Ika Peyron Vidéos
musicienne suédoise
Commémorations 2025 (Naissance: Ika Peyron)
- orgue, piano
- Suède
- compositeur ou compositrice, pianiste, organiste, philanthrope
Dernière mise à jour
2024-04-19
Actualiser
Ermitage Peyron Berton Gachet Dupeyron 2018
TO FORGIVE / THEOREM OF JOY LIVE AU STUDIO DE L ERMITAGE 02/05/2018 Thomas Julienne : contrebasse & compositions Ellinoa : voix & textes Boris Lamerand : violon & alto Thomas St Laurent : guitare Tom Peyron : batterie Invité : Maxime Berton / Saxophone Soprano Label : Collectif Déluge Réalisation : Loïc Leglise - Le Studio de l'Ermitage Cadreur : Lenny Fontaine, Thibauld Gril Lumière : Maxime Baron Son / Mixage : Cyrille Gachet Montage Vidéos : Marine De Contes Art Work : Photos : Alexandre Dupeyron / Logo : Nicolas Delbourg Photos Live : Jerome Leao Graphisme Album : Nicolas Catherin
Jacques Offenbach André Balbon Deva Dassy Charles Chivot Peyron Lina Dachary 1958 2016
Provided to YouTube by IIP-DDS J. Offenbach: L’ile de Tulipatan - Ouverture · Orchestre Lyrique et Choeurs de la RTF and Marcel Cariven L'Ile de Tulipatan, J. Offenbach, Concert du 03/03/1958, Orchestre Lyrique et Chœurs de la RTF, Marcel Cariven (dir) ℗ Ina, musique(s) Released on: 2016-10-01 Writer: Alfred Duru (Livret) Lyricist: André Balbon (Cacatois XXII) Lyricist: Deva Dassy Writer: Henri Charles Chivot (Livret) Composer: Jacques Offenbach Lyricist: Joseph Peyron (Hermosa) Lyricist: Lina Dachary (Alexis) Conductor: Marcel Briclot (Chef des choeurs) Artist: Marcel Cariven Conductor: Marcel Cariven Artist: Orchestre Lyrique et Choeurs de la RTF Orchestra: Orchestre Lyrique et Choeurs de la RTF Lyricist: René Lenoty (Romboidal) Auto-generated by YouTube.
Jacques Offenbach André Balbon Deva Dassy Charles Chivot Peyron Lina Dachary 1958 2016
Provided to YouTube by IIP-DDS J. Offenbach: L’ile de Tulipatan - Scène 8bis: Marche nuptiale · Orchestre Lyrique et Choeurs de la RTF and Marcel Cariven L'Ile de Tulipatan, J. Offenbach, Concert du 03/03/1958, Orchestre Lyrique et Chœurs de la RTF, Marcel Cariven (dir) ℗ Ina, musique(s) Released on: 2016-10-01 Writer: Alfred Duru (Livret) Lyricist: André Balbon (Cacatois XXII) Lyricist: Deva Dassy Writer: Henri Charles Chivot (Livret) Composer: Jacques Offenbach Lyricist: Joseph Peyron (Hermosa) Lyricist: Lina Dachary (Alexis) Conductor: Marcel Briclot (Chef des choeurs) Artist: Marcel Cariven Conductor: Marcel Cariven Artist: Orchestre Lyrique et Choeurs de la RTF Orchestra: Orchestre Lyrique et Choeurs de la RTF Lyricist: René Lenoty (Romboidal) Auto-generated by YouTube.
