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Haydée
''Haydée, ou Le secret'' is an ''opéra comique'' by the French composer Daniel Auber, first performed by the Opéra-Comique, Théâtre Royal de l'Opéra-Comique at the Salle Favart in Paris on 28 December 1847. The libretto (in three acts) is by Auber's regular collaborator, Eugène Scribe and is based on a short story by Prosper Mérimée, ''La Partie de trictrac'' (1830). The opera was performed regularly by the Opéra-Comique up to the end of the 19th century, achieving over 520 performances there.Wolff S. ''Un demi-siècle d'Opéra-Comique.'' André Bonne, Paris, 1953. Roles Synopsis The story is set during the Ottoman–Venetian wars, 16th-century wars between the Republic of Venice and the Ottoman Empire and concerns a Venetian admiral, Lorédan, who can never forgive himself for once having cheated at dice. The title character is a Cyprus, Cypriot slave girl; her name is taken from Haidée, the pirate king's daughter, in Byron's poem ''Don Juan (Byron), Don Juan''. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Louise Lavoye
Anne-Benoîte-Louise Lavoye (28 June 1823 – 10 October 1897) was a 19th-century French soprano born in Dunkirk. Biography Lavoye studied at the Conservatoire de Lille and won First Prize in piano at age 11 in 1834, First Prize of vocalisation in 1835 and Honorary Prize in piano in 1836. She was admitted at the Conservatoire royal de musique in Laure Cinti-Damoreau's class. In 1838 she won the Honorary Prize in harmony and went on to win the Prizes in singing: Second prize for singing in 1839, First prize in singing in 1840. She won a First Prize for opéra comique in 1842 and made her debut in 1843 at the Opéra-Comique in Daniel-François-Esprit Auber's ''l'Ambassadrice''. For Auber and Eugène Scribe, she created the roles of Zerbina in ''La Sirène'' on 26 March 1844 and Haydée in '' Haydée ou Le Secret'' on 28 December 1847. She distinguished herself by the purity of her style, the freshness and charm of her voice, and her virtuosity. The most difficult roles of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bruno Comparetti
Bruno Comparetti is a contemporary Franco-Sicilian tenor. He studied singing in Barcelona with the Spanish tenor Eduardo Gimenez who taught him the art of bel canto as well as the singing technique inherited from his friend and teacher, Spanish tenor Alfredo Kraus. Biography Comparetti was born in France to Sardinian and Sicilian parents. He began his career in 1999, in the role of Count Almaviva. in Rossini's '' Barbier de Séville'' at the Concertgebouw of Amsterdam. Very quickly, he sang on lyrical stages such as the Opéra de Lyon, the Opéra de Marseille, the Capitole de Toulouse, the , the Opéra de Tours, the Opéra de Besançon, the Théâtre du Châtelet, the Toulon Opera, the Théâtre Impérial de Compiègne, the Opéra d'Avignon, the Angers-Nantes Opéra as well as abroad, Liverpool Opera, the Theater Freiburg, the Bremen Opera and also at the Gdansk Opera. From 2001 to 2003, he was artist-in-residence at the Opéra National de Lyon. These roles include among othe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Philippe Chaperon
Philippe Chaperon (2 February 1823 – 21 December 1906) was a French painter and scenic designer, particularly known for his work at the Paris Opera. He produced stage designs for the premieres of numerous 19th-century operas, including Verdi's '' Don Carlos'' and ''Aida'', Massenet's '' Le Cid'', Saint-Saëns's '' Henri VIII'', part two of Berlioz's ''Les Troyens'' and the first performances in France of Verdi's ''Otello'' and ''Rigoletto'' and Wagner's '' Tannhäuser''. Life and career Chaperon came from a modest background. He was born in Paris, where his father was an employee at the Caisse d'Épargne. He attended the Lycée impérial Bonaparte and then the École des Beaux-Arts where he studied painting and architecture. He won a Prix de Rome scholarship and spent three years at the Villa Medici. He also studied architecture in the atelier of Victor Baltard and painting in the atelier of Léon Riesener where he received guidance from Riesener's cousin Eugène Delacroix. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Daniel Auber
