ESCLARMONDE Opera in 4 Acts (With Prologue & Epilogue) Music
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10-26-2019 Manon Mat.Indd
JULES MASSENET manon conductor Opera in five acts Maurizio Benini Libretto by Henri Meilhac and Philippe production Laurent Pelly Gille, based on the novel L’Histoire du Chevalier des Grieux et de Manon Lescaut set designer Chantal Thomas by Abbé Antoine-François Prévost costume designer Saturday, October 26, 2019 Laurent Pelly 1:00–5:05PM lighting designer Joël Adam Last time this season choreographer Lionel Hoche revival stage director The production of Manon was Christian Räth made possible by a generous gift from The Sybil B. Harrington Endowment Fund general manager Peter Gelb Manon is a co-production of the Metropolitan Opera; jeanette lerman-neubauer Royal Opera House, Covent Garden, London; Teatro music director Yannick Nézet-Séguin alla Scala, Milan; and Théâtre du Capitole de Toulouse 2019–20 SEASON The 279th Metropolitan Opera performance of JULES MASSENET’S manon conductor Maurizio Benini in order of vocal appearance guillot de morfontaine manon lescaut Carlo Bosi Lisette Oropesa* de brétigny chevalier des grieux Brett Polegato Michael Fabiano pousset te a maid Jacqueline Echols Edyta Kulczak javot te comte des grieux Laura Krumm Kwangchul Youn roset te Maya Lahyani an innkeeper Paul Corona lescaut Artur Ruciński guards Mario Bahg** Jeongcheol Cha Saturday, October 26, 2019, 1:00–5:05PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Digital support of The Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in HD series is supported by Rolex. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
Hérodiade Herodiade Page 1 of 3 Opera Assn
San Francisco War Memorial 1994Hérodiade Herodiade Page 1 of 3 Opera Assn. Opera House This production is made possible by generous gifts from Mr. and Mrs. Gorham B. Knowles and Mr. and Mrs. Alfred S. Wilsey Hérodiade (in French) Opera in four acts by Jules Massenet Libretto by Paul Milliet and Henry Grémont Based on a story by Gustave Flaubert Supertitles provided by a generous gift from the Langendorf Foundation Conductor CAST Valery Gergiev Phanuel, a Chaldean Kenneth Cox Paul Ethuin (11/23.25)† Salomé Renée Fleming Production Hérode ((Herod), King of Galilee Juan Pons Lotfi Mansouri Hérodiade (Herodias), wife of Hérode Dolora Zajick* Designer Jean (John the Baptist) Plácido Domingo* Gerard Howland John Keyes (11/23,25) Costume Designer A Young Babylonian Kristin Clayton Maria-Luise Walek Vitellius, Roman Proconsul Hector Vásquez Lighting Designer A Voice in the Temple Alfredo Portilla Thomas J. Munn High Priest Eduardo del Campo Assistant to Lotfi Mansouri Charles Roubaud Chorus Director *Role debut †U.S. opera debut Ian Robertson PLACE AND TIME: Jerusalem, 30 A.D. Choreographer Victoria Morgan Assistant to Maestro Gergiev Peter Grunberg Musical Preparation Robert Morrison Bryndon Hassman Kathleen Kelly Svetlana Gorzhevskaya Philip Eisenberg Prompter Philip Eisenberg Assistant Stage Director Paula Williams Paula Suozzi Stage Manager Theresa Ganley Fight Coordinator Larry Henderson Supertitles Clifford Cranna Tuesday, November 8 1994, at 8:00 PM Act I -- Hérode's palace Saturday, November 12 1994, at 8:00 PM INTERMISSION Tuesday, November 15 1994, at 7:30 PM Act II, Scene 1 -- Hérode's chambers Friday, November 18 1994, at 8:00 PM Act II, Scene 2 -- The grand square in Jerusalem Sunday, November 20 1994, at 2:00 PM INTERMISSION Wednesday, November 23 1994, at 7:30 PM Act III, Scene 1 -- Phanuel's rooms Friday, November 25 1994, at 8:00 PM Act III, Scene 2 -- Palace courtyard Act III, Scene 3 -- The temple Act IV, Scene 1 -- Prison Act IV, Scene 2 -- Great hall of the palace San Francisco War Memorial 1994Hérodiade Herodiade Page 2 of 3 Opera Assn. -
