Alfred Bruneau Video
compositore francese
Commemorazioni 2024 (Morte: Alfred Bruneau)
- violoncello
- opera
- Francia
- compositore, direttore d'orchestra, musicologo, critico musicale
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2024-04-27
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Paul Franz Georges Bizet Gauthier Louis Delaquerrière Jean Reszke Dyck Charles Rousselière Reyer Lucien Muratore Massenet Charpentier Gounod Nellie Melba Indy Dupont Rabaud Roussel Bruneau Gunsbourg Halévy Berlioz Covent Garden Scala Teatro Colón 1876 1908 1909 1910 1911 1913 1914 1915 1918 1920 1922 1930 1938 1950
Georges Bizet CARMEN "La fleur que tu m'avais jetée"- disco acustico Gramophone, Parigi - matrice 02234v - numero di catalogo 032239 - data dell'incisione 28 novembre 1911. Tenore francese François Gauthier in arte - PAUL FRANZ - (Parigi 30.11.1876 - Parigi 20.4.1950) Inizialmente era un dipendente del ferrovie francesi, e non fu avviato all'apprendimento del canto fino all'età di quasi 30 anni (!). Rivelatosi nel marzo 1908 in un concorso per tenori dilettanti organizzato dai periodici Musica e Comoedia , studia a Parigi con Louis Delaquerrière. Dopo essersi esibito a Nantes nel gennaio 1909 ottenendo un notevole successo, ha subito attirato l'attenzione del direttore del Grand Opéra di Parigi, scritturato, vi debutta l'1 febbraio 1909 vi rimane come membro fino al 1938. Egli è stato molto ammirato, non solo rispetto a Jean de Reszke, ma anche ai grandi Ernest van Dyck e Charles Rousselière. Come Lohengrin, cui fanno seguito Sansone e Dalida e Sigurd di Reyer; nel settembre del 1909 canta nel Faust e Roméo et Juliette, rivaleggiando col giovane tenore Lucien Muratore; vi rimane come primo tenore fino al 1938. Tra il 1910 e il 1914 è impegnato fra Parigi e Londra, dove interpreta il repertorio tenorile più difficoltoso Radamès, Otello, Raoul degli Ugonotti, Giovanni di Leyda nel Profeta, Rodrigo nel Cid di Massenet, continuando però ad esibirsi nel genere lirico francese come Louise di Charpentier, Roméo et Juliette di Gounod, che al Covent Garden cantò al fianco di Nellie Melba. Si avvicina al repertorio wagneriano, e la sua affermazione è notevole, di fatto ebbe un grande successo sempre all'Opéra di Parigi nel marzo del 1911 quale Walter nei Maestri Cantori e poi nel Tristano e Isotta, nella Tetralogia e finalmente nel primo Parsifal (4 febbraio 1913), dove assicura anche le prime locali di, Les Troyens e Hérodiade di Massenet Canta poco lontano da Parigi e Londra: 1910-14 Bruxelles; Monte Carlo 1922-27. Tra il 1920 e il 1930 cantò molte prime assolute di compositori francesi come: d'Indy, Dupont, Rabaud, Roussel, Bruneau Gunsbourg e altri. All'Opéra cantò anche in La Juive di Halévy, e La Damnation de Faust di Berlioz. Diede l'addio alle scene il 12 luglio 1938 all'Opéra di Parigi. Paul Franz fu una delle più grandi voci del secolo; famoso per la sua dizione e presenza scenica, e l'esempio più indicativo di un grande cantante francese che non ha mai ambito a una carriera internazionale. Il suo repertorio francese include ruoli come ad esempio Eléazar in La Juive, Roméo, Faust, Sansone, Don José, Sigurd, Jean, Roderigue a Le Cid ed Enée de Les Troyens. Per il repertorio italiano sono stati Radames e Otello. Il suo repertorio wagneriano comprendeva Tannhäuser, Parsifal, Stolzing, Siegmund, Siegfried e Tristan. È stato molto acclamato al Covent Garden, dove ha cantato tra 1910 - 1914 (Raoul, Julien in Louise, Radames e Otello). Nel 1915 apparve alla Scala e nel 1918 al Teatro Colón di Buenos Aires. Dopo il suo addio alle scene, è stato nominato professore presso il Conservatorio Nazionale di Parigi.
