Laure Cinti-Damoreau Video
soprano e compositrice francese
- soprano
- Francia
- attore, cantante lirico, insegnante di musica, compositore
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2024-06-13
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Laure Cinti Damoreau Gioachino Rossini Giacomo Meyerbeer Gaspare Spontini Lella Cuberli Claudio Abbado Ruth Ann Swenson Giuseppe Filianoti Stephen Mark Brown Maurizio Benini Karina Gauvin Jérémie Rhorer Barbara Frittoli Riccardo Muti Lagrange Patrick Power Marco Guidarini Daniel Auber Gregory Kunde Gianluigi Gelmetti Françoise Pollet Riccardo Chailly Marilyn Mims Chris Merritt Eve Queler Janine Micheau Scala Carnegie Hall 1801 1825 1826 1827 1828 1829 1832 1837 1838 1863 1971 1984 1988 1995 2000 2003 2016
Gioachino Rossini, Il viaggio a Reims (1825): Contessa di Folleville 00:00:00 “Partir, o ciel! Desio….a tal favor quest'anima” Lella Cuberli (Contessa de Folleville), Claudio Abbado (conductor), Pesaro, 1984) Gioachino Rossini, Le siège de Corinthe (1826): Pamira 00:11:12 Recitativo e Aria: “Que vais-je devenir?... Du séjour de la lumière….Mais après un long orage” (Pamira) 00:21:18 Trio “Céleste providence!” (Pamira, Neocle, Cleomene) 00:26:43 Recitativo e Preghiera “L’heure fatale approche... Juste ciel ! Ah! ta clémence” (Pamira) Ruth Ann Swenson (Pamira), Giuseppe Filianoti (Neocles), Stephen Mark Brown (Cleomene), Maurizio Benini (conductor), ROF, 2000 Gaspare Spontini, Olimpie (1826), Olimpie (3rd version) 00:33:39 Aria Act I “O vous que ma reconnaissance...Auprès d’un amant si tendre” (Olimpie) 00:39:04 Aria Act III “O saintes lois de la nature” (Olimpie) Karina Gauvin (Olimpie), Jérémie Rhorer (conductor), Amsterdam, 2016 Gioachino Rossini, Moïse et Pharaon (1827): Anaï 00:43:32 Duet “Si je perds celle qui j’aime” (Amenophis, Anai) 00:52:14 Aria “Quelle horrible destinée!” (Anai) Barbara Frittoli (Anai), Giuseppe Filianoti (Amenophis), Riccardo Muti (conductor), La Scala, 2003 Gioachino Rossini, Le comte Ory (1828): Adele 01:00:20 Cavatina “En proie à la tristesse...otre mérite” (Adele) 01:12:58 Duet “Ah! quel respect, Madame” (Adele, Le Comte) Michele Lagrange (Le Comte), Patrick Power (Le Comte), Marco Guidarini (conductor), Lyon, 1988 Daniel Auber, La Muette de Portici (1828): Elvire 01:23:31 Act I Aria “Plaisir du rang suprême....A celui que j'aimais” (Elvire) 01:31:25 Duet Act II “Alphonse Écoutez, je vous en supplie” (Elvire, Alphonse) 01:39:22 Cavatina Act III “Vous, nous trahir!...Arbitre d'une vie” (Elvire) Monique de Pondeau (Elvire), André Mallabrera (Alphonse d’Arcos), Jean Doussard (conductor). ORTF, 1971 Gioachino Rossini, Guillaume Tell (1829): Mathilde 01:44:36 Recitativo e Romanza “Ils s'éloignent enfin…Sombre forêt” (Mathilde) 01:52:57 Duet “Oui, vous l'arrachez à mon âme” (Mathilde, Arnold) Daniela Dessi (Mathilde), Gregory Kunde (Arnold), Gianluigi Gelmetti (conductor), ROF, 1995 02:05:42 Aria “Pour notre amour plus d'espérance” (Mathilde) Françoise Pollet (Mathilde), Riccardo Chailly (conductor) Giacomo Meyerbeer, Robert le Diable (1838): Isabelle 02:23:17 Act II Recitativo e Cavatina “Que je hais la grandeur…En vain j’espère” (Isabelle) 02:34:22 Act II Duet “Avec bonté voyez ma peine” (Robert, Isabelle) 02:41:35 Cavatina Act IV “Robert, toi que j’aime” Marilyn Mims (Isabelle), Chris Merritt (Robert), Eve Queler (conductor), Carnegie Hall, 1988 Daniel Auber, Le Serment (1832): Marie 02:49:03 Aria Act I “Du village voisin une heure nous sépare” Mandy Mesple (Marie) Daniel Auber, Le Domino Noir (1837): Angele 02:56:17 Act I “Oui je suis_ Une fée, un bon ange” (Angèle) 02:59:18 Act III Cavatina “Je suis suavée enfin!” (Angèle) Janine Micheau (Angele), Jules Gressier (conductor)