Newsletter • Bulletin
NATIONAL CAPITAL OPERA SOCIETY • SOCIETE D'OPERA DE LA CAPITALE NATIONALE Newsletter • Bulletin Summer 2000 L’Été A WINTER OPERA BREAK IN NEW YORK by Shelagh Williams The Sunday afternoon programme at Alice Tully Having seen their ads and talked to Helen Glover, their Hall was a remarkable collaboration of poetry and words new Ottawa representative, we were eager participants and music combining the poetry of Emily Dickinson in the February “Musical Treasures of New York” ar- recited by Julie Harris and seventeen songs by ten dif- ranged by Pro Musica Tours. ferent composers, sung by Renee Fleming. A lecture We left Ottawa early Saturday morning in our bright preceded the concert and it was followed by having most pink (and easily spotted!) 417 Line Bus and had a safe of the composers, including Andre Previn, join the per- and swift trip to the Belvedere Hotel on 48th St. Greeted formers on stage for the applause. An unusual and en- by Larry Edelson, owner/director and tour leader, we joyable afternoon. met our fellow opera-lovers (six from Ottawa, one from Monday evening was the Met’s block-buster pre- Toronto, five Americans and three ladies from Japan) at miere production of Lehar’s The Merry Widow, with a welcoming wine and cheese party. Frederica von Stade and Placido Domingo, under Sir Saturday evening the opera was Offenbach’s Tales Andrew Davis, in a new English translation. The oper- of Hoffmann. This was a lavish (though not new) pro- etta was, understandably, sold out, and so the only tick- duction with sumptuous costumes, sets descending to ets available were seats in the Family Circle (at the very reappear later, and magical special effects. -
Appropriations of Gregorian Chant in Fin-De-Siècle French Opera: Couleur Locale – Message-Opera – Allusion?
Journal of the Royal Musical Association, 145/1, 37–74 doi:10.1017/rma.2020.7 Appropriations of Gregorian Chant in Fin-de-siècle French Opera: Couleur locale – Message-Opera – Allusion? BENEDIKT LESSMANN Abstract This article compares three French operas from the fin de siècle with regard to their appropriation of Gregorian chant, examining their different ideological and dramaturgical impli- cations. In Alfred Bruneau’s Le rêve (1891), the use of plainchant, more or less in literal quotation and an accurate context, has often been interpreted as naturalistic. By treating sacred music as a world of its own, Bruneau refers to the French idea of Gregorian chant as ‘other’ music. In Vincent d’Indy’s L’étranger (1903), a quotation of Ubi caritas does not serve as an occasional illustration, but becomes essential as part of the leitmotif structure, thus functioning as the focal point of a religious message. Jules Massenet’s Le jongleur de Notre-Dame (1902) provides a third way of using music associated with history and Catholicism. In this collage of styles, plainchant is not quoted literally, but rather alluded to, offering in this ambiguity a mildly anti-clerical satire. Thus, through an exchange, or rather through a bizarre and unfortunate reversal, church music in the theatre is more ecclesiastical than in the church itself. Camille Bellaigue1 In an article in the Revue des deux mondes of 1904, the French critic Camille Bellaigue described the incorporation of church music into contemporary opera, referring to anticipated examples by Meyerbeer and Gounod; to works less well known today, such as Lalo’s Le roi d’Ys (which quotes the Te Deum); and also (quite extensively) to Wagner’s Parsifal, the ‘masterpiece […] or the miracle of theatrical art that is not only Email: [email protected] I am grateful to Stefan Keym for his support and advice with my doctoral studies and beyond. -
