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Callirhoé
''Callirhoé'' is an opera by the French composer André Cardinal Destouches. It takes the form of a ''tragédie en musique'' in a prologue and five acts. The libretto, by Pierre-Charles Roy, is based on a story from ''The Description of Greece'' by Pausanias (see Coresus). The opera was first performed on December 27, 1712, by the Académie royale de musique at the Théâtre du Palais-Royal in Paris. Destouches reworked the score for a revival on 22 October, 1743. This version ends abruptly with the death of Corésus. Roles Synopsis Following the revised version of 1743. Act One Princess Callirhoé, heiress to the kingdom of Calydon, laments her fate. Her parents are forcing her to marry a man she loathes, Corésus, the high priest of Bacchus, when she is really in love with Agénor. The wedding ceremony of Corésus and Callirhoé is interrupted when the latter faints at the altar. Act Two Agénor declares his love for Callirhoé but the couple are surprised by the furious ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
André Cardinal Destouches
André Cardinal Destouches (sometimes called des Touches) (baptised 6 April 1672 – 7 February 1749) was a French composer best known for the '' opéra-ballet'' '' Les élémens''. Biography Born in Paris, the son of Étienne Cardinal, a wealthy merchant, André Cardinal was educated by Jesuits. With the Jesuit Father Guy Tachard, he went on a mission to Siam for two years, leaving in January 1687, and spending some time at the Cape of Good Hope, arriving in Siam in September. Coming back to France, in September 1688, he spent several months at the academy in the Manège royale, rue de Tournon. In 1692 he joined the army and participated in the invasion of Namur, discovering his musical talent while not occupied by combat. When his father died in August 1694, André Cardinal added "Destouches" to his name in memory of his father's title, Seigneur des Touches et de Guilleville. He quit the army in 1696 to pursue his musical aspirations. Destouches' opera '' Issé'' w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stéphanie D'Oustrac
Stéphanie d'Oustrac (born 1974, in Rennes) is a French mezzo-soprano. Biography Stéphanie d'Oustrac was born in Rennes in 1974. She is the great great niece of Francis Poulenc and Jacques La Presle. She was part of the '' Maîtrise de Bretagne'' children's choir led by Jean Michel Noël. Her ambition was to be an actress before she switched to opera. She was a student of Oleg Afonine for nearly a year. At the Conservatoire national supérieur de musique et de danse de Lyon she received the First Prize for Song in 1998 and was spotted by William Christie who worked with Les Arts Florissants. Under Christie and Marc Minkowski she expanded her repertoire to include Berlioz, Fauré and Britten. From 1998 to 2012 she appeared in "starter roles" in quality productions, and from 2002 the title role as '' Armide, Atys'' (Jean-Baptiste Lully); '' Médée'' (Marc-Antoine Charpentier); ''La Périchole, La belle Hélène'' (Jacques Offenbach); ''Carmen'' (Georges Bizet); ''L'Heure e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Le Concert Spirituel
Le Concert Spirituel is a French ensemble specialising in works of baroque music, played on period instruments. Founded by Hervé Niquet in 1987, it is named after the 18th-century concert series Concert Spirituel. The group performs internationally, playing mostly rarely performed sacred music and operas, and making recordings. Its focus is on French music played at the court of Versailles. History The ensemble is named after Concert Spirituel, the first private concert society in France, founded in the 18th century and dissolved during the French Revolution. The ensemble was founded by Hervé Niquet in 1987, designed to revive the great works of the French repertoire played at the court of Versailles. Le Concert Spirituel collaborates closely with the Centre de musique baroque de Versailles, with a focus on French composers such as Marc-Antoine Charpentier, Jean-Baptiste Lully, André Campra and Joseph Bodin de Boismortier. Le Concert Spirituel often plays sacred musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hervé Niquet