Daniel-François-Esprit Auber (; 29 January 178212 May 1871) was a French composer and director of the Paris Conservatoire. Born into an artistic family, Auber was at first an amateur composer before he took up writing operas professionally when the family's fortunes failed in 1820. He soon established a professional partnership with the librettist Eugène Scribe that lasted for 41 years and produced 39 operas, most of them commercial and critical successes. He is mostly associated with opéra-comique and composed 35 works in that genre. With Scribe he wrote the first French grand opera, ''La Muette de Portici'' (The Dumb Woman of Portici) in 1828, which paved the way for the large-scale works of Giacomo Meyerbeer. Auber held two important official musical posts. From 1842 to 1871 he was director of France's premier music academy, the Paris Conservatoire, which he expanded and modernised. From 1852 until the fall of the Second Empire in 1870 he was director of the imperial chap ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eugène Scribe
Augustin Eugène Scribe (; 24 December 179120 February 1861) was a French dramatist and librettist. He is known for writing " well-made plays" ("pièces bien faites"), a mainstay of popular theatre for over 100 years, and as the librettist of many of the most successful grand operas and opéras-comiques. Born to a middle-class Parisian family, Scribe was intended for a legal career, but was drawn to the theatre, and began writing plays while still in his teens. His early years as a playwright were unsuccessful, but from 1815 onwards he prospered. Writing, usually with one or more collaborators, he produced several hundred stage works. He wrote to entertain the public rather than educate it. Many of his plays were written in a formulaic manner which aimed at neatness of plot and focus on dramatic incident rather than naturalism, depth of characterisation or intellectual substance. For this he was much criticised by intellectuals, but the "well-made play" remained established in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gustave-Hippolyte Roger
Gustave-Hippolyte Roger (17 December 1815 – 12 September 1879) was a French tenor. He is best known for creating the leading tenor roles in '' La damnation de Faust'' by Berlioz in 1846 and Meyerbeer's '' Le prophète'' in 1849. Early years and education Born in Paris and orphaned at an early age, Roger was brought up in Paris by his uncle. He entered the Paris Conservatoire and studied with Blès Martin. At the completion of his training, he won first prize in singing and declamation. Career In 1838, Roger made his professional debut at the Opéra-Comique, Paris, in ''L’éclair'' by Fromental Halévy. He went on to create numerous leading roles in new operas with that company, including works by Daniel Auber (Raphaël in ''La Part du Diable'', 1843 and Lorédan in ''Haydée'', 1847, and others), Halévy (Edgard in ''Le shérif'', 1839, Olivier in ''Les Mousquetaires de la Reine'', 1846, and others). Roger was the first Marquis in ''Perruquier de la Régence'' by Ambroi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra-Comique
The Opéra-Comique is a Paris opera company which was founded around 1714 by some of the popular theatres of the Parisian fairs. In 1762 the company was merged with – and for a time took the name of – its chief rival, the Comédie-Italienne at the Hôtel de Bourgogne. It was also called the Théâtre-Italien up to about 1793, when it again became most commonly known as the Opéra-Comique. Today the company's official name is Théâtre national de l'Opéra-Comique, and its theatre, with a capacity of around 1,248 seats, sometimes referred to as the Salle Favart (the third on this site), is located at Place Boïeldieu in the 2nd arrondissement of Paris, not far from the Palais Garnier, one of the theatres of the Paris Opéra. The musicians and others associated with the Opéra-Comique have made important contributions to operatic history and tradition in France and to French opera. Its current mission is to reconnect with its history and discover its unique repertoire to e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Opéra Comique
