Pujaudranais, Pujaudranaises Pujaudranaises, Pujaudranais, Chers Amis, Les Derniers Feuillets De L’Éphéméride 2010 Annoncent L’Année 2011

Total Page:16

File Type:pdf, Size:1020Kb

Pujaudranais, Pujaudranaises Pujaudranaises, Pujaudranais, Chers Amis, Les Derniers Feuillets De L’Éphéméride 2010 Annoncent L’Année 2011 Pujaudranais, Pujaudranaises Pujaudranaises, Pujaudranais, Chers amis, Les derniers feuillets de l’éphéméride 2010 annoncent l’année 2011. Nous aurions voulu espérer la reprise économique dans un délai proche. D’abord la Grèce et récemment l’Irlande nous obligent à rester vigilants. Ce sont les nouveaux pays émergeants qui, semble-t-il, pourraient participer activement à la reprise économique en Occident ! Souhaitons que 2011 retrouve la croissance tant attendue. L’année 2010 a mobilisé les énergies dans la rue. La taxe professionnelle, les retraites, les futurs conseillers territoriaux de 2014 sont autant de sujets qui alimentent la polémique. L’application de la réforme territoriale va modifier certaines habitudes. Quatre années seront nécessaires pour nous y adapter. Les députés et les sénateurs restent mobilisés pour y apporter les amendements nécessaires à la clarification des textes avant application définitive. Le Schéma de Cohérence Territoriale du Savès, approuvé mi-décembre, servira de base aux documents d’urbanisme. PLU et/ou carte communale seront mis en conformité avec les documents du SCOT. Notre PLU, arrêté aux premiers jours de janvier, sera approuvé pendant l’été, après intégration des conclusions du commissaire enquêteur. Dès lors, l’artisanat local retrouvera la dynamique des années passées. Par ailleurs, l’effectif de l’école primaire a également besoin de familles nouvelles puisque son E d ieffectif t o r diminue i a l régulièrement depuis 2005. Il dépassera son seuil critique à la rentrée prochaine. Suite à l’étude mandatée par la DREAL (ex DRE), l’estimation du coût des travaux pour sécuriser l’entrée Est du village est supérieure à 160 000€. L’insécurité résulte, depuis le 6 juillet 2009, de la perte de l’accès vers l’ancienne déviation de Pujaudran, en direction du Gers. Nous espérons une réponse positive à notre demande d’aide par l’Etat au financement des ralentisseurs dans l’avenue Victor Capoul. J’adresse mes remerciements aux bénévoles qui soutiennent et s’investissent dans l’association de leur convenance pour animer les différentes activités sportives, intellectuelles ou artistiques. Cette dynamique est très appréciée par les Pujaudranais et parfois convoitée par nos voisins. Continuez, l’objectif est de transmettre sa passion et ses connaissances. Donner. Je tiens à remercier tout le personnel pour son assiduité et la qualité de son travail, quels que soient les interlocuteurs. Le Conseil Municipal se joint à moi pour vous présenter, ainsi qu’à vos familles et amis, nos vœux de bonheur, santé et prospérité pour l’année 2011. A notre prochaine rencontre ! LOGO Roger HEINIGER, le Maire Mairie de Pujaudran sommaire Place Georges Blaye 32600 Pujaudran Commissions mairie /CCGT ...... 3 Soirée Claude Nougaro .......... 4 Tél : 05 62 07 40 19 Un peu d’histoire .................. 4 Fax : 05 62 07 43 77 Marché/ Déviation .............. 5 [email protected] Transport à la demande ........... 5 Urbanisme / Assainissement ..... 6 Finances / Journée verte ....... 6 Horaires d’ouvertures : Site Internet .................... 6 Du lundi au samedi : 9h00-12h00 Bibliothéque / Déchetterie ........7 Les mardis, jeudis et vendredis :14h00-18h00 Téléthon ..........................7 Charte forestière / Travaux ........ 8 Gouter des ainés/Clae Clsh ........9 L’équipe Municipale remercie les bénévoles, régisseurs et journalistes Commémorations/Ecoles ..........9 pour leur partenariat toujours Comités des fêtes/Crèche ......... 10 précieux et qui a permis à de Amis du temps Libres/Rock ..... 10 nombreux projets de voir le jour. APAD/Carreau Gascon ........ 11 Direction de publication : Foyer rural ...................... 11 Commission communication PAS/Equi-Rando ............ 12 Création graphique : Asso. Chemin St Jacques ..... 13 06.13.22.54.25 Judo ........................... 13 Asso. parents Elèves/ Civilité ... 