The Ballets Of Daniel Fran Ois Esprit Auber

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Daniel Fran Ois Esprit Auber

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Author : Robert Ignatius Letellier
language : en
Publisher: Cambridge Scholars Publishing
Release Date : 2012-04-25

Daniel Fran Ois Esprit Auber written by Robert Ignatius Letellier and has been published by Cambridge Scholars Publishing this book supported file pdf, txt, epub, kindle and other format this book has been release on 2012-04-25 with Music categories.

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 illustrious working partnership that only ended with Scribe’s death. Success followed success; works such as Le Maçon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. 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 seems to have been fated to live in revolutionary times; during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). Auber’s famous historical grand opera La Muette de Portici (also known by its hero’s name as Masaniello) is perhaps unsurprisingly based on revolution, depicting the 1647 Neapolitan uprising against Spanish rule. It is a key work in operatic history, and has a revolutionary history itself: it was a performance of this work in Brussels in 1830 that helped spark the revolution that led to the separation of Belgium from Holland. It was a revolution that hastened Auber’s death at the old age of 89. He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. He had refused to leave the city he had always loved, even after his house had been set on fire by the petroleurs et petroleuses. In a twist of fate, a mark had been placed on the house of the composer of Masaniello, the very voice of Romantic liberty! Auber’s overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, Wagnerian transcendentalism, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber’s elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was. L’Enfant prodigue, an opéra in five acts, with libretto by Eugène Scribe, was first performed at the Académie nationale de musique (Salle de la rue Le Peletier) on 6 December 1850. The story is derived from the famous parable in St Luke’s Gospel (ch. 15). The scene is set in Old Testament times, in Ancient Israel and Egypt. Azaël, the only son of Reuben, a poor Israelite, leaves the paternal home and his betrothed Jephtèle to go and sample the pleasures promised by the great city of Memphis. He ruins himself in gambling and is seduced by the courtesan Nephté and the dancer Lia. Rejected and destitute, he is rescued from the Nile in act 4 by the leader of a caravan, and is reduced to tending a flock of sheep. In the final act the prodigal son comes to his senses, and returns home to throw himself into his loving father’s arms. Scribe produced a libretto without dramatic action, which, however, provided good static situations for the composer. The orchestral details are full of subtle interest and charm. The overture is the longest Auber wrote (466 bars). It is divided into three main sections, focusing attention on the tragic aspects of the story. The music unfolds the programme of the action, rehearsing the scenario in symbolic transmutation. The fleshpots of Egypt are conjured up and then in ecstatic mood the music captures the pathos of the return of the penitent sinner and his welcome back into his family. The theme of prodigality has been transposed into one of restitution. Auber achieves a symbolically effective and sonorous introduction to this operatic recounting of the Biblical parable. The essence of the story is enshrined in Scribe’s dignified paraphrase of the brief Gospel passage “Father, I have sinned against heaven and before you; I am no longer worthy to be called your son; treat me as one of your hired servants” (Luke 15:18–19): “Oui, j’irai vers mon père”. This is the key moment of decision and soul-searching in the opera, and carries the story’s emotional burden and spiritual implication. The work is dominated by the figure of the patriarch Reuben, with his act 1 aria “Toi qui versas la lumière”, and in act 2 the romance (“Il est un enfant d’Israël”), with its recitative of biblical simplicity. The final air of recognition (“Mon fils, c’est toi”) is possibly the most touching piece in the whole work: indeed, it attains a veritable grandeur. A special aspect of the opera is the dance sequence in act 2—No. 10 Scène, containing 5 Airs de ballet, as part of the celebrations of the sacred bull Apis. The music is very light, gracious and delicate, full of buoyancy and chamber-like textures. L’Enfant prodigue was produced only once, with no reprise, a total of 44 performances. The original cast was: Jean-Étienne-Auguste Massol; Gustave-Hippolyte Roger; Mlle Pauline-Eulalie Dameron; Louis-Henri Obin; Fleury; Koenig, Guignot, Ferdinand Prévôt; Molinier; Mme Laborde; Mlle Marie-Adolphine Petit-Brière; and Mlle Adèle Plunkett. The opera was translated into English, Italian and German and produced in Brussels, London, Graz, Vienna, Munich, Florence and New York until 1875.