(“You Love Opera: We'll Go Twice a Week”), Des Grieux Promise
MANON AT THE OPERA: FROM PRÉVOST’S MANON LESCAUT TO AUBER’S MANON LESCAUT AND MASSENET’S MANON VINCENT GIROUD “Vous aimez l’Opéra: nous irons deux fois la semaine” (“You love opera: we’ll go twice a week”), Des Grieux promises Manon in Histoire du Chevalier des Grieux et de Manon Lescaut, as the lovers make plans for their life at Chaillot following their first reconciliation.1 Opera, in turn, has loved Manon, since there exist at least eight operatic versions of the Abbé Prévost’s masterpiece – a record for a modern classic.2 Quickly written in late 1730 and early 1731, the Histoire du Chevalier des Grieux et de Manon Lescaut first appeared in Amsterdam as Volume VII of Prévost’s long novel Mémoires d’un homme de qualité.3 An instantaneous success, it went 1 Abbé Prévost, Histoire du Chevalier des Grieux et de Manon Lescaut, ed. Frédéric Deloffre and Raymond Picard, Paris: Garnier frères, 1965, 49-50. 2 They are, in chronological order: La courtisane vertueuse, comédie mȇlée d’ariettes four Acts (1772), libretto attributed to César Ribié (1755?-1830?), music from various sources; William Michael Balfe, The Maid of Artois, grand opera in three Acts (1836), libretto by Alfred Bunn; Daniel-François-Esprit Auber, Manon Lescaut, opéra comique in three Acts (1856), libretto by Eugène Scribe; Richard Kleinmichel, Manon, oder das Schloss de l’Orme, romantic-comic opera in four Acts (1887), libretto by Elise Levi; Jules Massenet, Manon, opéra comique in five Acts and six tableaux (1884), libretto by Henri Meilhac and Philippe Gille; Giacomo Puccini, Manon Lescaut, lyrical drama in four Acts (1893), libretto by Domenico Oliva, Giulio Ricordi, Luigi Illica, Giuseppe Giacosa, and Marco Praga; and Hans Werner Henze, Boulevard Solitude, lyric drama in seven Scenes (1951), libretto by Grete Weil on a scenario by Walter Jockisch. -
Don Quichotte Fiche Pédagogique
12 > 17 MARS 2019 DON QUICHOTTE OPÉRA PARTICIPATIF Inspiré librement de Don Quichotte de Jules Massenet FICHE PÉDAGOGIQUE SAISON 2018 .19 WWW.OPERALIEGE.BE LE ROMAN DE CERVANTES 400 ANS DE SUCCÈS Don Quichotte est un personnage imaginaire tout droit sorti d’un livre, en deux parties, écrit il y a plus de 400 ans par l’écrivain espagnol Miguel de Cervantes Saavedra (1547-1616). Le titre original, El Ingenioso Hidalgo Don Quijote de la ? Mancha , peut être traduit par «L’ingénieux noble Don Quichotte de la Manche». Considéré comme le premier roman moderne, c’est encore de nos jours un des livres les plus lus au monde! ? L’histoire de Cervantes conte les aventures d’un pauvre hidalgo, dénommé Alonso Quichano, et tellement obsédé par les romans de chevalerie qu’il finit un jour par se prendre pour le chevalier errant Don Quichotte, dont la mission est de parcourir l’Espagne pour combattre le mal et protéger les opprimés. Même s’il est rangé de nos jours parmi les chefs-d’oeuvre classiques, cet ouvrage ? était considéré à l’époque de Cervantes comme un roman comique, une parodie des romans de chevalerie, très à la mode au Moyen Âge en Europe. Il fait également partie d'une tradition littéraire typiquement espagnole, celle du roman picaresque (de l'espagnol pícaro, « misérable », « futé »), genre littéraire dans lequel un héros, pauvre, raconte ses aventures. Gravure de FREDERICK MACKENZIE (1788-1854) représentant CERVANTES Le roman de Cervantes et le personnage de Don Quichotte ont inspiré de nombreux artistes peintres ou sculpteurs et ont donné naissance à de multiples adaptations en films, livres, chansons, opéras, comédies musicales, ballets ou encore pièces de théâtre. -
Aragon: a Translation