14 Impression : Etat Civil /w Agenda ........... 15 Annuaire professionnel .......... 16 2 BULLETIN MUNICIPAL N°6 - JANVIER 2011 - Venez nous rejoindre sur http://www.pujaudran.fr Nouvelles commissions mairie Sophia PeTiT alain MaTHaran (adjointe responsable des commissions) (adjoint responsable des commissions) FinanCeS Franck ESPALIVET urBaniSMe - aSSainiSSeMenT Muriel aBadie Brice GODIER FOnCier- aGriCuLTure jean-Marc GuTierreZ Elisabeth BILDE Marc PaSCaL deVeLOPPeMenT eCOnOMiQue Muriel ABADIE roger ViTaL Valérie CHABAL enVirOnneMenT Sophia PeTiT Jean-Marc GUTIERREZ deVeLOPPeMenT duraBLe Franck Verriere Franck ESPALIVET elisabeth BiLde Marc PASCAL jean-Marc GuTierreZ Franck VERRIERE Muriel aBadie Brice GOdier (adjointe responsable des commissions) (adjoint responsable des commissions) VOirie - eSPaCeS VerTS - TraVauX alain MaTHaran eCOLe - CLae/CLSH jean-Marc GuTierreZ elisabeth BiLde aurélie MarinO Marc PaSCaL SPOrT - LOiSirS - jeuneS alain MaTHaran roger ViTaL Muriel aBadie MCnH - Tad Valérie CHaBaL COMMuniCaTiOn Franck eSPaLiVeT aurélie MarinO CuLTure Franck Verriere Mieux Connaître nos Habitants Transport à la demande aurélie MarinO Valérie CHaBaL Communauté de Communes de la Gascogne Toulousaine h territoire d’envie h 3 nouvelles compétences transférées à la Communauté de Communes de la Gascogne Toulousaine en 2011 ! Le Tourisme La politique d’animation et de coordination L’Office de tourisme de L’Isle Jourdain deviendra des activités sportives Office de Tourisme intercommunal (O.T.i) au er Cette compétence deviendra communautaire dès 1 janvier et ses agents seront transférés à la le 1er janvier et s’exercera par l’intermédiaire d’un Communauté de Communes. Office Intercommunal du Sport (OIS). Toutes les Actions prioritaires à mettre en œuvre par l’O.T.I : associations sportives du territoire communautaire • Créer et mettre à jour un site internet dédié au pourront y adhérer, à condition : tourisme • d’avoir déposé leurs statuts à la Préfecture du • Réaliser un guide d’accueil touristique Gers, • Mettre en réseau les chemins de randonnée • d’adhérer à une ou plusieurs fédérations identifiés dans le schéma touristique et les sportives, promouvoir (plaquettes, site internet…) • d’avoir un agrément ministériel « jeunesse, • Mettre en place une stratégie de requalification sports ou éducation populaire ». et de mise en valeur de la base de loisirs de L’Isle Jourdain et en étudier l’impact sur les autres sites de la communauté. en 2012, la piscine de L’isle jourdain deviendra intercommunale L’ecole de Musique Au 1er avril 2012, après l’achèvement des travaux de rénovation en cours, la CC de la Gascogne Toulousaine assurera la gestion Située à L’Isle Jourdain, l’école de musique et l’entretien de la piscine territoriale. deviendra intercommunale à partir du 1er juillet Tous les résidents de la Gascogne Toulousaine auront alors 2011. Cela permettra de proposer un tarif unique accès, dans les mêmes conditions, aux services proposés. pour tous les habitants de la Gascogne Toulousaine L’ouverture sera possible d’avril à octobre grâce au chauffage dès la rentrée de septembre 2011. de l’eau et à l’abri amovible construit par ABRISUD. BULLETIN MUNICIPAL N°6 - JANVIER 2011 - Venez nous rejoindre sur http://www.pujaudran.fr 3 Soirée Claude Nougaro Le groupe MOXICA, Julien MALHERBE, dit, Lucien la mauvaise graine, Le 9 octobre dernier, Pujaudran était plongé dans une ambiance Isabelle GAIGNIER « Nougaresque » avec l’exposition photos de Claude Gassian sur l’artiste auteur-compositeur-interprète suivie d’une soirée concert. Merci également au public, sans qui cette soirée n’aurait pas eu un Dans un premier temps, l’inauguration des photos de scènes s’est faite à tel succès, et un grand merci à Thérèse et Alain, les parents d’Hélène la mairie en présence de toutes les représentantes de la bibliothèque Au NOUGARO qui nous on accompagnés tout le long de cet évènement, et Fil des pages, des parents d’Hélène NOUGARO, de Roger Heiniger - Maire qui nous ont honorés de leur présence très sympathique et chaleureuse. de Pujaudran, de Muriel Abadie – Adjointe à la Culture, et de Luce Pradal, qui présentait en avant-première son livre