Hervé Niquet (born 28 October 1957) is a French conductor, harpsichordist, tenor, and the director of Le Concert Spirituel, specializing in French Baroque music. Biography Born on 28 October 1957, Hervé Niquet was raised at Abbeville in the department of Somme. He studied harpsichord, composition, conducting, and opera singing. In 1980, he was appointed as the choir master of the Opéra National de Paris. Between 1985 and 1986, Niquet became a member of Les Arts florissants as a tenor, the ensemble that William Christie founded. In 1987, he established his own ensemble named "Le Concert Spirituel" which focuses on French grand motets of the 17th and 18th centuries.Réjean Beaucage; Jane Brierley (translation), (Sept. 3, 2003''Hervé Niquet and la Nouvele Sinfonie''at La Scena Musicale Recordings Accord, Adda * André Campra Vol.1 Te Deum. Motets Niquet (Adda 581250) no reissue * André Campra Vol.II Requiem. Benedictus Dominus. Niquet (Accord) * André Campra Vol. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Françoise Journet
Françoise Journet (born Lyon, died Paris 1720) was a French operatic soprano. Beginning her career at the Lyon Opera, Journet eventually became a pupil of Marie Le Rochois in Paris. In 1699 she appeared as Mélisse in the premiere of ''Amadis de Gréce'' by Destouches and subsequently created a number of important roles in operas by Marin Marais and Campra. She also sang in revivals of the operas of Lully and others. Her successor, in many of her roles, was Marie Antier. A full-length portrait of Journet as Iphigénie was painted by Jean Raoux. Roles created *Mélisse in André Cardinal Destouches's ''Amadis de Gréce'' (Paris, 1699) *The title role in André Campra's ''Iphigénie en Tauride'' (Paris, 1704) *The title role in Marin Marais's ''Sémélé'' (Paris, 1709) *Isabelle in Campra's ''Les fêtes vénitiennes'' (Paris, 1710) *The title role in Destouches's ''Callirhoé'' (Paris, 1712) *Ilione in Campra's ''Idoménée'' (Paris, 1712) Sources *Weller, Philip (1992), 'Jour ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gabriel-Vincent Thévenard
Gabriel-Vincent Thévenard (10 August 1669 – 24 August 1741) was a French operatic baritone (''basse taille''). Thévenard was born at Orléans or possibly Paris. Arriving in Paris in 1690, he studied under the composer André Cardinal Destouches and went on to become a member of the Académie Royale de Musique. He was notable for playing tragic roles that made use of his skill at declamatory recitatives. He appeared in over 80 tragédies en musique and opéras ballet before finally retiring in 1729. He died in Paris. Roles created *Apollon/Vertumne/l'Automne in Pascal Colasse et Louis Lully's ''Ballet des Saisons'' (Paris, 1695) *Jupiter/Hylas in Destouches's ''Issé'' (Fontainebleau, 1697) *Silvandre/Zuliman in André Campra's L'Europe galante (Paris, 1697) *The title role in Destouches's ''Amadis de Grèce'' (Paris, 1699) *Argapise in Destouches's ''Marthesie, première reine des Amazones'' (Paris, 1699) *Pygmalion in Michel de la Barre's ''Le triomphe des art ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre-Charles Roy
Pierre-Charles Roy (1683 — 23 October 1764) was a French poet and man of letters, noted for his collaborations with the composers François Francoeur and André Cardinal Destouches, to produce librettos for several opera-ballets, on classical subjects or pseudo-classical pastiches, for seven tragedies, and for his rivalry with the young Voltaire, who immortalised Roy with some disdainful public words. In an early letter of 1719 to Jean-Baptiste Rousseau, Voltaire says, "I have been so unfortunate under the name of Arouet that I have taken another one especially to be confused no more with the poet Roy." Roy was born and died in Paris. His first opera libretto, ''Philomèle'', was performed at the Paris Opéra on 20 October 1705. By 1718 he had provided texts for seven ''tragédies en musique'' and was being hailed as a successor to Quinault. His involvement with musicians was not always positive: He was involved in a public brawl with composer Rameau after penning a derogator ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragédie En Musique
Tragédie en musique (, ''musical tragedy''), also known as tragédie lyrique (, ''lyric tragedy''), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century. Operas in this genre are usually based on stories from Classical mythology or the Italian romantic epics of Tasso and Ariosto. The stories may not necessarily have a tragic ending – in fact, most do not – but the works' atmospheres are suffused throughout with an affect of nobility and stateliness. The standard ''tragédie en musique'' has five acts. Earlier works in the genre were preceded by an allegorical prologue and, during the lifetime of Louis XIV, these generally celebrated the king's noble qualities and his prowess in war. Each of the five acts usually follows a basic pattern, opening with an aria in which one of the main characters expresses their feelings, followed by dialogue in recitative interspersed with short arias (''petits airs ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