ARAGON: A TRANSLATION Verna Griswold Looney, M. A. Morehead State University, 1979 Director of Thesis=---~---'_ 1.,.9~-·-f,_1&,-;~...,.#?...------ Louis Aragon, a modern French poet, many of whose poems were published clandestinely by the French underground during World War II, became a national hero to the people of France, He was a founder of the Surrealist movement and was deeply involved with Cubism and Dadaism. During the early 1930's, however, Aragon broke with these movements when he joined the Communist party. Partly because of his ideology, Aragon has not established a literary reputation in the United States. More importantly, however, is the lack of English translations of his works of poetry. Most of his novels have been translated into English, but the I present author has found to date only one volume of I l poetry which was translated by e. e. cummings, The Red Front, whose original title is Front Rouge, published l in 1933 by Contempo Publishers. j This thesis , Aragon: A Translation, is an English translation of Aragon by Ge orges Sadoul , consisting of t hree sections. The first one is a crit ical and biographical treatise on Aragon written by Ge orges Sadoul. It treats the early life of Louis Aragon and Elsa , his wife , beginning with Sadoul ' s initial meeting of Aragon i n the 1920' s and continuing through Aragon ' s love affai r with the U. S . S . R. in the 19JO ' s and his involvement with the underground forces duri ng World War II in his native France . The second part of the thesis is a choice of t exts written by Aragon and selected by Sadoul . -
Gautier Capuçon with Jérôme Ducros Gabriel Fauré Jules Massenet
Gautier Capuçon with Jérôme Ducros Saturday, April 28, 2018 at 8:00pm This is the 828th concert in Koerner Hall Gautier Capuçon, cello Jérôme Ducros, piano PROGRAM Gabriel Fauré: Élégie, op. 24 Jules Massenet: “Méditation” from Thaïs Johannes Brahms: Cello Sonata No. 1 in E Minor, op. 38 I. Allegro non troppo II. Allegretto quasi Menuetto III. Allegro INTERMISSION Pyotr Il’yich Tchaikovsky: Andante cantabile in D Major Sergei Rachmaninov: Cello Sonata in G Minor, op. 19 I. Lento - Allegro moderato II. Allegro scherzando III. Andante IV. Allegro mosso Gabriel Fauré Born in Pamiers, Ariège, France, May 12, 1845; died in Paris, France, November 4, 1924 Élégie, op. 24 (1880) After successfully completing two chamber works, the First Violin Sonata and the Piano Quartet, French composer Gabriel Fauré turned his thoughts to a cello sonata, starting, as was his custom, with the slow movement. The resulting Élégie was first played privately. “My cello piece was very well received’, Fauré wrote to his publisher, “and that greatly encourages me to go on and finish the whole sonata.” Three years later, however, the elegantly sombre, at first inward-looking, later impassioned Élégie was published as a separate piece and it was to be almost four decades before Fauré composed the first of his two cello sonatas. Fauré subsequently orchestrated the Élégie in 1895. Its deeply sorrowful theme became the basis for an extended improvisation by the organist at Fauré’s state funeral in 1924. Jules Massenet Born in Montaud, Saint-Étienne, France, May 12, 1842; died in Paris, France, August 13, 1912 “Méditation” from Thaïs (1894) First performed at the Paris Opéra in March 1894, Thaïs is the 24th of French composer Jules Massenet’s three dozen operas. -
Boston Symphony Orchestra Concert Programs, Season 28,1908-1909, Trip