d’art à tirage limité, « Le Jazz et la java ». Il s’en suivit, l’apéritif-dînatoire, façon cabaret, très bien préparé par les membres de l’APAD, qui nous ont encore une fois régalés. Troisième partie en musique avec l’ouverture de la soirée-concert, hommage à Claude Nougaro. Le public, nombreux, a pu apprécier la lecture de textes de Claude Nougaro, et écouter les différentes interprétations du registre du Maître comme Cécile, Bidon Ville, Amstrong, Le Jazz et la Java, Le Cinéma, La pluie fait des claquettes, Toulouse … Les artistes se sont succédés et ont fermé le rideau avec un bouquet final en chantant Amstrong. : Bravo à tous ces artistes Françoise Vernhes-Bianchi accompagnée par Jean Paul CLOS, Marjorie Salinas-Enrich Aurélio MARTINEZ, accompagné par Julien MALHERBE, Un peu d’histoire sur notre commune ! Victor CaPOuL, illustre ténor français Le rôle de Vert-Vert dans la pièce de ce nom le mit en complète évidence, et la façon vraiment remarquable dont il joua et chanta celui de Gaston de Maillepré dans le Premier jour de bonheur, au succès légendaire, d’Auber, mit le comble à sa jeune renommée. Pourtant, les grands succès qu’il obtenait à l’Opéra- Comique, non plus que la situation brillante qui lui était faite à ce théâtre, ne purent retenir Capoul en France, qui embrassa la carrière italienne, et partit pour l’étranger. Après la guerre, il entreprend ses tournées en Europe, à Saint- Pétersbourg, Moscou, Vienne, etc., qui durèrent trois ans. Il revient à Paris, où il crée :
Recommended publications
  • Musical Landmarks in New York
    MUSICAL LANDMARKS IN NEW YORK By CESAR SAERCHINGER HE great war has stopped, or at least interrupted, the annual exodus of American music students and pilgrims to the shrines T of the muse. What years of agitation on the part of America- first boosters—agitation to keep our students at home and to earn recognition for our great cities as real centers of musical culture—have not succeeded in doing, this world catastrophe has brought about at a stroke, giving an extreme illustration of the proverb concerning the ill wind. Thus New York, for in- stance, has become a great musical center—one might even say the musical center of the world—for a majority of the world's greatest artists and teachers. Even a goodly proportion of its most eminent composers are gathered within its confines. Amer- ica as a whole has correspondingly advanced in rank among musical nations. Never before has native art received such serious attention. Our opera houses produce works by Americans as a matter of course; our concert artists find it popular to in- clude American compositions on their programs; our publishing houses publish new works by Americans as well as by foreigners who before the war would not have thought of choosing an Amer- ican publisher. In a word, America has taken the lead in mu- sical activity. What, then, is lacking? That we are going to retain this supremacy now that peace has come is not likely. But may we not look forward at least to taking our place beside the other great nations of the world, instead of relapsing into the status of a colony paying tribute to the mother country? Can not New York and Boston and Chicago become capitals in the empire of art instead of mere outposts? I am afraid that many of our students and musicians, for four years compelled to "make the best of it" in New York, are already looking eastward, preparing to set sail for Europe, in search of knowledge, inspiration and— atmosphere.
    [Show full text]
  • The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
    The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918.
    [Show full text]
  • View Catalogue
    J & J LUBRANO MUSIC ANTIQUARIANS 6 Waterford Way, Syosset, NY 11791 USA [email protected] • www.lubranomusic.com Telephone 516-922-2192 Catalogue 88 SUMMER POTPOURRI 6 Waterford Way, Syosset, NY 11791 USA [email protected] www.lubranomusic.com Telephone 516-922-2192 1 CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to ensure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full.
    [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]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.
