Raimondo Boucheron Vidéos
compositeur, critique musical, théoricien et philosophe
- opéra, musique liturgique, musique classique
- royaume d'Italie
- compositeur ou compositrice, musicologue, théoricien ou théoricienne, critique
Dernière mise à jour
2024-05-17
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6 août, Soirée d’ouverture du banquet du livre d’été « toute lecture est un parcours » qui s’est déroulé du 6 au 13 août 2021, à Lagrasse. Dante Alighieri est mort à Ravenne le 14 septembre 1321. Aujourd’hui encore, il nous guide dans le périple de la langue, celle qu’il invente poétiquement, l’italien. Pour nous y retrouver, il faut prêter l’oreille à cette politique d’un parler commun, la langue souveraine et maternelle qui renaît sous nos pas. Lire Dante, avec Mélanie Traversier et Patrick Boucheron, pour parcourir le chemin qui mène jusqu’à nous. Spectacle créé dans le cadre du festival Italissimo.
Pavlos Karrer Byron Fidetzis Verdi Marangoni Raimondo Boucheron Carcano Maschera Mania Greek National Opera Teatro Canobbiana 1821 1829 1850 1854 1856 1857 1861 1888 1896 1953 2003 2013
Marathon-Salamis: historical melodrama in four acts. Music: Pavlos Karrer Libretto: Memnon Martzokis Performed: 14 February 2003 by the Greek National Opera. Director: Byron Fidetzis Pavlos Carrer (Karrer or Karreris in Greek) (1829–1896) was a key representative figure of the Ionian School of Music and one of the most popular and widely performed composers in 19th-century Greece. He was first Greek music composer to put forward a collection of operatic and shorter vocal works based on national subjects, Greek-language libretti and melodies inspired by the folk and urban popular tradition of Greece. More than anyone, Karreris is believed to have attempted the creation of Greek national opera and has sometimes been titled as the Composer of 1821 (the Greek War of Independence). He was influenced by Verdi and to a lesser extent by the Bel canto. However, over time and like the rest of the Ionian School of Music, Karreris’s compositional signature became more personal and distinct. Karreris was the son of a prominent mercantile family from Zakynthos with ancient roots in Cyprus and marriage connections to the old Byzantine elite. He studied music in Zakynthos under Giuseppe Cricca and Francesco Marangoni. In 1850, during the Risorgimento, Pavlos Karreris moved to Austrian-occupied Milan, where he studied with Raimondo Boucheron, Pietro Tassistro and Giuseppe Winter. He achieved early success in Italy where his first operas and ballets were performed on the stages of the Teatro Carcano and the Teatro alla Canobbiana in Milan. Karreris first operatic work, Dante and Beatrice, about the Italian poet Dante Alighieri, his unfulfilled love for Beatrice, his political activities and the Divine Comedy provoked suspicion by the Austrian police given its political undercurrents. A few years later, Karreris's opera, Isabella d’Aspeno met with great applause at the Teatro Carcano (April 1854 and March 1856). Some scholars believe this opera to have been one of the models for Verdi’s famous opera, Un ballo in maschera. Karreris achieved further success in Italy but like any composer working in Italy during this period, he came up against the mania for Verdi. Karreris moved back to Zakynthos in 1857 with plans to become a Greek national composer. Shortly after, he married the talented soprano and interpreter of his works, Isabella Giatra. Despite early success in Milan and Italy during the Risorgimento, Kerkyra and then later Athens, Karreris was unable to secure the performance of his opera Marco Bozzari or Markos Botsaris in Greek in his native Zakynthos because the British occupiers feared the subject of the opera (the Greek War of Independence) would inflame pro-independence sentiments among Zakynthians. In mainland Greece, Markos Botsaris was first performed in Patra in 1861. Markos Botsaris was the most popular Greek opera of the 19th and early 20th century with more than 45 stagings and arousing audiences wherever it was staged. Karreris never managed to watch his last opera on stage, the neo-classicly inspired, Marathon-Salamis (1888), prelude to the Battle of Salamis in 480 BC. Many believe this is his greatest work. Interestingly, it also had some modernist influences. It had its world premiere in 2003 after its staging was not held as originally planned in 1888 because the Greek Orthodox Church and municipal authorities opposed the scene of Greeks worshiping at the Oracle of Delphi. Karreris also left behind several unfinished operas on Greek subject matter which were not saved in the fire following the Great earthquake of 1953 on Zakynthos. Karreris also composed many vocal music and instrumental pieces. Apart from composition, Karreris was also a teacher, conductor and opera entrepreneur. Source: Pavlos Karrer (2013) by Avra Xapapadakou
Pavlos Karrer Byron Fidetzis Verdi Marangoni Raimondo Boucheron Carcano Maschera Mania Greek National Opera Teatro Canobbiana 1821 1829 1850 1854 1856 1857 1861 1888 1896 1953 2003 2013