The Ballets Of Daniel Fran Ois Esprit Auber

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Author : Robert Ignatius Letellier
language : en
Publisher: Cambridge Scholars Publishing
Release Date : 2011-05-25

The Ballets Of Daniel Fran Ois Esprit Auber written by Robert Ignatius Letellier and has been published by Cambridge Scholars Publishing this book supported file pdf, txt, epub, kindle and other format this book has been release on 2011-05-25 with Music categories.

Daniel-François-Esprit Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as one of the great masters of opéra-comique, but also played a very important role in the development of Romantic ballet through the long danced interludes and divertissements in his grand operas La Muette de Portici, Le Dieu et la Bayadère, Gustave III, ou Le Bal masque, Le Lac des fées, L’Enfant prodigue, Zerline, and the opéra-ballet version of Le Cheval de bronze. Auber also adapted music of various of his operas to create the score of the full-length ballet Marco Spada; it is quite different from his own opera on the subject. Additionally, several choreographers have used Auber’s music for their ballets, among them Frederick Ashton (Les Rendezvous, 1937), Victor Gsovsky (Grand Pas Classique, 1949) and Lew Christensen (Divertissement d’Auber, 1959). La Muette de Portici (1828), choreographed by Jean-Pierre Aumer, is set against the Neapolitan uprising of 1647, and was performed 500 times in Paris alone between 1828 and 1880. The opera provides one of the few serious subjects the composer tackled, and one which critics found to have a persuasive dramatic content. An unusual aspect of the work is that the main character, a mute girl, is performed by a mime or a ballerina. The role of ballet in La Muette is important in setting the local scene, using dance episodes, whether courtly, and therefore Spanish—as in the guarucha and bolero in act 1, or popular, and therefore Neapolitan—as in the act 3 tarantella. Dance is also innate to the dramatic situation in the extended mime sequences for the mute heroine each with its own specially crafted music and character. The music responds to, and reflects, the vivid and imposing scenic effects (based on historical and pictorial research by the great stage designers and painters Cicéri and Daguerre). Le Dieu et la Bayadère (1830), set in India, was choreographed by Filippo Taglioni. Eugène Scribe, not only one of the most influential of opera librettists, but also a leading figure in the history of ballet, wrote the scenario for the danced part, which was fairly long and of artistic merit. In the ballet scenes of the opera, the choreographer, one of the most important exponents of dance in the Romantic period, was already experimenting with the ideas and style that were to characterize the creations of his prime, and of the Romantic ballet as a whole: an exotic fairy tale subject (often pseudo-Medieval or pastoral), and strange love affairs with supernatural beings, in the theatrical, musical and literary taste of the period. Above all, the Romantic ballet focused on the idealization of the ballerina, floating on the tips of her toes, a figure of ethereal lyricism. All the ballets by Filippo Taglioni were designed to display his daughter Marie’s luminous artistic personality. The heavily mime-oriented role of the bayadère Zoloé was one of Marie Taglioni’s createst triumphs. Gustave III (1833), based on the assassination of King Gustavus of Sweden in 1792, and also choreographed by Filippo Taglioni, was heavily influenced by the impact of the production of Robert le Diable, which saw a particular emphasis placed on sets and stage effects. The grand and historical nature of this opera is powerfully underscored by the two intercalated ballets. The first divertissement comes as early as act 1, and is in the nature of a grand historical pageant based on the life of Gustavus Vasa (1523-60), founder of the present Swedish state, before he gained the crown. There are two dances illustrating the prince’s leadership of the populace of Dalecarlia on the campaign to gain freedom from Denmark. The second divertissement is the legendary masked ball of the title at which the king was assassinated in 1792. The spectacle provided by the Opéra was sensational: the stage was illumined by 1600 candles in crystal chandeliers, and 300 dancers took part, all dressed in different costumes, and with 100 dancing the final galop. There are six numbers: three airs de danse (Allemande, Pas de folies, Menuet), two marches, and the famous final galop. Much time in Le Lac des fées, a tale of love between a human and a supernatural being, choreographed by Jean Coralli, is