Georges Bizet Don Procopio Vídeos
Última actualización
2024-03-28
Actualizar
Pizzo Donizetti Rosetta Pampanini Benedetto Marcello Maria Carbone Maria Chiara Giuseppe Verdi Bizet Procopio Ricci Rossini Bellini Fanny Tacchinardi Persiani Persiani Mathilde Marchesi Nellie Melba 1835 1837 1889 1966 1967 1977
THE SONGBIRD: Italian soprano Rosetta Pizzo was named in honor of the famed soprano Rosetta Pampanini. She attended Benedetto Marcello Conservatory in Venice where she studied with Maria Carbone and Maria Chiara, as well as taking courses at the Giuseppe Verdi Conservatory in Milan, graduating in 1966. She did well in several voice competitions including winning in Spoleto in 1967, which led to her debut as Rosina in Rome that same year. Pizzo sang the standard Italian coloratura repertoire in Italy and other European cities for over 20 years, as well as revivals of some obscure works such as Bizet's "Don Procopio" and Ricci's "Crispino e la Comare." She was also a specialist in Italian art song. This recording originates from a concert in Verona April 13, 1977, Armando Gatto conducting. THE MUSIC: Donizetti's "Lucia di Lammermoor" has become one of the quintessential operas for a coloratura soprano / it's one of the most widely produced bel canto operas in the world and the title character is a benchmark role for this voice type. Donizetti composed it in 1835, which was a peak of his artistic and popular success / Rossini had recently retired, Bellini had just died, and Verdi had not yet had his first premiere ("Oberto" in 1837). Based on Walter Scott's novel, the opera premiered in Naples. The plot in a nutshell: after being tricked into marrying a man she doesn't love, and lied to that her true love has betrayed her, Lucia loses her mind and murders the groom on her wedding night. The mentally unstable young woman appears in a bloodied gown and sings a long, complex, and haunting "mad scene" mixing delusion and grief that is a tour-de-force of bel canto vocalism and gripping tragedy. The primary section of the mad scene culminates in a long cadenza with a flute (and occasionally the glass harmonica). Donizetti allowed the original Lucia, Fanny Tacchinardi Persiani, to improvise her own cadenza (she apparently had a talent for this). The most commonly performed cadenzas for the past 100+ years are based closely on three that were written and published by Mathilde Marchesi, including one for her famous student Nellie Melba when she sang the role in Paris in 1889.
Max Bouvet Maximilien Barber Emmanuel Chabrier Massenet Alfred Bruneau Alfio Wagner Puccini Ernest Reyer Isidore Lara Procopio Bizet Xavier Leroux Gounod Opéra Comique Théâtre Monnaie Covent Garden Opera 1854 1877 1878 1879 1880 1884 1887 1888 1889 1890 1891 1892 1893 1894 1895 1897 1898 1899 1902 1906 1907 1909 1943
Bouvet, Nicolas Maximilien (Max), baritone, * 1854 La Rochelle, 1943 † Paris, he received his training at the Conservatoire de Paris. His stage debut was in 1877 at the Opera House (Theatre Royale) of Liege (Belgium) season 1878-79 He then sang at the Opera House of Antwerp, Liege back in 1879-80, 1880-84 at the Folies-Dramatiques in Paris. In 1884 he was engaged at the Opéra-Comique, where he sang the "Barber of Seville".he had a successful debut as Figaro, and he belonged to the company untill 1889. He worked there in several important premieres of operas: on 05/18/1887 in "Le Roi malgré lui" by Emmanuel Chabrier, on 05/07/1888 in "Le Roi d'Ys" by Lalo (in the role of Karnac), at 15.5 .1889 in "Esclarmonde" by Massenet, on 06/18/1891 in "Le Rêve" by Alfred Bruneau, on 11/23/1893 in "L'Attaque du moulin 'from the same composers at the Opéra-Comique, he was followed by many French premieres of operas on stage, it may be mentioned that he sung Alfio in "Cavalleria Rusticana" (1892), "Werther" by Massenet (1893, a year after its premiere in Vienna), "La Navarraise," also by Massenet (1895, after the London premiere of 1894), "The Flying Dutchman" by R. Wagner (1897) and Puccini's "La Bohème" +••.••(...) he was at the Théâtre de la Monnaie to Brussels, where he participated on 02/10/1890 at the premiere of the opera "Salammbô" by Ernest Reyer. In 1891 he was again at the Opéra-Comique in commitment. At the Opera of Monte Carlo, he joined in the years 1895-1909 on again, etc. in the world premieres of the operas "La jacquerie" by Édouard Lalo (09/03/1895), "Moina" (3/14/1897), and "Messalina" (21/03/1899), both of Isidore de Lara, on 1906 in the premiere of posthumous opera "Don Procopio" by Bizet and in 1907 of "Theodora" by Xavier Leroux. In the years 1891 and 1894 he performed at Covent Garden Opera in London, including in the English premieres of the operas "Philémon et Baucis" by Gounod, "Le Rêve" by Bruneau and "L'Attaque du moulin", also of Bruneau. In 1902 he settled in Pau as a teacher. Since 1907 he was employed as an instructor of young singers at the Opéra-Comique in Paris, and he later became a professor at the Conservatoire National in Paris. He was also active as a respected painter. He died in Paris in 1943.