    [Show full text]
  • Yrii~Avknrte Theatre
    ~~ 1 " "*l 1 . t NEW YORK HERALD, SUNDAY, NOVEMBER 2. 1879.-QUADRUPLE SHEET. IT ANIIIBHRm. AMI SK-MKVTS. VlirSEMEVT*. AniSEMKSTS. AXl'8KKeil1'H. ' A MI'S K.''IK NTS. ^ "" IvU.V- NKW I'liiMKK (BROADWAY AX1/ »lfli t'^KANX lil'KHV IK.rsK l< N I.. H T.' AN 1) OI'KKA IIOIJNK T<J NTiiHTV <i A K1>RN*. TENTH WEEK ft K ACHED, rniiKAVuE comiouk theatre. TOMWHT.' " It AN I) OPERA TO-MWIIT. N'lBLoSli*> i:iont nuitfiiiUccUt TLc air in tltu I'mi <i Stutu» 1 « 1 -i .Til* M «t Snntitliuui purl.ir Tluotra in tli.- V> 01 ltl > 1jriSANH OPERA HOUSE TO NIGHT Git IIOURK 514 BROADWAT. >yriI~AVKNrTE UKAND Ot'EUA 1IOL8K TO-IIIUHT. OILMURK Lu-aeo mm A AT 8. M A 11SEES EYEUY WEDNESDAY AND SATURDAY. GRAND Gl'KKA HOOK TONIGHT. Manager . ..."..'l!A HAKI Broprlal»r* THIS (SUNDAY* KVKMMi, NOVEMBER 2. Uu« notice will In! given of the completion of ti e JOll.N K. DAXNIJX. evkn1no, november j, at 8, si-rail gemot, la Mttiiugur tu is (sunday) uf luurriuK lit «iu:> kM>m« werea nfUerliter. for the celebration of lb. occurrence of the Tbo ripple* OO R K It " ss« ill MiKKHTII PEKKOKMANCK III- "I'llE SUNDAY NIOIIT CONCERT * * Emm that moment its fortune was secured on ri l v*f vm KEEK The ENCHANTMENT STANDARD Co.MEDt THEATRE." LAST ORAND " M O O K K "88 present week will witness i.hiieth SUNDAY NIOIIT CONCERT 1Ikuai.ii mi Wives.'1 O U It I, WN N K lion reprosetila LAST GRAND U IIL M M M M O Olt K It '8 In consequence ot the v .-l ur.-.-.i ,.1 the marvel MONDAY.
    [Show full text]
  • Offenbach FANTASIO
    Rediscovering, restoring, recording and performing the forgotten operatic heritage of the 19th century Offenbach FANTASIO ORC351 This recording is dedicated to the memory of Michael John Heathcote 31 July 1937– 5 March 2014 1 Jacques Offenbach FANTASIO Opéra-comique in three acts and four tableaux Libretto by Paul de Musset and Charles Nuitter First performance: 18 January 1872, Opéra-Comique, Paris Fantasio Sarah Connolly La princesse, Elsbeth Brenda Rae Le Roi de Bavière Brindley Sherratt Le prince de Mantoue Russell Braun Marinoni, the prince’s aide-de-camp Robert Murray Sparck Neal Davies Flamel, a page Victoria Simmonds Facio Aled Hall Hartmann Gavan Ring Un Pénitent Michael Burke Max Robert Anthony Gardiner Le Tailleur& Passer-by Sir Mark Elder Le Suisse & Rutten Nicholas Jenkins Pages, Students, Officers, Courtiers, Townspeople – Opera Rara Chorus Renato Balsadonna chorus director Orchestra of the Age of Enlightenment Matthew Truscott, leader Sir Mark Elder, conductor Recorded at Henry Wood Hall, London, December 2013 Dialogue recorded at St Jude’s Church, Hampstead Garden Suburb, London, December 2013 2 Producer Article, note and synopsis Michael Haas Jean-Christophe Keck Opera Rara production Management The synopsis translated into French, Ger- Kim Panter man and Italian can be found at www.opera-rara.com/fantasio Assistant conductor Nicholas Jenkins The complete libretto in French and English is available at www.opera-rara.com/fantasio Répétiteur Nicholas Bosworth Session photographs Russell Duncan French coach Nicole Tibbels
    [Show full text]
  • Checklist for Pathé Cylinder Transfer Serial Numbers: INTER (Salon Size, 9 Cm Diameter)
