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Debussy's Pelléas Et Mélisande
Debussy’s Pelléas et Mélisande - A discographical survey by Ralph Moore Pelléas et Mélisande is a strange, haunting work, typical of the Symbolist movement in that it hints at truths, desires and aspirations just out of reach, yet allied to a longing for transcendence is a tragic, self-destructive element whereby everybody suffers and comes to grief or, as in the case of the lovers, even dies - yet frequent references to fate and Arkel’s ascribing that doleful outcome to ineluctable destiny, rather than human weakness or failing, suggest that they are drawn, powerless, to destruction like moths to the flame. The central enigma of Mélisande’s origin and identity is never revealed; that riddle is reflected in the wispy, amorphous property of the music itself, just as the text, adapted from Maeterlinck’s play, is vague and allusive, rarely open or direct in its expression of the characters’ velleities. The opera was highly innovative and controversial, a gateway to a new style of modern music which discarded and re-invented operatic conventions in a manner which is still arresting and, for some, still unapproachable. It is a work full of light and shade, sunlit clearings in gloomy forest, foetid dungeons and sea-breezes skimming the battlements, sparkling fountains, sunsets and brooding storms - all vividly depicted in the score. Any francophone Francophile will delight in the nuances of the parlando text. There is no ensemble or choral element beyond the brief sailors’ “Hoé! Hisse hoé!” offstage and only once do voices briefly intertwine, at the climax of the lovers' final duet. -
"Gioconda" Rings Up-The Curtain At
Vol. XIX. No. 3 NEW YORK EDITED ~ ~ ....N.O.V.E.M_B_E_R_2_2 ,_19_1_3__ T.en.~! .~Ot.~:_:r.rl_::.: ... "GIOCONDA" RINGS "DON QUICHOTTE"HAS UP- THE CURTAIN AMERICANPREMIERE AT METROPOLITAN Well Performed by Chicago Com pany in Philadelphia- Music A Spirited Performance with Ca in Massenet's Familiar Vein ruso in Good 'Form at Head B ureau of Musical A m erica, of the Cas t~Amato, Destinn Sixt ee nth and Chestn ut Sts., Philadel phia, Novem ber 17. 1913.. and Toscanini at Their Best T HE first real novelty of the local opera Audience Plays Its Own Brilliant season was offered at the Metropolitan Part Brilliantly-Geraldine Far last Saturday afternoon, when Mas senet's "Don Quichotte" had its American rar's Cold Gives Ponchielli a premiere, under the direction of Cleofonte Distinction That Belonged to Campanini, with Vanni Marcoux in the Massenet title role, which he had sung many times in Europe; Hector Dufranne as Sancho W ITH a spirited performance of "Gio- Panza, and Mary Garden as La Belle Dul conda" the Metropolitan Opera cinea. The performance was a genuine Company began its season last M'o;day success. The score is in Massenet's fa night. The occasion was as brilliant as miliar vein: It offers a continuous flow of others that have gone before, and if it is melody, light, sometimes almost inconse quential, and not often of dramatic signifi not difficult to recall premieres of greater cance, but at all times pleasing, of an ele artistic pith and moment it behooves the gance that appeals to the aesthetic sense, chronicler of the august event to record and in all its phases appropriate to the the generally diffused glamor as a matter story, sketched rather briefly by Henri Cain from the voluminous romance of Miguel de of necessary convention, As us~al there Cervantes. -
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. -
Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1
Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1 Renata Suchowiejko ( Jagiellonian University, Kraków) [email protected] The 20-year interwar period was a crucial time for Polish music. After Poland regained independence in 1918, the development of Polish musical culture was supported by government institutions. Infrastructure serving the concert life and the education system considerably improved along with the development of mass media and printing industries. International co-operation also got reinvigorated. New societies, associations and institutions were established to promote Polish culture abroad. And the mobility of musicians considerably increased. At that time the preferred destination of the artists’ rush was Paris. The journeys were taken mostly by young musicians in their twenties or thirties. Amongst them were instrumentalists, singers and directors who wished to improve their performance skills and to try their skills before the public of concert halls. Composers wanted to taste the musical climate of the metropolis and to learn the latest trends in music of that time. They strongly believed that 1. This paper has been prepared within the framework of the research programme Presence of Polish Music and Musicians in the Artistic Life of Interwar Paris, supported from the means of the National Science Centre, Poland, OPUS programme, under contract No. UMO-2016/23/B/ HS2/00895. The final effect of the project is the publication of a study Muzyczny Paryż à la polonaise w okresie międzywojennym. Artyści – Wydarzenia – Konteksty [Musical Paris à la polonaise In the Interwar Period: Artists – Events – Contexts] by Renata Suchowiejko, Kraków, Księgarnia Akademicka, 2020. -
[ News and Comment of Concert and Opera I To-Night
NEWS AND ___-;-,1- . COMMENT OF AND I [ .=============^_-_-___^^^-:-1^5^----= =____-_ CONCERT OPERA cnt-day desolation and destruction in . -'.-" a uatanic fury. The artist will lccturo \Chicago Opera Co, on the exhibition of thrilling scenes, all of which wcro made in their natural Mme. to Sing colors a new Hempel by process. Tho former ' Last Week Minister of War, M. Millcrand, is the I Begins executive president of the Committee in 'Le Nozze di for tho Relief of the Wounded and Sick Figaro Presentation Will Include Soldiers. President Poincaró is chair¬ Two Operas man of tho honorary committee. Will- Caruso To Be Heard as Radames in New to New York Audiences: (iLeSau- Jam Saneloz was sent to this country aa a special commissioner in charge of and teriot," by Lazzari, and <(Isabeau,T the exhibition. "Aida," Lázaro, Spanish Tenor, Tho American executive committee is Will headed by Mrs. Robert Appear 'Again in "Rigoletto" fourth and la^t week of the Chi- Bacon and Mrs. The which Rosa LeRoy Edgar. Th« list of season at the Raisa, Giuseppi Gandcnzi, patronesses rneo Opera Company's Giacomo Rimini, Louise at tho French Theatre exhibition in¬ i Mme. Frieda lícmpcl will make lier will dance. Mr. Bodanzky will conduct. Theatre will include two op¬ Swartz Berat, Jcska Lexington and others of its former cast cludes over fifty prominent last appearance this season with the "Mrfrouf" will be the'Saturday mat¬ eras new to New York, which had their will society appear, with M. Charlier at women. Among them are Mrs. -
Maurice Ravel Chronology
Maurice Ravel Chronology by Manuel Cornejo 2018 English Translation by Frank Daykin Last modified date: 10 June 2021 With the kind permission of Le Passeur Éditeur, this PDF, with some corrections and additions by Dr Manuel Cornejo, is a translation of: Maurice Ravel : L’intégrale : Correspondance (1895-1937), écrits et entretiens, édition établie, présentée et annotée par Manuel Cornejo, Paris, Le Passeur Éditeur, 2018, p. 27-62. https://www.le-passeur-editeur.com/les-livres/documents/l-int%C3%A9grale In order to assist the reader in the mass of correspondence, writings, and interviews by Maurice Ravel, we offer here some chronology which may be useful. This chronology attempts not only to complete, but correct, the existent knowledge, notably relying on the documents published herein1. 1 The most recent, reliable, and complete chronology is that of Roger Nichols (Roger Nichols, Ravel: A Life, New Haven, Yale University, 2011, p. 390-398). We have attempted to note only verifiable events with documentary sources. Consultation of many primary sources was necessary. Note also the account of the travels of Maurice Ravel made by John Spiers on the website http://www.Maurice Ravel.net/travels.htm, which closed down on 31 December 2017. We thank in advance any reader who may be able to furnish us with any missing information, for correction in the next edition. Maurice Ravel Chronology by Manuel Cornejo English translation by Frank Daykin 1832 19 September: birth of Pierre-Joseph Ravel in Versoix (Switzerland). 1840 24 March: birth of Marie Delouart in Ciboure. 1857 Pierre-Joseph Ravel obtains a French passport. -
Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1
Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1 Renata Suchowiejko ( Jagiellonian University, Kraków) [email protected] The 20-year interwar period was a crucial time for Polish music. After Poland regained independence in 1918, the development of Polish musical culture was supported by government institutions. Infrastructure serving the concert life and the education system considerably improved along with the development of mass media and printing industries. International co-operation also got reinvigorated. New societies, associations and institutions were established to promote Polish culture abroad. And the mobility of musicians considerably increased. At that time the preferred destination of the artists’ rush was Paris. The journeys were taken mostly by young musicians in their twenties or thirties. Amongst them were instrumentalists, singers and directors who wished to improve their performance skills and to try their skills before the public of concert halls. Composers wanted to taste the musical climate of the metropolis and to learn the latest trends in music of that time. They strongly believed that 1. This paper has been prepared within the framework of the research programme Presence of Polish Music and Musicians in the Artistic Life of Interwar Paris, supported from the means of the National Science Centre, Poland, OPUS programme, under contract No. UMO-2016/23/B/ HS2/00895. The final effect of the project is the publication of a study Muzyczny Paryż à la polonaise w okresie międzywojennym. Artyści – Wydarzenia – Konteksty [Musical Paris à la polonaise In the Interwar Period: Artists – Events – Contexts] by Renata Suchowiejko, Kraków, Księgarnia Akademicka, 2020. -
18.5 Vocal 78S. Sagi-Barba -Zohsel, Pp 135-170
VOCAL 78 rpm Discs EMILIO SAGI-BARBA [b]. See also: MIGUEL FLETA [t], LUISA VELA [s] 1824. 10” Blue Victor 45284 [17579u/18709u]. NAZARETH [VILLANCICO] (Francisco Titto) / PLEGARIA A LA SANTISSIMA VIRGEN DEL PILAR (F. Agüeral). One harm- less lt., small discoloration patch side two, otherwise just about 1-2. $15.00. 3075. 12” Blue Victor 55143 (74389/74350) [02898½v/492ac]. EL CANTO DEL PRESI- DARIO (Alvarez) / Á TUS OJOS (Fuster). Few lightest mks. Cons . 2. $15.00. MATHILDE SAIMAN [s] 2357. 12” Red acous. Eng. Columbia D14203 [LX 13/LX 8]. GISMONDA: La paix du cloï- tre (Février) / MADAMA BUTTERFLY: Sur la mer calmée (Puccini). Side one just about 1-2. Side two cons . 2. $15.00. GIUSEPPE SALA [t]. Kutsch-Riemens suggests a birthdate of around 1870. Sala appears to have been active particularly in comprimario roles through at least 1911. 1n 1910, Giovanni Martinelli, basically then unknown, replaced Sala in a 1910 Teatro dal Verme performance of the Verdi Requiem . Martinelli’s sucess that evening led to his operatic debut there three weeks later as Verdi’s Ernani. Sala, however, experienced success by participating in the Teatro dal Verme world premiere of Zandonai’s Conchita and the Teatro Costanzi Italian premiere of Puccini’s La Fanciulla del West , both in 1911. What became of him subsequently doesn’t seem to be known. 1199. 11” Brown Odeon 37351/37346 [Xm633/Xm577]. I PURITANI: A te o cara (Bel- lini)/ DORA DOMAR [s]. MARRIAGE OF FIGARO: Voi che sapete (Mozart). Side one cons. 2. Side two gen . 2. -
Opera.Be De Collectie Yves Becko
Opera.be De collectie Yves Becko Opera.beDe collectie Yves Becko Colofon Opera.be, de collectie Yves Becko Wettelijk depot: D/2006/2893/23 ISBN-10: 90-5130-544-3 Deze uitgave is ook beschikbaar in het Frans onder ISBN-13: 978-90-5130-544-9 de titel ‘Opera.be, la collection Yves Becko’. EAN: 9789051305449 NUR: 694 Een uitgave van de Koning Boudewijnstichting, Juni 2006 Brederodestraat 21, B-1000 Brussel, www.kbs-frb.be De Koning Boudewijnstichting heeft geprobeerd Coördinatie voor de Koning Boudewijnstichting: contact op te nemen met al wie copyright heeft op Anne De Breuck, Mathieu Molitor, Karolien Baeten de illustraties in deze publicatie. Indien er foto’s of kunstwerken werden afgedrukt zonder voorkennis van Auteur: Frédéric Lemmers de rechthebbenden, dan kunnen die zich wenden tot de Fotografie: Philippe de Formanoir Koning Boudewijnstichting, Brederodestraat 21, B-1000 Brussel. (+ 32 2 549 02 31 – [email protected]). Wetenschappelijke en artistieke leiding: Frédéric Lemmers Advies: Georges Cardol, Manuel Couvreur Muzikale bewerking: Marc Doutrepont (Equus) Perser: VTV Vormgeving: Bailleul Druk: Euroset nv Bestelling: [email protected], tel. +32 70 23 37 28 of fax +32 70 23 37 27 2 Discografische aantekeningen Inhoudsopgave Voorwoord 4 Yves Becko (23 februari 1943 - 10 augustus 2004) 7 Van cilinder tot langspeelplaat 16 De Becko collectie 30 Overzicht van de Belgisch lyrische kunst ten tijde van de 78-toerenplaat 60 Discografische aantekeningen 76 Legendes bij de illustraties 90 Meer dan 25 jaar in dienst van de samenleving 94 Fonds voor het Roerend cultureel erfgoed 95 3 Voorwoord De Becko collectie: 40 jaar passie voor de muziek! Yves Becko werkte vroeger al als raadgevend ingenieur voor de Koning Boudewijnstichting. -
Oops De Roulis
OPÉRA NATIONAL S BORDEAUX an t i » i MIAMI OOPS DE ROULIS MAIRIE DE BORDEAUX j mmm Coups de roulis Opérette en trois actes. Livret d'Albert Willemetz d'après le roman de Maurice Larrouy. Musique d'André Messager. Créé le 29 septembre 1928 au Théâtre Marigny à Paris. Théâtre Fémina Bordeaux É3 SAQUTAM Mars 2004 L'Opéra tient à remercier le Club des Partenaires de l'Opéra National de Bordeaux partenaires fondateurs Actas Consultants Caisse d'Épargne Aquitaine-Nord Cofinoga Mercedes-Benz Bordeaux Société Bordelaise de CIC partenaires associés Air liquide Aquitaine Travaux Banque Populaire du Sud-Ouest Casino de Bordeaux Chlteau Haut-Bailly CORDIER Mestrezat & Domaines EDF Grands Clients Sud-Ouest Gaz de Bordeaux Groupe CMR Chantiers d'Aquitaine Lexus Bordeaux Sanofi Winthrop Industrie (site d'Ambarès) Syndicat Viticole de Pessac-Léognan partenaires Elyo Midi Océan Librairie Mollat THALÏS Avionics les entreprises qui soutiennent des projets... > Caitw de* dépôts et consignation* les actions vers tes jeunes (Carpus en Musique - Ma vow et Toi) > Casino de Bordeaux Orchestre en Féte > Château Haut-Bailly te Baiet de rOpéra National de Bordeaux > Fondation DaimlerChrysler France tes jeunes artistes (Concert tynque H.*-Hé — jian 2004) > Fondation France Telecom La Cenerentota (Production fyr">que — mars 2004) > Fond* d'action SAC «H reniant et la musique (action culturelle) > Groupe Duclot tes productions Vxjues. symphooxju» et chorégraphiques > Syndicat ViticoJe de Pessac-Léognan tes concerts degustabon an* que Baronne Phiiipf»ine de Rothschild -
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. -
Connaître Pelléas Et Mélisande Par Le Disque Du Temps De Debussy Aux Années Boulez
Connaître Pelléas et Mélisande par le disque Du temps de Debussy aux années Boulez Jean-Pierre Pister L’année 2018 a marqué le centenaire de la disparition de Claude Debussy, décédé le 25 mars 1918, en pleine Semaine sainte, alors que Paris subissait les bombardements à longue distance de l’ennemi allemand. Debussy n’était âgé que de 56 ans. Atteint d’un cancer du côlon, il avait subi un véritable martyre pendant ses dernières années. À l’occasion de cet anniversaire, plusieurs importantes maisons de disques ont publié des éditions quasi intégrales de l’ensemble de son œuvre, en particulier la Deutsche Grammophon, RCA/Sony et surtout Warner qui a repris récemment l’ensemble du fonds EMI. Le moment est donc opportun pour faire le point sur l’héritage phonographique de ce très grand nom de la musique française. On se limitera aux enregistrements audio, les éditions en vidéo nécessitant une étude spécifique. Nous nous attacherons exclusivement au seul chef-d’œuvre lyrique que Debussy a mené à bien, Pelléas et Mélisande, créé à Paris, à l’Opéra-Comique, en 1902. Dès les premières années du XXe siècle des fragments de ce drame lyrique furent fixés sur des supports en cire. Il s’ensuivit, au fil des années, des réalisations favorisées par les progrès techniques de l’enregistrement sonore : gravure électrique sur 78 tours à partir de 1925 ; utilisation du magnétophone et du microsillon à la fin des années 40 ; apport de la stéréophonie, une dizaine d’années plus tard. Enfin, dès le début des années 80, ce fut la révolution de l’enregistrement numérique et l’apparition du Compact Disc.