a few narratives of mutual love, even married love, which the poet has treated with a special sensitivity.
    [Show full text]
  • House of Dreams Prog Notes
    HOUSE OF DREAMS Feb. 11–15, 2015 Programme Notes By Alison Mackay Prologue Several months ago the members of Tafelmusik were in France and Germany, performing Lully’s Persée at the Royal Opera House in Versailles, and playing three concerts as ensemble-in-residence at the Bach Festival in Leipzig. Participating in an opera or a music festival allows musicians to settle into a community and explore its art, culture, and atmosphere. These two locations allowed us to enter the worlds of Louis XIV, Marin Marais, J.S. Bach, and his great friend Georg Heinrich Bose, four characters whose taste helped to shape the original creation of House of Dreams three years ago. Inspired by these encounters, we are especially excited to revisit the programme as the first multi-disciplinary performance using the new staging and lighting possibilities of our renovated hall. Tafelmusik’s House of Dreams is an evocation of rich and intimate experiences of the arts in the time of Purcell, Handel, Vivaldi, and Bach. It is a virtual visit to London, Venice, Delft, Paris, and Leipzig, where great masterpieces by European painters were displayed on the walls of five private homes. These houses were also alive with music, often played by the leading performers and composers of the day. Thus it was possible for visitors to drink tea in a Mayfair townhouse, observe how Watteau had applied his brushstrokes in the portrayal of a silk dress, and listen to Handel directing the rehearsal of a new gavotte. The five historical houses are all still in existence, and our project has been planned as an international collaboration with their present owners and administrators.
    [Show full text]
  • French Opera Between Lully and Rameau
    French opera between Lully and Rameau [Sammelband]. 15 opera and ballet librettos. Paris: C. Ballard or Ribou, 1700-1714. Bound in one volume, quarto (7 ½” x 9 ½"), contemporary calf, rubbed. Spine gilt, leather label, faded & worn at ends. Very clean, well preserved librettos. This sammelband consists of 15 libretto for opera and ballet, all original editions, performed at l’Academie Royal de Musique from 1700 to 1714. In the period between the death of Lully and the death of Louis XIV (1687-1715), there were staged at the Palais Royale a total 42 operas called lyric tragedies and 18 ballets called ballets or opera ballets. (Pitou p.17) . Although the number of works produced at the Academy increased after the late period of Lully, and the audience numbers remained stable, the era to use a metaphor, reflects mostly a “flat” in the inexorable flowing river of French opera. The death of Jean-Baptiste Lully in 1687 begins a transition period for formal opera and ballet. Opera [lyric tragedie] itself declines in stature because the decades of musical taste formed by Lully could not be either continued or discarded. This transition period continues until the rise of Jean-Phillipe Rameau in the early 1720s. During the era, on the other hand, the French opera orchestra was reputed to be the finest in Europe (Giroud, p 26), and the operas often reflected high literary and musical worth, although the plots, instead of finding new stories, often fell back on ancient mythology. From 1687 to 1715 several developments shaped the course of French opera.
    [Show full text]
  • Married Mortals in Ovid's Metamorphoses
    MARRIED MORTALS IN OVID’S METAMORPHOSES By Aileen Keogh Advisor: Annette Baertschi A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in the Department of Classics at Haverford College. May 2010 Abstract The myths of ‘Procne, Tereus, and Philomela’, ‘Procris and Cephalus’, and ‘Ceyx and Alcyone’, all tales of very different and doomed relationships between mortals in Ovid’s Metamorphoses, provide structure for the poem. Ovid uses narrative techniques, intertextual clues, tragic and epic devices, and metamorphosis, to increase emotional pull of each myth. The three myths are set against the backdrop of the famous couples of epic and the divine relationship of Juno and Jupiter. The relationships are progressively more successful with each story but end in tragedy and transformation, while Juno and Jupiter’s contrasting relationship is immortal and improving throughout the work. Each of the three myths differs greatly from the others in content and themes aside from the fact that they revolve around mortal relationships. Nevertheless, the stories are not as distinct from each other as they initially appear. Each story appears as a single narrative at the end of its respective book and is introduced by a series of shorter yet related episodes and each is an example of the creative liberty that Ovid takes with familiar myths. By changing the emphasis, or picking and choosing the plot of each story, Ovid reveals that he is telling each for a specific purpose. Ovid develops and changes well-known myths to create his own moving stories driven by character, love, and revenge that explore the power dynamics between mortal husbands and wives.
    [Show full text]