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Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1527534987
Category : Music
Languages : en
Pages : 199
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Book Description
Daniel-François-Esprit Auber (1782-1871) was long considered one of the most typically French, as well as one of the most successful, of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber’s life was his meeting with the librettist Eugène Scribe (1791-1861), with whom he developed a long and hugely successful working partnership that only ended with Scribe’s death. La Part du Diable, first produced on 16 January 1843, proved to be one of Auber’s most popular works: 263 performances by 1881. It marks the beginning of the composer’s third creative period, characterized by a more lyrical manner, and moreover, is one of his best works, evincing a variety of effects, rhythmic combinations, finesse of orchestral detail, piquant and original harmony, verve and brio. The story, set around Madrid and Aranjuez, concerns the celebrated eighteenth-century castrato singer Farinelli (Carlo Broschi) (a travesti part), who was employed to sing in order to soothe King Ferdinand VI of Spain in his melancholia (played by Juana Rossi-Caccia). Farinelli’s sister Casilda was created by Anna Thillon; her admirer Rafaël d’Estuniga by the famous tenor Gustave Roger. The opera was long performed in Germany under the twin titles of Carlo Broschi and Des Teufels Anteil. The music of La Part du Diable is very effective in the lyrical moments, with most unusually differentiated movements in the ensembles. This book presents an insight into the life and work of Auber by close examination of one of his famous operas, with consideration of origins, casting, plot, and analysis of dramaturgy, musical style, and reception history. This volume provides the vocal/piano score of La Part du Diable, preceded by an introduction to the life and work of Auber, and a close reading of the opera. There are examples from the score, prints from the complete works of Scribe and other theatrical memorabilia, adding an important iconographical aspect to the general place and relevance of this work in nineteenth-century operatic culture.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1527534987
Category : Music
Languages : en
Pages : 199
Get Book Here
Book Description
Daniel-François-Esprit Auber (1782-1871) was long considered one of the most typically French, as well as one of the most successful, of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opéra-comique La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber’s life was his meeting with the librettist Eugène Scribe (1791-1861), with whom he developed a long and hugely successful working partnership that only ended with Scribe’s death. La Part du Diable, first produced on 16 January 1843, proved to be one of Auber’s most popular works: 263 performances by 1881. It marks the beginning of the composer’s third creative period, characterized by a more lyrical manner, and moreover, is one of his best works, evincing a variety of effects, rhythmic combinations, finesse of orchestral detail, piquant and original harmony, verve and brio. The story, set around Madrid and Aranjuez, concerns the celebrated eighteenth-century castrato singer Farinelli (Carlo Broschi) (a travesti part), who was employed to sing in order to soothe King Ferdinand VI of Spain in his melancholia (played by Juana Rossi-Caccia). Farinelli’s sister Casilda was created by Anna Thillon; her admirer Rafaël d’Estuniga by the famous tenor Gustave Roger. The opera was long performed in Germany under the twin titles of Carlo Broschi and Des Teufels Anteil. The music of La Part du Diable is very effective in the lyrical moments, with most unusually differentiated movements in the ensembles. This book presents an insight into the life and work of Auber by close examination of one of his famous operas, with consideration of origins, casting, plot, and analysis of dramaturgy, musical style, and reception history. This volume provides the vocal/piano score of La Part du Diable, preceded by an introduction to the life and work of Auber, and a close reading of the opera. There are examples from the score, prints from the complete works of Scribe and other theatrical memorabilia, adding an important iconographical aspect to the general place and relevance of this work in nineteenth-century operatic culture.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443825972
Category : Music
Languages : en
Pages : 420
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Book Description