ACADEMY OF MUSIC . BROOKLYN Twenty-eighth Season, 1908-1909 MAX FIEDLER, Conductor programme of % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, FEBRUARY 19 AT 8,15 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, _ . — __ — Mme. CECILE CHAMINADE The World's Greatest 'Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE L[fA ^""^ Piano. I THE JOHN CHURCH CO., 37 West 33d Street New York City * Boston Symphony Orchestra PERSONNEL TWENTY-EIGHTH SEASON, 1908-19091 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W.[ Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H . Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge,'M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Warnke, J.\ Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn Bass Clarinet. -
Massenet and Opera: Richness and Diversity
jules massenet : thérèse Massenet and opera: richness and diversity Jean-Christophe Branger Massenet (184 2- 1912) is known above all for two works, Manon and Werther , and to these have been added another four: Hérodiade , Thaïs , Don Quichotte and Cendrillon , which are now enjoying renewed popularity. However, his output was much larger than that: twenty-five complete operatic works have come down to us (not counting Marie-Magdeleine , an oratorio written in 1873 and staged in 1903). But his output has been large - ly neglected because of its singularity: few people realise that Massenet experimented with opera far more than most other composers, thus cre - ating a multi-faceted world all of his own. It was in Massenet’s temperament, no doubt, to feel a constant need for change and renewal, diversity and challenge, and he was generally encouraged in that direction by his publishers and librettists and those close to him. In 1896 he told the periodical Le Temp s: You will notice [...] that my works are taken from very diverse sources. I try to vary their subjects. Manon came after Hérodiade , Esclarmonde fol - lowed Le Cid . I tear myself away from one world to immerse myself imme - diately in another one that is very different, in order to change the course of my ideas. That is the best way to avoid monotony. Massenet thus approached every genre and every register. While Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891) are 40 unquestionably grand operas à la Meyerbeer (including the inevitable bal - let), Ariane (1906), Bacchus (1909), Roma (1912) and Cléopâtre (posthu - mous, 1914) belong rather to an important neo-Gluckist movement, showing a keen interest in Greek and Roman antiquity. -
Boston Symphony Orchestra Concert Programs, Season 20,1900
CARNEGIE HALL, NEW YORK* Boston Symphony Orchestra. Mr. WDLHELM GERICKE, Conductor* Fifteenth Season in New York. PROGRAMMES OF THE FIRST CONCERT THURSDAY EVENING, NOV. 8, AT 8.15 PRECISELY, AND THE FIRST MATINEE SATURDAY AFTERNOON, NOV. JO, AT 2.30 PRECISELY. With Historical and Descriptive Notes by William F, Apthorp. PUBLISHED BY G A, ELLIS, MANAGER. (i) Established Established 1S2: 1823 w%? $* <£f)tttortng PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever R i: P R I ES I N i I D BY JOHNWANAMAKKR, New York, N.Y. :, BOStOn , CARNEGIE HALL, Symphony s NEW YORK. A Twentieth Season, 1900-1901. Orchestra Fifteenth Season in New York. Hr. WILHELfl GERICKE, Conductor. FIRST CONCERT, THURSDAY EVENING, NOVEMBER 8, AT 8.15. PROGRAnriE. u Hector Berlioz - - Overtute. The Roman Carnival/' Op* 9 Ernst von Dohnanyi - Concerto for Pianoforte in E minor. Op. 5 (First time in New York.) I. Adagio maestoso (E minor) - 3-4 Allegro (E minor) ------ 2-2 II. Andantino (A minor) _____ 2-2 III. Vivace (E minor) ______ 3.4 Karl Goldmark - - - - Scherzo in A major. Op. 45 (Fir3t time.) u Antonin Dvorak Symphony No. 5. in E minor. From the New World," Op. 95 I. Adagio (E minor) ______ 4-8 Allegro molto (E minor) ----- 2-4 II. Largo (D-flat major) - 4-4 III. Scherzo : Molto vivace (E minor) - 8-4 IV. Allegro con fuoco (E minor) - 4-4 SOLOIST: Mr. ERNST VON DOHNANYI. The Pianoforte is a Stein-way. There will be an intermission of ten minutes before the symphony.