    Checklist for Pathé Cylinder Transfer Serial Numbers: INTER (Salon size, 9 cm diameter) This is a checklist of all transfer-serial numbers for moulded INTER (Salon size) cylinders that have been identified so far for the Pathé Label Discography, and for which discographical details are known. Please report full details of all moulded Pathé cylinders (also related labels like AICC, Atlas, Bonne Presse, Dansk Fonograf, Dutreih, Paradiso and others) that are NOT already in the list below, or that are at odds with the details given in the present checklist. Typed or written lists are just as welcome as clearly legible scans or photos, or database excerpts in any unambiguous format. All correspondence should be addressed to: [email protected] , or snailmail to: Christian Zwarg, Raschdorffstr. 15, 13409 Berlin, Germany NOTE: This is NOT a catalogue of available recordings and NOT a sale or auction list. Most of the records listed here are not in my collection and available not in public archives. Transfer-Serial Nr. Master-Cylinder Nr. Title (abridged, for identification only) Diameter 8 2321 Boit-sans-soif et Bec-salé : Duo comique (Emile Duhem) C09 51 160 MARTHA (Friedrich von Flotow / Wilhelm Friedrich Friedrich Wilhelm Ri C09 98 395 LAKMÉ (Léo Delibes / Edmond Gondinet; Philippe Gille) @ • I.4. Air {Gér C09 106 429 LA MULE DE PEDRO (Victor Massé / Dumanoir Philippe-François Pinel C09 109 344 LES DRAGONS DE VILLARS (Louis Aimé Maillart / Lockroy Joseph-Phil C09 121 52 FAUST (Charles Gounod / Jules Barbier; Michel Carré) @ • I.1. Scène et C09 131, early edge 342 LES DRAGONS DE VILLARS (Louis Aimé Maillart / Lockroy Joseph-Phil C09 158 2874 TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG (Richard W C09 159 2874 TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG (Richard W C09 161 2987 Amour d'automne • Mélodie (Cécile Chaminade, W.276 / Armand Silvestr C09 162 2986 Plaisir d'amour • Mélodie (Johann Paul Aegidius Martini / Jean-Pierre Clari C09 181 3541 FAUST (Charles Gounod / Jules Barbier; Michel Carré) @ • IV.15.
    [Show full text]
  • 825646078806.Pdf
    TOGETHER 1 Serenata (“Come un sogno d’or”), Op.6 no.1 2.40 Enrico Toselli 1883–1926; Alfredo Silvestri 2 Estrellita (“Estrellita del lejano cielo”) Manuel Ponce 1882–1948 4.22 3 Élégie (Ô, doux printemps d’autrefois) Jules Massenet 1842–1912 2.57 Louis Gallet 4 Weißt du es noch? Die Csárdásfürstin Imre Kálmán 1882–1953 3.50 Leo Stein, Bela Jenbach 5 The Old Refrain (“What shall remain”) Fritz Kreisler 1875–1962 4.54 Alice Mattullath 6 V molchan’i nochi taynoy (In the silence of the secret night), 2.57 Op.4 no.3 Sergey Rachmaninov 1873–1943; Afanasy Fet 7 Barcarolle (“Belle nuit, ô nuit d'amour”) Les Contes d’Hoffmann 2.48 Jacques Offenbach 1819–1880; Jules Barbier, Michel Carré 8 Ideale (“Io ti seguii come iride di pace”) Paolo Tosti 1846–1916 4.06 Carmelo Errico 9 Danny Boy Trad.; Frederic Weatherly 3.29 10 Ombra mai fu Serse George Frideric Handel 1685–1759; Niccolò Minato 3.06 11 Serenade (“Overhead the moon is beaming”) 3.49 The Student Prince Sigmund Romberg 1887–1951; Dorothy Donnelly 12 Berceuse (“Oh! ne t’éveille pas encore”) Jocelyn 4.41 Benjamin Godard 1849–1895; Paul Armand Silvestri, Victor Capoul 13 None but the lonely heart, Op.6 no.6 2.33 Pyotr Ilyich Tchaikovsky 1840–1893 J.W. von Goethe, transl. Mey (Russian), transl. into English 14 Morgen, Op.27 no.4 Richard Strauss 1864–1949; John Henry Mackay 3.17 15 Ne poy, krasavitsa, pri mne (Sing not to me, beautiful maiden), 3.56 Op.4 no.4 Sergey Rachmaninov; Aleksander Pushkin 54.45 PLÁCIDO DOMINGO tenor · ITZHAK PERLMAN violin New York Studio Orchestra/Jonathan Tunick All songs arranged by Jonathan Tunick 2 Plácido Domingo and Itzhak Perlman Photo: Deborah Feingold © Parlophone Records Limited 3 TOGETHER A number of eminent violinists of days gone by were seduced by the sensual touch that an “obbligato” violin could add to a fine vocal performance.