Daniel-François-Esprit Auber (1782-1871), the composer of La Muette de Portici (1828) and Fra Diavolo (1830), was once regarded as one of the great figures of music, a staple of the operatic repertoire in France, and indeed around the world. It is now almost impossible to understand the extent of his once universal fame, his influence on contemporary composers. His operas were in the theatre repertories of the world until the 1920s, and innumerable arrangements of them were published and sold everywhere. The ubiquity of his overtures—Masaniello, Fra Diavolo, The Bronze Horse, The Black Domino, The Crown Diamonds—once as popular as those of Rossini and Suppé, and the influence of his melodies and dance rhythms on piano and instrumental music, and on Romantic comic opera, was overwhelming. In his operas Auber avoided any excess in dramatic expression; all emotion and expressiveness, any vivid depiction of local milieu, were realized within his discreetly nuanced tones, always stamped with a Parisian elegance. His operas were loved in his native France until the years before the First World War, with Fra Diavolo and Le Domino noir last performed at the Opéra-Comique in 1909. Auber’s career was a record of this success and appreciation. His appointment to the Institute (1829) was followed by other prestigious posts: as Director of Concerts at Court (1839), director of the Paris Conservatoire (1842), Musical Director of the Imperial Chapel (1852), and Grand Officer of the Légion d’Honneur (1861). During his lifetime, six biographies appeared contemporaneously, with another six appearing posthumously in the period up to 1914. In the late nineteenth and early twentieth centuries, however, reactions to Wagner, Impressionism and the Neo-Classicism of the Ballet Russe resulted in a growing lack of interest in the ancient traditions of opéra-comique, with its charming plots, melodic directness and rhythmic élan. Boieldieu, Hérold, Adam and Auber were relegated to the dustbin of history. Only in Germany did the genre continue to flourish; Auber’s most enduring work is still performed there. His death in pitiful conditions during the Siege of Paris (1871), in the city he always loved, marked the end of an era. Auber now occupies a shadowy niche in the general consciousness as the name of the metro station nearest the Palais Garnier, and remains unknown and neglected (apart of course from Fra Diavolo), although his impact on the nineteenth-century operatic theatre was just as great as Rossini’s. The time has surely come for Auber’s life and work, especially in association with his life-long collaborator Eugène Scribe (1791-1861)—master dramatist and supreme librettist, a determining force in the history of opera—to be reassessed. Perhaps then the world will begin to hear more of Auber’s elegant gracious, life-affirming music, written to Scribe’s words. The aim of the present study is to offer an overview of the life and work of Auber by close examination of his forty operas, with consideration of origins, casting, plot, analysis of dramaturgy and musical style, and reception history. This is presented in the context of Auber's relationship to the dominant genres of early nineteenth century French culture, opéra comique and grand opéra. The three evolving periods of Auber's unique involvement with opéra comique are of principal concern. This analysis of the operas is made in the context of Auber's crucial working relationship with Scribe, who provided 38 of his libretti. Their cooperation is unique and of great importance on several literary, musical and cultural levels. The nature of their interaction and personal friendship is assessed by a translation of the extant correspondence between them, some 80 letters that have not appeared in English before. The presentation of each opera is illustrated by musical examples from all the scores, prints from the complete works of Scribe and other theatrical memorabilia. The study also contains bibliographies of Auber’s works and their contemporary arrangements, studies of Auber’s and Scribe’s life and work, their artistic and historical milieux, and a discography.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1443827932
Category : Music
Languages : en
Pages : 467
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Book Description
The overtures of Daniel-François-Esprit Auber (1782–1871), once as popular as those of Gioacchino Rossini and Franz von Suppé, were formerly known everywhere, a staple of the light Classical repertoire. The influence of Auber’s melodies and dance rhythms on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany, was overwhelming. The operas themselves, apart from Fra Diavolo (1830), have virtually passed out of the repertoire, but some of their overtures live on vicariously, and sound brilliant and charming when given the chance—The Bronze Horse, Masaniello, The Crown Diamonds, Fra Diavolo, The Black Domino. The freshness of the melody, the incision of the orchestral colours, and the rhythmic vitality are still capable of generating a visceral excitement. Auber, the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini. His first operas were not a success, but La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. It was at this time that he met the librettist Eugène Scribe (1791–1861), with whom he established a working partnership, one of the most successful in musical history, that lasted until Scribe’s death. After Le Maçon (1825) and La Muette de Portici (1828), Auber’s life was filled with success. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Légion d’Honneur. Auber’s famous historical grand opera La Muette de Portici (Masaniello) is a key work in operatic history, and helped to inspire the revolution in Brussels that led to the separation of Belgium from Holland. Auber himself experienced four French Revolutions (1789, 1830, 1848, 1870). The latter (The Commune) hastened the end of his life. He died on 12 May 1871, at the advanced old age of 89, and in the pitiful conditions of civil strife, after a long and painful illness which worsened during the Siege of Paris. He refused to leave the city he had always loved despite the dangers and privation, even after his house had been set on fire by the petroleurs et petroleuses. By some irony a mark had been placed against the house of the composer of La Muette de Portici, the very voice of Romantic liberty! Auber’s elegant and restrained art now has little appeal for the world of music, attuned as it is to meatier substance of verismo, high Wagnerian ideology, and twentieth-century experimentalism. But he was once a household name, and his pared style, fleet rhythms and restrained emotion were a byword of taste. This collection brings together 40 of Auber’s overtures, from his first great success with La Bergère Châtelaine, to his last opera, written at the age of 87, Rêve d’Amour, and including the concert overture he wrote in 1862 for the London Exhibition. Auber adopted the Rossinian adaptation of the overture genre, a sonata form with foreshortened development (or a sequential passage for transition back to the recapitulation). His handling of this basic structure remained consistent throughout his career, and followed three or four differing approaches, but always invested with his characteristic verve, rhythmic élan, clarity of texture, and brilliance of orchestration. In all, the overtures, especially when viewed as a corpus, present a journey through the creative life of composer dedicated to musical drama, who always remained the perfect exemplar of a certain French style and elegance—even in his serious works.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1527535797
Category : Music
Languages : en
Pages : 353
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Book Description
Daniel-François-Esprit Auber (1782-1871), the most amiable French composer of the nineteenth century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini. His first works were not a success, but La Bergère Châteleine (1820), written at the age of 38, established him as an operatic composer. He then met the librettist Eugène Scribe (1791-1861), with whom he developed a working partnership, one of the most successful in musical history, that lasted until Scribe’s death. After Le Maçon (1825) and La Muette de Portici (1828), Auber’s life was filled with success. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Légion d’Honneur. Les Chaperons blancs is one of Auber’s least known operas, falling between Le Cheval de bronze (1835) and Le Domino noir (1837), two of his most famous works. The première also took place only five weeks after that of Meyerbeer’s celebrated Les Huguenots (29 February 1836) had carried all before it. Like the latter, Auber’s opera is centred around a theme of political conspiracy, although obviously observed through the lighter lens of the comique style. The tradition of the rescue opera, popular since the French Revolution, also features in the storyline, as does the motif of apparent death through soporifics so memorably used by Shakespeare in Romeo and Juliet (c. 1594). The leading characters were created by two great stars of the Opéra-Comique, Jean-Baptiste-Marie Chollet and Geneviève-Aimeé-Zoé Prévost, both of whom had brought to life the leading roles in Auber’s most famous comic creation, Fra Diavolo (1830). This book presents an insight into the life and work of Auber by close examination of this little-known opera, with consideration of origins, casting, and plot, and analysis of dramaturgy, musical style, and reception history. This volume provides the vocal/piano score of Les Chaperons blancs, preceded by an introduction to the life and work of Auber, and a reading of the opera. There are examples from the score, prints from contemporary sources and other theatrical memorabilia, adding an important iconographical aspect to the general place and relevance of this work in nineteenth-century French operatic culture.