Amato Arnould Aubry Bard Betti Blondeau Boland Bouchard Bruneau Calonne Cardon Caron Collet Delaunay Derome Ehrhart Fischer Frey Hardouin Jolivet Joly Moreau Morin Oudin Poncet Poirier Quesnel Pierre Henri Ulmann Verger Vidal Villeneuve Weber
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Opéra Comique Teatro Lirico Teatro Vittorio Emanuele Teatro San Carlo Covent Garden Massenet Deslandres Guiraud Pfeiffer Bruneau Charles Silver Albert Saléza Rossini Caruso Metropolitan Opera 1863 1887 1889 1894 1899 1902 1904 1905 1916 1917 1922
Pierre Cornubert +••.••(...)) was born in Paris and received his musical education at the Conservatory there. His academic record was solid, but not extraordinary. He only placed second in each of his vocal juries and a critic who witnessed one of the tenor’s student recitals, remarked upon his “extremely disagreeable voice”. Before his graduation, however, Cornubert was offered a contract with the Opéra-Comique. He made his debut there as Daniel in Adam’s immensely popular comic opera Le Chalet in 1887. Cornubert must have made quite an impression on the management of the Opéra-Comique, for he sang regularly there for the next seven seasons. In spite of the leading role he sang at his debut, the tenor was given a great number of comprimario roles in lesser known operas during his first few seasons with the company. He sang the tiny role of the Byzantine Herald in the world premiere of Massenet’s L’Esclarmonde in 1889 and sang in other forgotten works such as Deslandres’ Dimanche et Lundi, Guiraud’s Madame Turlupin and Pfeiffer’s L’Enclume during this period of his career. Cornubert spent much of the 1890s bouncing around the French Provinces, with appearances in Dijon, Lille, Rouen and Montpellier. He also spent several seasons in Marseille, singing the title role in the local premiere of Massenet’s Werther in 1894. Cornubert also created the role of Dominique in the Marseille premiere of Bruneau’s L’Attaque du Moulin and eventually sang the tenor lead in the world premiere of Charles Silver’s now forgotten La Belle au Bois Dormant in 1902. 1899 found the tenor singing his first performances abroad. He travelled to Mexico City for a series of appearances at the Opera Nacional and then to Havana for a few performances at the Teatro Tacón. Toward the end of the season, Cornubert received an urgent telegram from New York’s Metropolitan Opera. A desperate Maurice Grau, the Met’s general manager, requested that the tenor come to New York as a last-minute substitute for the ailing Albert Saléza. Cornubert quickly agreed and made his Met debut shortly thereafter. During his brief stay with the company, the tenor sang five performances of four operas…L’Africaine, Roméo et Juliette, Les Huguenots and Pagliacci…plus one performance of Rossini’s Stabat Mater, but made little impression. Of his Raoul in Les Huguenots, one critic remarked, “It cannot be said that he is a graceful singer to listen to…there is a certain strident quality and roughness of tone in his singing that more than neutralizes his other good qualities.” Cornubert failed to win over the New York public as well. After less than three weeks with the company, he left the Met and never sang in North America again. After returning to Europe, Cornubert continued to appear throughout the France but also traveled to Warsaw, Antwerp and Cairo. As early as 1899 he was appearing in Italy (Teatro Lirico, Milan and Teatro Vittorio Emanuele, Turin) and returned to that country for a series of performances at Naples’ Teatro San Carlo in 1904. When the San Carlo took the company to London’s Covent Garden later than same year, Cornubert was among the principals. He alternated with Caruso in performances of Carmen and Pagliacci. Needless to say, it was his younger Neapolitan colleague who garnered the lion’s share of the praise. Of Cornubert’s Don José in Covent Garden’s November 21, 1904 Carmen, a critic for the London Standard remarked that. “M. Cornubert is a tenor with a fair voice, not very artistically produced nor invariably quite correct in intonation.” As he approached the age of fifty, Cornubert began to curtail his stage career. In early 1917, the tenor was offered a professorship in the voice department of the Paris Conservatory. Interestingly, Cornubert once again found himself taking over a position left vacant by his colleague Albert Saléza, who had passed away late in 1916. The now retired Cornubert was to become a popular member of the faculty and remained at the Conservatory until his own death in 1922 at the age of 59. Pierre Cornubert enjoyed a mostly minor league career that encompassed a variety of roles from such operas as Manon, Mignon, Carmen, Andrea Chénier, Guglielmo Ratcliff and Tosca. He also excelled as a recitalist and was active as an oratorio soloist, singing such works as Rossini’s Stabat Mater and Franck’s Les Béatitudes. His recorded legacy is scanty, unfortunately, with only 15 extant titles recorded for Fonotipia, Edison and Disque Ultima. These discs and cylinders reveal a full lyric tenor with tasteful artistry. Here, Cornubert sings Alphonse Cathérine's "Ton sourire". This rare recording was made in Paris for Disque Ultima in 1905.
