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Toute sa vie, Edgar Degas est resté passionné par le monde de l’Opéra. Initié à la musique par son père dès son plus jeune âge, grand amateur de ballet et surtout spectateur assidu de l’Opéra Le Peletier, le peintre a côtoyé pendant plus de quarante ans la maison, de la scène aux coulisses. Dans l’exposition « Degas à l’Opéra », le Musée d’Orsay, en partenariat avec l’Opéra national de Paris, revient sur cette relation fusionnelle, l’institution ne cessant d’être la source intarissable d’un peintre en quête d’expérimentation et de renouveau. Octave Magazine a rencontré Henri Loyrette, commissaire général de l’exposition. Exposition Degas au Musée d'Orsay du 24 septembre 2019 au 19 janvier 2020 : (http•••) All his life, Edgar Degas remained passionate about the world of the Opera. Initiated to music by his father at an early age, a great ballet lover and above all a regular spectator at the Le Peletier opera house, the painter roamed the house for more than forty years, both in the auditorium and backstage. In the exhibition "Degas at the Opera", the Musée d'Orsay, in partnership with the Paris Opera, looks back on this intense relationship in which the institution was an inexhaustible source in the painter's quest for experimentation and renewal. Octave Magazine met Henri Loyrette, general curator of the exhibition.
(http•••) By Aaron Green Premiered: November 26, 1947 - Salle Le Peletier (The Paris Opera), Paris Setting of Jerusalem: Verdi's Jerusalem is set in late 11th century Toulouse and Palestine. Jerusalem, ACT 1 Helene, daughter of the Count of Toulouse, and her lover Gaston, Viscount of Beam, meet one last time in the count's palace early in the evening before he leaves the next day as a soldier in the First Crusade. Their relationship has been frowned upon because neither of their families get along with one another, however, hours before Gaston is to depart, he resolves himself to bring both families together in order to mend their differences. When the morning arrives, the Count announces that the two families have come to a mutual understanding and grants Gaston's wish to marry Helene. The Count's brother, Roger, is furious with the announcement since he is secretly in love with Helene, and angrily leaves the room. Meanwhile, the official representative of the Pope arrives with news that the Pope has declared Gaston as the leader of the crusade. Gaston takes the position with honor and is given the Count's white cloak for his fierce loyalty. As the party leaves the palace and enters the chapel, Roger returns with one of his lackeys and orders him to kill his rival. He tells him it will be the man not wearing the white cloak and sends him inside the chapel. Moments later screams are heard and the murderer rushes outside, quickly followed by a group of people. Roger relishes in his evil victory, but nearly falls over when he sees Gaston appear announcing the Count has been stabbed. The man is apprehended and brought in front of Roger for questioning. Roger silently persuades him to point to Gaston as the perpetrator. No matter how hard he protested, Gaston was unable to convince anyone of his innocence, and the Pope's legate exiles him. Jerusalem, ACT 2 Years later, Roger, who has exiled himself out of guilt, is wandering the desert beseeching the Lord for forgiveness. Out of nowhere, he crosses paths with Gaston's squire, Raymond, who has been searching desperately for his lost group of Crusaders. Raymond begs for Roger's help and quickly receives it; the two men gather their remaining strength and set out to find the missing men. Helene and her companion, Isaure, have left the palace and journeyed into the desert in search of a hermit whom they hope will reveal Gaston's fate to them. On their way, they run into Raymond. When they ask about Gaston, he tells them that Gaston is alive, but he was captured and imprisoned in Ramla. Raymond escorts the women to Ramla. Gaston is brought into the palace of the Emir. While he waits for a meeting with the Emir, he longingly remembers Helene and begins devising a plan for escape. When the Emir finally meets with him, Gaston is disheartened to hear that the Emir will punish anyone who escapes by death. Just then, Helene is brought into the Emir's court, having been captured snooping about the city. She and Gaston pretend not to know each other and they are left alone despite the Emir's doubts. They are overjoyed to see one another again, but Gaston tells her she should not love him because he is a dishonourable man. She refuses. When they see Crusader soldiers approaching, they decide that now would be the time to flee. Before they can make their way out, the Emir's soldiers enter to defend the palace.