''Opéra comique'' (; plural: ''opéras comiques'') is a genre of French opera that contains spoken dialogue and arias. It emerged from the popular '' opéras comiques en vaudevilles'' of the Fair Theatres of St Germain and St Laurent (and to a lesser extent the Comédie-Italienne), M. Elizabeth C. Bartlet and Richard Langham Smith"Opéra comique" '' Grove Music Online''. Oxford Music Online. 19 November 2009 which combined existing popular tunes with spoken sections. Associated with the Paris theatre of the same name, ''opéra comique'' is not necessarily comical or shallow in nature; '' Carmen'', perhaps the most famous ''opéra comique'', is a tragedy. Use of the term The term ''opéra comique'' is complex in meaning and cannot simply be translated as "comic opera". The genre originated in the early 18th century with humorous and satirical plays performed at the theatres of the Paris fairs which contained songs ('' vaudevilles''), with new words set to already existing musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Don Juan (Byron)
In English literature, ''Don Juan'' (1819–1824), by Lord Byron, is a satirical, epic poem that portrays the Spanish legend of Don Juan not as a womaniser, but as a man easily seduced by women.English 151-03 ''Byron's 'Don Juan' notes'' , Gregg A. Hecimovich As genre literature, ''Don Juan'' is an , written in '''' and presented in sixteen cantos. Lord Byron derived the character, but not the story, from the same Spanish legend. Upon publication in 1819, cantos I and II were criticised as immoral, because the author ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Council Of Ten
The Council of Ten ( it, Consiglio dei Dieci; vec, Consejo de i Diexe), or simply the Ten, was from 1310 to 1797 one of the major governing bodies of the Republic of Venice. Elections took place annually and the Council of Ten had the power to impose punishments upon Venetian nobility, nobles. The Council of Ten had a broad jurisdictional mandate over matters of National security, state security. The Council of Ten and the Full College constituted the inner circle of oligarchical Venetian nobility, patricians who effectively ruled the Republic of Venice. Origins The Council of Ten was created in 1310 by Doge Pietro Gradenigo.David Chambers & Brian Pullan with Jennifer Fletcher (eds.). ''Venice: A Documentary History, 1450-1630'' (2001, reprinted 2004). University of Toronto Press/Renaissance Society of America. p. 55. Originally created as a temporary body to investigate the plot of Bajamonte Tiepolo and Marco Querini, the powers of the Council were made formally permanent in 145 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Théâtre Impérial De Compiègne
The Théâtre Impérial de Compiègne is a theater in Compiègne, France. Origins The Emperor Napoleon III decided to construct a theater in Compiègne to entertain his court in 1866. He chose the location and the architect of the building, Gabriel-Auguste Ancelet. Work began in 1867 and went well until the outbreak of the 1870 Franco-Prussian War. The Battle of Sedan ruined the Empire and eliminated the possibility of completing the building on schedule. The walls were built, but the project for decorating the theater was suspended. The sculptures by Gustave Crauck were made on time, but the ceiling, which was to include paintings by Élie Delaunay, remained bare. Reconstruction In 1987 the association for the Théâtre Impérial de Compiègne was created by Pierre Jourdan, who led the restoration program and the collection of funds to restore the building and make it a mecca for the operatic stage. A team of project managers and architects including Renaud Bardon started ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Doge Of Venice
The Doge of Venice ( ; vec, Doxe de Venexia ; it, Doge di Venezia ; all derived from Latin ', "military leader"), sometimes translated as Duke (compare the Italian '), was the chief magistrate and leader of the Republic of Venice between 726 and 1797. Doges of Venice were elected for life by the Venetian nobility. The '' doge'' was neither a duke in the modern sense, nor the equivalent of a hereditary duke. The title "doge" was the title of the senior-most elected official of Venice and Genoa; both cities were republics and elected doges. A doge was referred to variously by the titles "My Lord the Doge" ('), "Most Serene Prince" ('), and " His Serenity" ('). History of the title Byzantine era The office of doge goes back to 697. The first historical Venetian doge, Ursus, led a revolt against the Byzantine Empire in 726, but was soon recognised as the () and (a honorific title derived from the Greek word for consul) of Venice by imperial authorities. After Ursus, the Byza ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