Daniel Auber Delavigne Adolphe Nourrit Laure Cinti Damoreau Noblet Leroux Hector Berlioz Alexis Dupont Dupont Rossini Meyerbeer Richard Wagner Théâtre Monnaie 1828 1829 1830 1831 1871
Daniel Auber: La Muette de Portici, Overture, S 16 (1828) La muette de Portici (The Mute Girl of Portici, or The Mute Girl of Portici), also called Masaniello in some versions, is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe. The work has an important place in music history as the earliest French grand opera. It is also known for its role in the Belgian Revolution of 1830. Background The opera was first given at the Salle Le Peletier of the Paris Opéra on 29 February 1828. The role of Masaniello was taken by the famous tenor Adolphe Nourrit and Princess Elvire was sung by Laure Cinti-Damoreau. The dancer Lise Noblet played the mute title role, a part later taken by other dancers such as Marie Taglioni, Fanny Elssler, and Pauline Leroux, also the actress Harriet Smithson (the future wife of Hector Berlioz). Alphonse was created by Alexis Dupont, who was Lise Noblet's brother-in-law. The conductor at the premiere was Henri Valentino. La muette was innovative in a number of ways. First, it marked the introduction into opera of mime and gesture as an integral part of an opera plot (although these formats were familiar to Parisian audiences from ballet and mélodrame). Also, it is historic setting, liberal political implications, use of popular melodies, handling of large orchestra and chorus and spectacular stage effects immediately marked it as different from preceding types of opera, in retrospect earning it the title of the first of the genre of 'Grand Opera'. The journal Pandore commented after the premiere "for a long time, enlightened critics have thought that alongside the old tragédie Lyrique it was possible to have a more realistic and natural drama which might suit the dignity of this theatre." The new genre was consolidated by Rossini's Guillaume Tell (1829) and Meyerbeer's Robert le diable (1831). Richard Wagner remarked, in his 1871 Reminiscences of Auber, that the opera "whose very representation had brought [revolutions] about, was recognized as an obvious precursor of the July Revolution, and seldom has an artistic product stood in closer connection with a world-event." La muette was revived in Paris immediately after the French July Revolution of 1830. Belgian revolution The Théâtre de la Monnaie (Muntschouwburg) where the performance of 25 August 1830 sparked riots leading to the Belgian Revolution The opera was chosen for a performance at the Théâtre de la Monnaie in Brussels on 25 August 1830, as part of King William I's festival in celebration of the 15th year of his reign. The opera would cap the three-day festival of fireworks, feasts, and processions. William, I had been present at the Brussels premiere of the opera in 1829, and it enjoyed several successful performances in the city. Although, when nationalist disturbances occurred during a performance around the time of the July Revolution in Paris, the opera was temporarily banned. The ban was lifted for the August 25th performance. The King's festival announcement was met with open plans for revolt. Posters were put up around Brussels that advertised, "Monday, the 23rd, fireworks; Tuesday, the 24th, illuminations; Wednesday, the 25th, revolution." However, the King's only concession to public safety was to cancel the fireworks and procession on the final night, which left Auber's opera as the last public event in the king's honor. Though the subject of the opera is a revolution, its role in the riots may have been more a marriage of convenience because the rebels had pre-ordained the final day of the festival as the start of the Belgian Revolution. Good listening by MikoNatt!
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