Author: Robert Ignatius Letellier
Publisher: Cambridge Scholars Publishing
ISBN: 1527593223
Category : Music
Languages : en
Pages : 370
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Book Description
The composer Adolphe-Charles Adam (1803-1856) is particularly famous for the Christmas anthem ‘Minuit chrétiens’ (‘O Holy Night’). He was renowned as a composer for the lyric stage. With Boïeldieu, Hérold and Auber, Adam forms one of the quartet of masters that represent the second school of that profoundly French genre of opéra-comique, producing the charming Le Chalet (1834) and the adorable and enduringly popular Le Postillon de Lonjumeau (1836). However, Adam’s greatest originality and most substantial achievement lay in the field of ballet. Giselle (1841) is the quintessence of mystical Romanticism and one of the most enduring works of the dance repertoire. His series of ballets, principally for the Paris Opéra, but also for London, St Petersburg and Berlin, helped to establish this genre as a serious and integral musical form. His last work Le Corsaire (1856) attains sublime heights. This book concentrates on the dance aspect of Adam’s art, examining his 14 works in this genre in the context of the emergence and efflorescence of the Romantic ballet within the vibrant musical scene in Paris from 1830-1860.
Author: Hirsch Library
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 452
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Book Description
Author: Hirsch Library
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 452
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Book Description
Author: Carolin Hauck
Publisher: Ergon Verlag
ISBN: 3956504038
Category : History
Languages : en
Pages : 209
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Book Description
In nahezu allen Gesellschaften und Epochen ist das Heroische vielfach gegendert. Die soziale und kulturelle Produktion des Heroischen ist jedoch nicht ausschließlich mit dem Instrumentarium der Männlichkeitsforschung zu fassen, und ebenso wenig scheint es sinnvoll, Frauen bzw. Weiblichkeit in diesem Zusammenhang lediglich als Ausnahmen zu verstehen. Vielmehr gilt es, den relationalen Charakter ernst zu nehmen. Der vorliegende Band unternimmt erstmals den Versuch, Geschlecht als analytische Kategorie für die Heroismusforschung fruchtbar zu machen. Auf der Basis vielfältiger geisteswissenschaftlicher Ansätze dient diese Kategorie als 'Spurensucherin' (tracer) des Heroischen und als Instrument zur Untersuchung der historischen Bedingungen, medialen und performativen Erscheinungsformen sowie zeiträumlichen Konjunkturen und Transformationen. Diese gilt es, mit Hilfe der Kategorie Geschlecht und unter Nutzung der zugehörigen Eigenschaften neu auszumessen.
Author: Enoch Pratt Free Library
Publisher:
ISBN:
Category : Best books
Languages : en
Pages : 192
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Book Description
Author: Michael Trimble
Publisher: Cambridge Scholars Publishing
ISBN: 1527575357
Category : Science
Languages : en
Pages : 641
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Book Description
An aspect of dying in opera, rarely observed or commented on, is Sudden Unexpected Death. There are many deaths in this melodramatic genre: most follow expected causes like murder, suicide, or old age. This book explores those deaths which occur without obvious natural causes. These are often central to the overall drama of the opera, representing denouements forming the epiphany of the story and the apotheosis for the audience. The book identifies 50 operas where such events occur, exploring the role of the dramatis personae, the circumstances of their dying, and specific themes that emerge. These include a preponderance of females, especially in the 19th century, who die mainly at the end of the operas, often in the context of tragedy. It charts the growing awareness in the medical sciences of the unconscious forces driving human behaviour, including liminal mental states and trances, which influenced these operas and continue to affect human behaviour to the present day. In addition, the changing philosophies that are intertwined with operatic narratives, in particular stemming from Kant, Hegel, Schopenhauer and Nietzsche, are important in the book’s exegesis, as is the special role of Wagner’s compositions. This leads to the exploration of recurrent concepts such as the Liebestod, the ewig Weibliche and redemption itself.