Charles Gounod Carvalho Reynaldo Hahn Hahn Berlioz Stravinsky Cutter Procopio Mozart Paisiello Lully Jean Claude Hartemann Benoit Hamel Lina Dachary Peyron Opera Comique Orchestre Lyrique Ortf 1858 1972
Painting: "A scene from Moliere's "L'avare"" by William Powell Frith. History: When Carvalho, founder of the Theatre Lyrique, commissioned Gounod to compose a work based on Goethe's "Faust", the composer was overjoyed, as he was effectively asked to carry out of a dream of his youth. But the premiere of another "Faust", that of Emery, at a rival Parisian theatre persuaded Carvalho to set aside the project for a while. Instead, he proposed to Gounod a comic libretto of Barbier and Carre based on a play by Moliere. Thus was born, on a whim of destiny, "Le medecin malgre lui", a work defined by Reynaldo Hahn "an absolute model of an opera-bouffe" where everything is dealt with the highest elegance. The opera premiered on the 15th of January, 1858, and by the end of the year was performed 58 times. However, it was not a "box office success" which prompted a correspondent from the Brussels-based "Menestrel" to note that the opera has welcomed solely the lovers of good music and that the general public was not able to appreciate such a delicate work. Berlioz who noted "a genuine instinct for what may be called a "chamber" drama, and a discreet and well-balanced sense of the orchestra" and Stravinsky who later would celebrate the work's perfect fusion of Mozartian classicism, the tradition of opera-comique and the French music of XVIII century. Narrative: The plot is an almost ideal comedy, mixing to an exceptional effect satire and sentimentality: a drunken wood-cutter, Sganarelle (baritone), mistreats his wife, Martine (mezzo-soprano), so much that when servants of the wealthy Geronte (bass) present themselves in search of a doctor for their master's daughter, Lucinde (soprano), who is feigning dumbness in order to avoid an unpalatable marriage, Martine immediately tells them that her husband is a learned doctor, but will refuse to practice his art unless he is given a thrashing (which they quickly provide him with). Sganarelle puts on an act as a doctor with nonsense words and false treatments. Leandre (tenor), Lucinde's true love, arranges, with help from the would-be doctor, an elopement with Lucinde which promptly backfires when Lucinde instantly "regains" the power of speech at the sight of her lover. Geronte is about to call for justice and to have Sganarelle hanged, when Leandre announces his father-in-law that he has just inherited a large property from an uncle. All ends happily. Though this may seem like a rather traditional plot that we have seen in many other guises, one should note that it was Moliere who had created the tradition in the first place. And, indeed, he does wonders with it. Music: "Le medecin" was certainly a most welcome surprise , as I had not expected such a seemingly slight work to turn out to be nothing short of a little comic masterpiece. Gounod had, of course, attempted to compose a light opera before, "Don Procopio", a lovely work in its own right, but "Le medecin" has a natural lightness and a stunning French character that were sadly missing in the earlier score. The basic style is that of an operetta in the line of the tunefulness of Auber at his best and the delicacy of von Suppe with just a hint of a reference to Mozart and Paisiello. All the characters are stock figures but Gounod's music makes them believable and, thus, extremely sympathetic for the audience. The whole work highlights the careful tailoring of the music to the story, thus, it is difficult to name any "hits". One could note, of course, some selections: the bubbling overture which sends the listener back to both Lully and Mozart introduces the listener to the action in a hurricane of winds and bells; Sganarelle's "hymn" to the healing power of wine incorporates both a delightful accompaniment with the strings suggesting air running through a bottle and a humorous "glu-glu", as the would-be doctor gobbles down another one of his "darling pretties"; Leandre enters in a suitably understated cavatina of striking sincerity which truly sounds as a serenade ought to sound; and, of course, there is the absolutely enchanting finale to Act II which incorporates both the booming main theme of the sinfonia and a long melodrama for Sganarelle who in a lightning-fast patter accounts why Lucinde is mute. The opera is, however, a unified stream of wit and good humor and should be enjoyed as a complete work. Recording: The 1972 Gaiete-Lyrique issue is a most charming version of the operetta. The cast, the orchestra (Orchestre lyrique de l'ORTF) and the conductor (Jean-Claude Hartemann) all clearly enjoy performing the work, and their joy quickly passes onto the listener. Sganarelle - Jean-Christophe Benoit, Leandre - Michel Hamel, Martine - Janine Capderou, Jacqueline (mezzo-soprano), Lucinde's nurse - Lina Dachary, Lucinde - Monique Stiot, Geronte - Jean-Louis Soumagnas, Valere (baritone), Geronte's valet - Jean Martin, Lucas (tenor), Geronte's servant - Joseph Peyron. Hope you'll enjoy :).
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