Nicolas Levasseur News
French opera singer
- bass
- France
- opera singer, music teacher
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2024-04-23
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2021-11-15 21:40:22
Have you heard Régent Levasseur’s enchanting Farewell to the Warriors? The Orchestre classique de Montréal (OCM) opens its 82nd season, titled Women of Distinction, with the remarkable 18-minute concerto for string orchestra, harp and drum, presented in an orchestration by the versatile melodist. Tara-Louise Montour recorded the piece with the Thunder Bay Symphony Orchestra and the [...]
2020-09-08 08:40:23
Through late 18th-century ears: Lully's Armide in a radical adaptation from 1778
[…] regularised, counterpoint is added to the orchestral parts, in fact all the parameters of the musical texture are affected. There is even new music, a new overture (in the modern symphonic style) and new dances, including the replacement of Lully's Act Five passacaille. The vocal lines are adjusted so that the title role is now more in the heroic style of Gluck's opera and the booklet note suggests that the role was intended for Rosalie Levasseur, who created the title roles in Gluck's Armide, Alceste and Iphigenie en Tauride. The real strangeness comes in the great scenes, such as the end of Act II when Lully's original (a flexible mix of recitative and arioso) is 'modernised' to frankly rather disturbing effect. Whilst one might think of Mozart's 1789 re-orchestration and adaptation of Handel in Der Messias, this Armide also makes me think of architect Sir John Vanbrugh's Castle Howard where, […]
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Royal Opera House
2015-04-30 16:07:01
Grand opera: A challenge for tenors and an opportunity for the chorus
Nicolas Levasseur as Bertram, Adolphe Nourrit as Robert, and Julie Dorus-Gras as Alice in the Act V trio of Giacomo Meyerbeer's opera Robert le diable by François-Gabriel Lépaulle In 1837, the young tenor Gilbert-Louis Duprez burst onto the stage of the Paris Opéra as Arnold in Guillaume Tell . To the alarm of many, he sang a high C with the full weight of his chest voice (ut de poitrine) in the Act IV cabaletta ‘Amis, amis’ (6 minutes into the extract below). Adolphe Nourrit had created the role in 1829, singing the upper register in the conventional way, with a much lighter head voice, or voix mixte. Critics contrasted Nourrit’s gentle, aristocratic manner and his clear, pure, ‘French’ sound with the more realistic, earthy ‘Italian’ performance of Duprez (he had trained for nine years in Italy) – though not everyone was convinced on first hearing. Rossini famously declared that […]
2013-11-16 22:35:00
[…] years of the Royal Ballet and featured Margot Fonteyn and Rudolf Nureyev. Some agreeable Glazunov well compiled by Irving allows Ashton to hew to the Royal Ballet´s very British style in a series of solos, a big "Pas de deux" and two pieces for the whole Corps. Pleasant enough but hardly substantial, it wasn´t quite congenial to the Ballet Concierto, perhaps uncomfortable with the original peciliar costumes by André Levasseur. Urlezaga and Elena Figueroa were "Nureyev/Fonteyn", and the others tried to follow the styles of the original dancers (Beriosova, Grey,Nerina, etc.). Pretty good playing and conducting by the Argentino´s Orchestra and conductor Darío Domínguez Xodo. For Buenos Aires Herald
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