French-language Operas
French opera is one of Europe's most important operatic traditions, containing works by composers of the stature of Rameau, Berlioz, Gounod, Bizet, Massenet, Debussy, Ravel, Poulenc and Messiaen. Many foreign-born composers have played a part in the French tradition as well, including Lully, Gluck, Salieri, Cherubini, Spontini, Meyerbeer, Rossini, Donizetti, Verdi and Offenbach. French opera began at the court of Louis XIV of France with Jean-Baptiste Lully's '' Cadmus et Hermione'' (1673), although there had been various experiments with the form before that, most notably '' Pomone'' by Robert Cambert. Lully and his librettist Quinault created '' tragédie en musique'', a form in which dance music and choral writing were particularly prominent. Lully's most important successor was Rameau. After Rameau's death, the German Gluck was persuaded to produce six operas for the Parisian stage in the 1770s. They show the influence of Rameau, but simplified and with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pan (god)
In ancient Greek religion and mythology, Pan (; grc, Πάν, Pán) is the god of the wild, shepherds and flocks, rustic music and impromptus, and companion of the nymphs. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia, he is also recognized as the god of fields, groves, wooded glens, and often affiliated with sex; because of this, Pan is connected to fertility and the season of spring. In Roman religion and myth, Pan's counterpart was Faunus, a nature god who was the father of Bona Dea, sometimes identified as Fauna; he was also closely associated with Sylvanus, due to their similar relationships with woodlands. In the 18th and 19th centuries, Pan became a significant figure in the Romantic movement of western Europe and also in the 20th-century Neopagan movement. Origins Many modern scholars consider Pan to be derived from the reconstructed Proto-Indo-European god ''*Péh₂usōn'', wh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pan (mythology)
In ancient Greek religion and Greek mythology, mythology, Pan (; grc, wikt:Πάν, Πάν, Pán) is the god of the wild, shepherds and flocks, Pastoral#Pastoral music, rustic music and impromptus, and companion of the nymphs. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr. With his homeland in rustic Arcadia (ancient region), Arcadia, he is also recognized as the god of fields, groves, wooded glens, and often affiliated with sex; because of this, Pan is connected to fertility and the season of spring. In Religion in ancient Rome, Roman religion and myth, Pan's counterpart was Faunus, a nature god who was the father of Bona Dea, sometimes identified as Fauna (goddess), Fauna; he was also closely associated with Silvanus (mythology), Sylvanus, due to their similar relationships with woodlands. In the 18th and 19th centuries, Pan became a significant figure in Romanticism, the Romantic movement of western Europe and also in the 20th-centu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dionysus
In ancient Greek religion and myth, Dionysus (; grc, Διόνυσος ) is the god of the grape-harvest, winemaking, orchards and fruit, vegetation, fertility, insanity, ritual madness, religious ecstasy, festivity, and theatre. The Romans called him Bacchus ( or ; grc, Βάκχος ) for a frenzy he is said to induce called ''bakkheia''. As Dionysus Eleutherios ("the liberator"), his wine, music, and ecstatic dance free his followers from self-conscious fear and care, and subvert the oppressive restraints of the powerful. His '' thyrsus'', a fennel-stem sceptre, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a weapon used to destroy those who oppose his cult and the freedoms he represents. Those who partake of his mysteries are believed to become possessed and empowered by the god himself. His origins are uncertain, and his cults took many forms; some are described by ancient sources as Thracian, others as Greek. In Orphic religion, he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
