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Le Tableau Parlant
''Le tableau parlant'' (''The Talking Picture'') is an opéra comique, described as a ''comédie-parade'', in one act by André Grétry, The French libretto was by Louis Anseaume. Performance history It was first performed on 20 September 1769 by the Comédie-Italienne at the Hôtel de Bourgogne in Paris. Roles Synopsis In the absence of Isabelle's lover Léandre, Cassandre persuades Isabelle to marry him instead. Cassandre leaves and in the meantime Léandre returns and Isabelle changes her mind. She asks Cassandre's portrait for his agreement to the changed state of affairs, only to find that Cassandre himself is concealed behind the picture. References Further reading * "Tableau parlant, Le" by Michael Fend, in ''The New Grove Dictionary of Opera'', ed. Stanley Sadie Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicology, musicologist, music critic, and editor. He was editor of the sixth edition of the ''Grove Dic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
André Ernest Modeste Grétry (cropped)
André — sometimes transliterated as Andre — is the French and Portuguese language, Portuguese form of the name Andrew, and is now also used in the English-speaking world. It used in France, Quebec, Canada and other French language, French-speaking countries. It is a variation of the Greek language, Greek name ''Andreas'', a short form of any of various compound names derived from ''andr-'' 'man, warrior'. The name is popular in Norway and Sweden. Cognate names Cognate names are: * Bulgarian language, Bulgarian: Andrei, Andrey * Breton language, Breton : Andrev * Canada, Canadian: André * Catalan language, Catalan: Andreu * Cz ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antoine Trial
Antoine Trial (13 October 1737, Avignon – 5 February 1795, Paris) was a French singer and actor. He was the younger brother of the musician Jean-Claude Trial (1732–1771) and husband of soprano Marie-Jeanne Milon, stage name Félicité Mandeville (1746–1818). After an education at the cathedral in Avignon, he followed his older brother to Paris in 1764 and joined the troupe of the Prince of Conti. On 4 July the same year, he made his debut at the Comédie-Italienne as Bastien in ''Le Sorcier'' by Philidor. On 12 December he sang the second tenor (a comic role) at Versailles in the court revival of Mondonville's ''Daphnis et Alcimadure'', alongside the former stars of the Académie Royale de Musique, Marie Fel and Pierre Jelyotte.Cf. 1764 court libretto, ''Daphnis et Alcimadure, Pastorale languedocienne, Représentée devant leurs Majestés à Versailles, le 12 Décembre 1764'', Paris, Ballard, 1764 (accessible for free online aGallica.bnf.fr Although considered an excelle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
One-act Operas
A one-act play is a play that has only one act, as distinct from plays that occur over several acts. One-act plays may consist of one or more scenes. The 20-40 minute play has emerged as a popular subgenre of the one-act play, especially in writing competitions. One act plays make up the overwhelming majority of Fringe Festival shows including at the Edinburgh Fringe Festival. The origin of the one-act play may be traced to the very beginning of recorded Western drama: in ancient Greece, ''Cyclops'', a satyr play by Euripides, is an early example. The satyr play was a farcical short work that came after a trilogy of multi-act serious drama plays. A few notable examples of one act plays emerged before the 19th century including various versions of the Everyman play and works by Moliere and Calderon.Francis M. Dunn. ''Tragedy's End: Closure and Innovation in Euripidean Drama''. Oxford University Press (1996). One act plays became more common in the 19th century and are now a standa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Operas By André Grétry
Opera is a form of theatre in which music is a fundamental component and dramatic roles are taken by singers. Such a "work" (the literal translation of the Italian word "opera") is typically a collaboration between a composer and a librettist and incorporates a number of the performing arts, such as acting, scenery, costume, and sometimes dance or ballet. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble, which since the early 19th century has been led by a conductor. Although musical theatre is closely related to opera, the two are considered to be distinct from one another. Opera is a key part of the Western classical music tradition. Originally understood as an entirely sung piece, in contrast to a play with songs, opera has come to include numerous genres, including some that include spoken dialogue such as '' Singspiel'' and ''Opéra comique''. In traditional number opera, singers employ two styles of sin ... [...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] |
Stanley Sadie
Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicology, musicologist, music critic, and editor. He was editor of the sixth edition of the ''Grove Dictionary of Music and Musicians'' (1980), which was published as the first edition of ''The New Grove Dictionary of Music and Musicians''. Along with Thurston Dart, Nigel Fortune and Oliver Neighbour he was one of Britain's leading musicologists of the post-World War II generation. Career Born in Wembley, Sadie was educated at St Paul's School, London, and studied music privately for three years with Bernard Stevens. At Gonville and Caius College, Cambridge he read music under Thurston Dart. Sadie earned Bachelor of Arts and Bachelor of Music degrees in 1953, a Master of Arts degree in 1957, and a PhD in 1958. His doctoral dissertation was on mid-eighteenth-century British chamber music. After Cambridge, he taught at Trinity College of Music, London (1957–1965). Sadie then turne ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The New Grove Dictionary Of Opera
''The New Grove Dictionary of Opera'' is an encyclopedia of opera, considered to be one of the best general reference sources on the subject. It is the largest work on opera in English, and in its printed form, amounts to 5,448 pages in four volumes. First published in 1992 by Macmillan Reference, London, it was edited by Stanley Sadie with contributions from over 1,300 scholars. There are 11,000 articles in total, covering over 2,900 composers and 1800 operas. Appendices including an index of role names and an index of incipits of arias, ensembles, and opera pieces. The dictionary is available online, together with ''The New Grove Dictionary of Music and Musicians''. References *William Salaman, "Review: The New Grove Dictionary of Opera", ''British Journal of Music Education'' (1999), 16: 97-110 Cambridge University Pres*John Simon, "Review: The New Grove Dictionary of Opera, 4 vols.", ''National Review'', April 26, 199* * *Charles Rosen, "Review: The New Grove Dictionary of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marie-Thérèse Laruette
Marie-Thérèse Laruette (1744 –1837) was a French opera singer and playwright from Paris. She was a member of the troupe of the Comédie-Italienne, with which the Opéra-Comique was merged in 1762. Biography She was born Marie-Thérèse Vilette, the daughter of a master Parisian tailor who lived in Paris near the Opera and the Comédie-Italienne theaters. After noticing that his daughter was "addicted to the theater", her father took steps to make sure she acquired the education she would need to pursue an operatic career. At 14 years of age, Marie-Thérèse sang soprano for the first time at the Opéra-Comique. She made her professional debut at the Paris Opéra in 1758 before moving to the Comédie-Italienne in 1761. There she performed operas by Monsigny and Grétry, in particular '' Le déserteur'', in which she created the leading role of Louise, in 1767. At 17 years of age, she married, Jean-Louis Laruette (1731–1792), who was a singer and a composer in the Co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tenor
A tenor is a type of classical male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. The tenor's vocal range extends up to C5. The low extreme for tenors is widely defined to be B2, though some roles include an A2 (two As below middle C). At the highest extreme, some tenors can sing up to the second F above middle C (F5). The tenor voice type is generally divided into the ''leggero'' tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or . History The name "tenor" derives from the Latin word '' tenere'', which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at ''Grove Music Online'': In polyphony between about 1250 and 1500, the enor was thestructurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. All other voices were ... [...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] |
Soprano
A soprano () is a type of classical female singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano. Etymology The word "soprano" comes from the Italian word '' sopra'' (above, over, on top of),"Soprano" '' |
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