Opéra Comique Teatro Lirico Teatro Vittorio Emanuele Teatro San Carlo Covent Garden Massenet Deslandres Guiraud Pfeiffer Bruneau Charles Silver Albert Saléza Rossini Caruso Metropolitan Opera 1863 1887 1889 1894 1899 1902 1904 1905 1916 1917 1922
Pierre Cornubert +••.••(...)) was born in Paris and received his musical education at the Conservatory there. His academic record was solid, but not extraordinary. He only placed second in each of his vocal juries and a critic who witnessed one of the tenor’s student recitals, remarked upon his “extremely disagreeable voice”. Before his graduation, however, Cornubert was offered a contract with the Opéra-Comique. He made his debut there as Daniel in Adam’s immensely popular comic opera Le Chalet in 1887. Cornubert must have made quite an impression on the management of the Opéra-Comique, for he sang regularly there for the next seven seasons. In spite of the leading role he sang at his debut, the tenor was given a great number of comprimario roles in lesser known operas during his first few seasons with the company. He sang the tiny role of the Byzantine Herald in the world premiere of Massenet’s L’Esclarmonde in 1889 and sang in other forgotten works such as Deslandres’ Dimanche et Lundi, Guiraud’s Madame Turlupin and Pfeiffer’s L’Enclume during this period of his career. Cornubert spent much of the 1890s bouncing around the French Provinces, with appearances in Dijon, Lille, Rouen and Montpellier. He also spent several seasons in Marseille, singing the title role in the local premiere of Massenet’s Werther in 1894. Cornubert also created the role of Dominique in the Marseille premiere of Bruneau’s L’Attaque du Moulin and eventually sang the tenor lead in the world premiere of Charles Silver’s now forgotten La Belle au Bois Dormant in 1902. 1899 found the tenor singing his first performances abroad. He travelled to Mexico City for a series of appearances at the Opera Nacional and then to Havana for a few performances at the Teatro Tacón. Toward the end of the season, Cornubert received an urgent telegram from New York’s Metropolitan Opera. A desperate Maurice Grau, the Met’s general manager, requested that the tenor come to New York as a last-minute substitute for the ailing Albert Saléza. Cornubert quickly agreed and made his Met debut shortly thereafter. During his brief stay with the company, the tenor sang five performances of four operas…L’Africaine, Roméo et Juliette, Les Huguenots and Pagliacci…plus one performance of Rossini’s Stabat Mater, but made little impression. Of his Raoul in Les Huguenots, one critic remarked, “It cannot be said that he is a graceful singer to listen to…there is a certain strident quality and roughness of tone in his singing that more than neutralizes his other good qualities.” Cornubert failed to win over the New York public as well. After less than three weeks with the company, he left the Met and never sang in North America again. After returning to Europe, Cornubert continued to appear throughout the France but also traveled to Warsaw, Antwerp and Cairo. As early as 1899 he was appearing in Italy (Teatro Lirico, Milan and Teatro Vittorio Emanuele, Turin) and returned to that country for a series of performances at Naples’ Teatro San Carlo in 1904. When the San Carlo took the company to London’s Covent Garden later than same year, Cornubert was among the principals. He alternated with Caruso in performances of Carmen and Pagliacci. Needless to say, it was his younger Neapolitan colleague who garnered the lion’s share of the praise. Of Cornubert’s Don José in Covent Garden’s November 21, 1904 Carmen, a critic for the London Standard remarked that. “M. Cornubert is a tenor with a fair voice, not very artistically produced nor invariably quite correct in intonation.” As he approached the age of fifty, Cornubert began to curtail his stage career. In early 1917, the tenor was offered a professorship in the voice department of the Paris Conservatory. Interestingly, Cornubert once again found himself taking over a position left vacant by his colleague Albert Saléza, who had passed away late in 1916. The now retired Cornubert was to become a popular member of the faculty and remained at the Conservatory until his own death in 1922 at the age of 59. Pierre Cornubert enjoyed a mostly minor league career that encompassed a variety of roles from such operas as Manon, Mignon, Carmen, Andrea Chénier, Guglielmo Ratcliff and Tosca. He also excelled as a recitalist and was active as an oratorio soloist, singing such works as Rossini’s Stabat Mater and Franck’s Les Béatitudes. His recorded legacy is scanty, unfortunately, with only 15 extant titles recorded for Fonotipia, Edison and Disque Ultima. These discs and cylinders reveal a full lyric tenor with tasteful artistry. Here, Cornubert sings de Lara's "Chanson du baiser" This rare recording was made in Paris for Disque Ultima in 1905.
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- cronologia: Compositori (Europa). Direttori d'orchestra (Europa).
- Indici (per ordine alfabetico): B...