Procopio Bizet Concerts Vollore 2007
from: Première étape de la création du Don Procopio de Bizet, par la Cappella Forensis, à Palladuc en juillet 2007 dans le Festival des Concerts de Vollore, sous la direction de François Bernard : Version de concert Prochaine étape : L'oeuvre mise en espace dans la Saison lyrique de Firminy le 12 février!
Georges Bizet Charles Gounod Fromental Halévy Clovis Robert Schumann Weber Mendelssohn Daniel Auber Procopio Donizetti Meyerbeer Felix Weingartner Bernard Haitink Opéra Comique Concertgebouw Orchestra Royal Concertgebouw Orchestra 1838 1855 1857 1869 1872 1875 1886 1933
Georges Bizet, +••.••(...)), born in Paris, France, was a French composer best remembered for his opera Carmen. His realistic approach influenced the verismo school of opera (verismo refers to a post-Romantic operatic tradition associated with Italian composers) at the end of the 19th century. Bizet's father was a singing teacher and his mother a gifted amateur pianist, and his musical talents declared themselves so early and so unmistakably that he was admitted to the Paris Conservatory before he was ten years old. There, his teachers included the accomplished composers Charles Gounod and Fromental Halévy, and he quickly won first prize in solfège within six months, a first prize in piano, and eventually, the coveted Prix de Rome for his cantata Clovis et Clotilde. This prize carried with it a five-year state pension, two years of which musicians were bound to spend at the French Academy in Rome. Bizet had already shown a gift for composition far superior to that of a merely precocious boy. His first stage work, the one-act operetta Le Docteur miracle, performed in Paris in 1857, is marked simply by high spirits and an easy mastery of the operetta idiom of the day. In Rome he set himself to study Robert Schumann, Carl Maria von Weber, Mendelssohn, and Gounod, who was regarded as more than half a German composer by the admirers of the fashionable French composer Daniel Auber. Instead of spending his statutory third year in Germany, he chose to stay on in Rome, where he collected impressions that were eventually collected to form a second symphony (Roma), first performed in 1869. An Italian-text opera, Don Procopio, written at this time, shows Donizetti's style, and the ode Vasco de Gama is largely modeled on Gounod and Meyerbeer. The two years he spent in Rome after winning his prize, would be the only extensive time, and a greatly impressionable one, that Bizet would spend outside of Paris in his brief life. When he returned to Paris, he lost confidence in his natural talents and began to substitute dry Germanic or academic writing for his own developing idiom. He composed a one-act opera for production at the Opéra-Comique, but the theater's director engaged him to write a full-length opera instead, Les pêcheurs de perles. It was not a success at the time, but despite a few weaknesses, the work was revived in 1886, and its sheer beauty has earned it a respected position among the lesser-played operatic repertory. In 1869 Bizet married Geneviève Halévy, daughter of his teacher. The marriage did not turn out to be a happy one, primarily due to her family's history of mental illness. In 1872, Bizet's splendid incidental music for the play L'arlèsienne was poorly received, but when the composer assembled the music into an orchestral suite for a November performance, it found great acclaim. At last confident of his creative vision, Bizet was able to steer his final masterpiece through various obstacles, including the objections of singers and theater directors who were shocked by Carmen's subject matter. When the opera had its premiere on March 3, 1875, it was received barely well enough to hang on for future productions. The Symphony No.1 in C major was written by Georges Bizet when he was seventeen years old. It was most likely a student assignment while the composer was studying at the Paris Conservatoire. It was never published nor performed in Bizet’s lifetime; in fact, no one knew it existed until nearly eighty years later, in 1933, when it was discovered in the Conservatoire’s archives by musicologist Jean Chantavoine. Bizet’s biographer, Douglas Charles Parker, took the work to the conductor Felix Weingartner who recognized it as a remarkably mature and well-written symphony, and conducted its premiere in Basel, Switzerland in 1933. It has remained a mainstay in the repertoire ever since. Why Bizet never mentioned this work in any of his letters, nor tried to have it published and performed, is a matter of speculation. The most widely believed theory is that as a student of the French composer Charles Gounod at the Paris Conservatoire, Bizet was influenced by Gounod’s Symphony No. 1, which premiered earlier in 1855. So influenced, that he perhaps copied several of the elements of Gounod’s work. Not literal note-for-note copying, but stylistic and architectural elements of Gounod’s Symphony are also found in Bizet’s Symphony in C. During Bizet’s lifetime Gounod was the far more successful and famous of the two; therefore, for Bizet to publish his first symphony which was written soon after Gounod’s, while he was his pupil, and containing several of the same structural elements of Gounod’s work, could perhaps damage Bizet’s reputation as a composer. Georges Bizet Symphony No.1 in C major, I. Allegro vivo Performed by the Royal Concertgebouw Orchestra Bernard Haitink, Conductor
o
- Las mejores óperas
- Obras imprescindibles: época romántica
- Índices (por orden alfabético): D...