    [Show full text]
  • ARSC Journal
    HISTORICAL REISSUES A "collectors' series" of historical recordings, wherever it is issued and under whatever auspices, is in effect an extension of the record club concept. Generally speaking record collectors are not misers. Even those whose chief interest is in labels know that a record was made to sound, and most of us like to share our treasures. This is a case where you can eat your cake and have it. The Rubini label thus takes us into some of the great British collections, which is to say some of the finest in the world. Checking the source credits against the labels and jackets it is not too difficult to guess that the code letters SJG and GV stand for Syd J. Gray and the joint collection of George Stuart and Vi vi an Liff. Other compilers are represented in the CC ("Collectors' Choice") series. If the overall quality of these transfers is un­ usually good considering the rarity of the originals, one may safely give credit to these collectors, first in their selection of choice materials in the best copies to be found, then in maintaining a high standard of copying. Of course there is some unevenness. The list has been growing for several years and some lessons have obviously been learned. Pitching old records involves a certain amount of guesswork; for the most part I think the correct answers have been found. Where they are definitely wrong - notably in the Chaliapin program - I believe the dubbing was done early in the game. Certain of the repro­ ductions emerge with a hum and in the batch of 18 releases sent to me there were a couple of stylus jumps.
    [Show full text]
  • Ensemble Forms in the Operas of Jules Massenet
    RECONSTRUCTING CONVEN TION: ENSEMBLE FORMS IN THE OPERAS OF JULES MASSENET Gregory Straughn, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2004 APPROVED: Lester Brothers, Major Professor Frank Heidlberger, Minor Professor Margaret Notley, Committee Member James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Straughn, Gregory, Reconstructing Convention: Ensemble Forms in the Operas of Jules Massenet. Doctor of Philosophy (Musicology), December 2004, 265 pp., 41 musical examples, 9 figures, 24 tables, references, 177 titles. Over the last quarter-century, scholars have taken a unified approach in discussing form in Italian and French opera of the nineteenth century. This approach centers around the four-part aria and duet form begun by Bellini, codified by Rossini, modified by Verdi, and dissolved by Puccini. A similar trajectory can be seen in French opera in the works of Meyerbeer, Gounod, and Massenet; however, only Meyerbeer and Gounod have received significant critical attention. This is in part due to Massenet’s reception as a “composer for the people,” a title ill fitting and ripe for reconsideration. This dissertation will examine duet forms in Massenet’s oeuvre and will focus on the gradual change in style manifest in his twenty-five operas. Massenet’s output can be divided into three distinct periods delineated by his approach to form. Representative works from each period will show how he inherited, interpreted, thwarted, and ultimately rewrote the standard formal conventions of his time and in doing so, created a dramaturgical approach to opera that unified the formerly separate number-based elements.
    [Show full text]
  • The Parisian Press on Werther in Vienna And/Or Performers
    The Parisian Press on Werther in Vienna Lesley Wright (The University of Hawai’i at Manoa) [email protected] On 16 January 1893, Werther finally had its Parisian premiere. Critics turned their attention to the libretto and its relationship to Goethe’s familiar tale, the score, the production, the performers, and more1. But they were also acutely aware that on this snowy evening Massenet’s opera was coming home, for the world premiere had taken place exactly eleven months earlier — in the home of Mozart and Beethoven: «Car c’est à Vienne que s’est donnée […] la vraie ‘première’ de Werther»2. In the later nineteenth century, this state of affairs had become increasingly common: «Comme pour Sigurd, comme pour Salammbô, comme pour Samson et Dalila, c’est sur un succès tout fait que le public parisien a dû se prononcer»3. And with a touch of irony, the journalist blames timorous directors for yet another premiere in an ‘exotic’ capital: «N’insistons pas sur cette situation, que nous vaut la ‘prudence’ des directeurs de théâtre ou leur singulière conception du métier. Quoi qu’il en soit, les Viennois nous ont envoyé Werther après avoir signé aux auteurs un chaleureux visa pour la gloire. Les interprètes, M. [Ernest] Van Dyck et Mlle [Marie] Renard, contribuèrent au triomphe exotique de notre compatriote»4. Forgiving the Viennese an earlier 1. See COLLART 1998. 2. LE TEMPS 1893. 3. Ibidem. Ernest Reyer’s Sigurd (1884) and Salammbô (1890), Emmanuel Chabrier’s Gwendoline (1886), and Benjamin Godard’s Jocelyn (1888), not to mention Massenet’s Hérodiade (1881), all had world premieres in Brussels at the Théâtre de la Monnaie.
    [Show full text]