taken in elaborating the central depiction of popular festivity. Indeed, the requirements of grand-opéra are realized with an original twist in the big act 3 depiction of the Medieval Epiphany celebrations, with its attempt at recreating the variety of genre and mood. There is a detailed description of the procession through the streets of Cologne, organized by the Medieval guilds, each preceded by its own standard, with choruses. It unfolds in several movements:—the chorus of students “Vive la jeunesse”, the Fête des Rois with its Chant de Noël, the whole culminating in a big ballet sequence of four dances: 1) Valse des Étudiants, 2) Pas de Bacchus et Erigone, 3) Styrienne, and 4) Bacchanale. Scribe’s stage directions provide vivid details and combine historically informed spectacle, pantomime and dance into a single artistic conception. L’Enfant prodigue (1850), based on the Biblical parable of the Prodigal Son, was choreographed by Arthur Saint-Léon. A special aspect of the opera is the dance sequence in act 2—No.10 Scène, containing 5 Airs de ballet, as part of the celebrations of the sacred bull Apis. There are some further danced passages in the opening part of act 3, where the formal operatic elements of prayer, drinking song, bacchanal, and lullaby are integrated with singing and dancing into an artistic whole, once again with reference to the venerable French tradition of the opéra-ballet. Scribe’s scenarios show that the formal dances are either enmeshed in the unfolding of the drama (act 2), or use dance an integral element in the thematic ramifications of the plotline (in act 3). Zerline, ou La Corbeille d’oranges (1851) was choreographed by Joseph Mazilier. Act 3 is dominated by the great princely festivities featuring eight dance movements (No. 15 Airs de Ballet and No. 16 Choeur (Valse), a pallid reminiscence of the great Masked Ball of Gustave in 1832. Auber reused much of the ballet music from act 3 of Le Lac des fées in this elaborate semi-allegorical masque that employs a variety of forms and fuses various types of danced entertainment, from classical pas de deux and formal ball through national dance, vaudeville and children’s routines to carnival. Marco Spada, ou La Fille du bandit (1857) was choreographed by Joseph Mazilier. Scribe’s libretto for the opéra-comique Marco Spada which had been produced at the Opéra-Comique in December 1852 with Auber’s music, met the fundamental requirement of having two important female characters, and provided Scribe with the right opportunity to adapt his story to a scenario for dancing. So the opéra-comique was transformed into a ballet—Auber’s only full length one. The music was not an adaptation of the opera, but rather a composite score made up of the most striking numbers from several of Auber’s works: Le Concert à la cour, Fiorella, La Fiancée, Fra Diavolo, Le Lac des fées, L’Ambassadrice, Les Diamants de la couronne, La Barcarolle, Zerline and L’Enfant prodigue. The original scenario required elaborate décor and stage machinery, which was a factor in this later revival of the work at the Académie de musique on 21 September1857. In 1857 Auber reworked the score of the opéra-comique Le Cheval de bronze as an opéra-ballet in four acts, adding recitatives, and extra ballet and ensemble numbers. The choreography was by Lucien Petipa. The divertissements consisted of 1) a seven-movement Pas de quatre in act 1 2) a four-movement Danse in act 3 3) and five-movement Pas de deux in act 4. This version of the opera has never been published. The 20th century saw Auber’s music used for three significant ballet arrangements. Les Rendezvous is an abstract ballet created in 1933 with choreography by Frederick Ashton, the first major ballet created by Ashton for the Vic Wells company. It was first performed on Tuesday, December 5th, 1933, by the Vic Wells Ballet at Sadler's Wells Theatre. Premiered in Paris in the year 1949, Grand Pas Classique by Russian choreographer and ballet master Victor Gsovsky (1902 74) is a homage to classical dance. Based on musical extracts from the three-act ballet Marco Spada (1857), published by the composer as an offshoot of his opera by the same name, this pas de deux is a masterpiece of exquisite virtuosity. Divertissement d'Auber is set to excerpts from Auber's four most famous and dazzling operatic overtures. It is quicksilver, joyous music that inspired Lew Christensen's most brilliant and effervescent choreographic style. The work showcases the technique of classical ballet at its peak, with the form and movement of the choreography running the gamut of the dancer's virtuoso vocabulary. Divertissement d'Auber is a staple of Christensen’s canon.