Marathon-Salamis: historical melodrama in four acts. Music: Pavlos Karrer Libretto: Memnon Martzokis Performed: 14 February 2003 by the Greek National Opera. Director: Byron Fidetzis Pavlos Karrer (Carrer, Karrer or Karreris in Greek) (1829–1896) was a key representative figure of the Ionian School of Music and one of the most popular and widely performed composers in 19th-century Greece. He was first Greek music composer to put forward a collection of operatic and shorter vocal works based on national subjects, Greek-language libretti and melodies inspired by the folk and urban popular tradition of Greece. More than anyone, Karreris is believed to have attempted the creation of Greek national opera and has sometimes been titled as the Composer of 1821 (the Greek War of Independence). He was influenced by Verdi and to a lesser extent by the Bel canto. However, over time and like the rest of the Ionian School of Music, Karreris’s compositional signature became more personal and distinct. Karreris was the son of a prominent mercantile family from Zakynthos with ancient roots in Cyprus and marriage connections to the old Byzantine elite. He studied music in Zakynthos under Giuseppe Cricca and Francesco Marangoni. In 1850, during the Risorgimento, Pavlos Karreris moved to Austrian-occupied Milan, where he studied with Raimondo Boucheron, Pietro Tassistro and Giuseppe Winter. He achieved early success in Italy where his first operas and ballets were performed on the stages of the Teatro Carcano and the Teatro alla Canobbiana in Milan. Karreris first operatic work, Dante and Beatrice, about the Italian poet Dante Alighieri, his unfulfilled love for Beatrice, his political activities and the Divine Comedy provoked suspicion by the Austrian police given its political undercurrents. A few years later, Karreris's opera, Isabella d’Aspeno met with great applause at the Teatro Carcano (April 1854 and March 1856). Some scholars believe this opera to have been one of the models for Verdi’s famous opera, Un ballo in maschera. Karreris achieved further success in Italy but like any composer working in Italy during this period, he came up against the mania for Verdi. Karreris moved back to Zakynthos in 1857 with plans to become a Greek national composer. Shortly after, he married the talented soprano and interpreter of his works, Isabella Giatra. Despite early success in Milan and Italy during the Risorgimento, Kerkyra and then later Athens, Karreris was unable to secure the performance of his opera Marco Bozzari or Markos Botsaris in Greek in his native Zakynthos because the British occupiers feared the subject of the opera (the Greek War of Independence) would inflame pro-independence sentiments among Zakynthians. In mainland Greece, Markos Botsaris was first performed in Patra in 1861. Markos Botsaris was the most popular Greek opera of the 19th and early 20th century with more than 45 stagings and arousing audiences wherever it was staged. Karreris never managed to watch his last opera on stage, the neo-classicly inspired, Marathon-Salamis (1888), prelude to the Battle of Salamis in 480 BC. Many believe this is his greatest work. Interestingly, it also had some modernist influences. It had its world premiere in 2003 after its staging was not held as originally planned in 1888 because the Greek Orthodox Church and municipal authorities opposed the scene of Greeks worshiping at the Oracle of Delphi. Karreris also left behind several unfinished operas on Greek subject matter which were not saved in the fire following the Great earthquake of 1953 on Zakynthos. Karreris also composed many vocal music and instrumental pieces. Apart from composition, Karreris was also a teacher, conductor and opera entrepreneur. Source: Pavlos Karrer (2013) by Avra Xapapadakou
Delalande Chauvet Boucheron 1936 2015
Voici une histoire de France, de toute la France, en très longue durée qui mène de la grotte Chauvet aux événements de 2015. Une histoire qui ne s’embarrasse pas plus de la question des origines que de celle de l’identité, mais prend au large le destin d’un pays qui n’existe pas séparément du monde, même si parfois il prétend l’incarner tout entier. Une histoire qui n’abandonne pas pour autant la chronologie ni le plaisir du récit, puisque c’est par dates qu’elle s’organise et que chaque date est traitée comme une petite intrigue. Réconciliant démarche critique et narration entraînante, l’ouvrage réunit, sous la direction de Patrick Boucheron, un collectif d’historiennes et d’historiens, tous attachés à rendre accessible un discours engagé et savant. Son enjeu est clair : il s’agit de prendre la mesure d’une histoire mondiale de la France, c’est-à-dire de raconter la même histoire – nul contre-récit ici – qui revisite tous les lieux de mémoire du récit national, mais pour la déplacer, la dépayser et l’élargir. En un mot : la rendre simplement plus intéressante ! Ce livre est joyeusement polyphonique. Espérons qu’un peu de cette joie saura faire front aux passions tristes du moment. Directeur d’ouvrage : Patrick Boucheron est professeur au Collège de France. Coordination : Nicolas Delalande est professeur associé au Centre d'histoire de Sciences Po ; Florian Mazel est professeur à l’université Rennes 2 ; Yann Potin est chargé d'études documentaires aux Archives nationales ; Pierre Singaravélou est professeur à l’université Paris I Panthéon-Sorbonne.
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- chronologie: Compositeurs (Europe).
- Index (par ordre alphabétique): B...