A Century Of Artists Books

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Author : Riva Castleman
language : en
Publisher: ABRAMS
Release Date : 1997-09

A Century Of Artists Books written by Riva Castleman and has been published by ABRAMS this book supported file pdf, txt, epub, kindle and other format this book has been release on 1997-09 with categories.

Published to accompany the 1994 exhibition at The Museum of Modern Art, New York, this book constitutes the most extensive survey of modern illustrated books to be offered in many years. Work by artists from Pierre Bonnard to Barbara Kruger and writers from Guillaume Apollinarie to Susan Sontag. An importnt reference for collectors and connoisseurs. Includes notable works by Marc Chagall, Henri Matisse, and Pablo Picasso.

Absorption And Theatricality

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Author : Michael Fried
language : en
Publisher: University of Chicago Press
Release Date : 1988-09-15

Absorption And Theatricality written by Michael Fried and has been published by University of Chicago Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 1988-09-15 with Art categories.

With this widely acclaimed work, Michael Fried revised the way in which eighteenth-century French painting and criticism are viewed and understood. Analyzing paintings produced between 1753 and 1781 and the comments of a number of critics who wrote about them, especially Dennis Diderot, Fried discovers a new emphasis in the art of the time, based not on subject matter or style but on values and effects.

The Ambassadress

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Author : Robert Reece
language : en
Publisher:
Release Date : 1868

The Ambassadress written by Robert Reece and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1868 with Opera categories.

Chopin Pianist And Teacher

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Author : Jean-Jacques Eigeldinger
language : en
Publisher: Cambridge University Press
Release Date : 1986

Chopin Pianist And Teacher written by Jean-Jacques Eigeldinger and has been published by Cambridge University Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 1986 with Biography & Autobiography categories.

The first English paperback edition of the unique collection of documents which reveal Chopin as teacher and interpreter of his own music.

Godard On Godard

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Author : Jean-luc Godard
language : en
Publisher: Da Capo Press
Release Date : 1986-03-22

Godard On Godard written by Jean-luc Godard and has been published by Da Capo Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 1986-03-22 with Performing Arts categories.

Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself-his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard's career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.

Dictionary Catalog Of The Research Libraries Of The New York Public Library 1911 1971

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Author : New York Public Library. Research Libraries
language : en
Publisher:
Release Date : 1979

Dictionary Catalog Of The Research Libraries Of The New York Public Library 1911 1971 written by New York Public Library. Research Libraries and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1979 with Library catalogs categories.

The Wedding Of The Dead

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Author : Gail Kligman
language : en
Publisher: Univ of California Press
Release Date : 2023-04-28

The Wedding Of The Dead written by Gail Kligman and has been published by Univ of California Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2023-04-28 with Social Science categories.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1988.

Renoir On Renoir

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Author : Jean Renoir
language : en
Publisher: CUP Archive
Release Date : 1989

Renoir On Renoir written by Jean Renoir and has been published by CUP Archive this book supported file pdf, txt, epub, kindle and other format this book has been release on 1989 with Performing Arts categories.

This is a 1990 collection of interviews and essays by the legendary filmmaker Jean Renoir.