Hector Berlioz Sir Colin Davis Wailly Balducci Goldsmith Meyerbeer Bbc Symphony Orchestra 1500 1552 1838 1973
BENVENUTO CELLINI Opéra en 3 actes & 5 tableaux Composer : Hector Berlioz Libretto : Léon Wailly & Auguste Barbier First performance : Théâtre de l’Opéra (Salle Le Peletier), 10 September 1838. PLOT : Rome, 1552, during Carnival. The Pope has commissioned Cellini to make the statue of Perseus. Cellini is in love with Teresa, daughter of Balducci, the Pope’s treasurer, who wants her to marry Fieramosca, the Pope’s sculptor. Cellini and Teresa plan to elope, but Fieramosca and his friend Pompeo learn of the planned elopement, and decide to abduct her. Cellini murders Pompeo in the ensuing struggle. The next day, the Pope tells Cellini that if he can cast the statue of Perseus that evening, he will pardon him; otherwise, he will hang. Cellini melts down his artworks to get enough metal to make the statue. The Pope pardons Cellini, who marries Teresa. Berlioz’s first opera was a flop; it closed after 7 performances. The opera is a masterwork: imaginatively scored, exuberant, and bursting with vitality. Berlioz described it as “a variety of ideas, an energy and exuberance and a brilliance of colour such as I may perhaps never find again, and which deserved a better fate." The opera is loosely based on the Autobiography of Benvenuto Cellini, the Florentine goldsmith and sculptor (1500–71). In Berlioz’s work, Cellini is that Romantic archetype: the artist as hero, who flouts traditions and is thwarted by the conservative, but triumphs in the end. (See Meyerbeer’s "Vasco da Gama", Wagner’s "Meistersinger".) Ouverture Conductor: Sir Colin Davis BBC Symphony Orchestra London, 1973
Richard Wagner Wolfgang Windgassen Fischer Dietrich Fischer Dieskau Bland Mercy Eschenbach Laubenthal Klaus Hirte Friedrich Lenz Reinmar Hans Sotin Königliches Hoftheater Dresden 1845 1861 1969
TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG Romantische Oper in 3 Akten Composer and librettist: Richard Wagner First performance: Königliches Hoftheater, Dresden, 19 October 1845. Revised: Paris Opéra (salle Le Peletier), 13 March 1861 SETTING: Eisenach, Germany, in the early 13th century. PLOT: Tannhäuser, a Minnesinger (a minstrel-knight and writer of poems of courtly love), has quarreled with the other Minnesingers and spent a year with Venus, the goddess of carnal love, in her grotto in the Venusberg. He frees himself from her spell by invoking the Virgin Mary, and returns to the world of men. The minnesingers persuade him to return to the court of the Landgrave of Thuringia. There, a tournament of poetry is held, at which Elisabeth, the Landgraf’s niece and Tannhäuser’s lover, presides. Tannhäuser, irritated by the other minnesingers’ bland songs, sings a song in praise of Venus. All recoil as they realise that he has been to the Venusberg. The Landgraf and knights condemn Tannhäuser to death, but Elisabeth begs for mercy; surely, she asks, a sinner should seek atonement? The Landgrave exiles Tannhäuser and orders him to go on pilgrimage to Rome. When the pilgrims return, however, Tannhäuser is not among them. He appears at last, and tells his friend Wolfram von Eschenbach that, although he mortified his flesh and sought to atone his sins, the Pope would not forgive him. Only when the Pope’s staff brought forth green leaves would Tannhäuser be forgiven. Knowing this to be impossible, the weary minnesinger has resolved to return to Venus. As she appears, however, a funeral procession enters, carrying Elisabeth’s body on a bier. She has gone to heaven to pray for Tannhäuser’s soul. Pilgrims enter, carrying a priest’s staff bearing green leaves: Tannhäuser’s soul has been saved. Act I finale The Landgrave’s hunting party tell Tannhäuser that after he left, Elisabeth lost interest in music, but that his return may bring her back to happiness. Tannhäuser asks them to lead him to her. Tannhäuser, a Minnesinger (tenor): Wolfgang Windgassen Wolfram von Eschinbach, a Minnesinger (lyric baritone): Dietrich Fischer-Dieskau Walther von der Wogelweide, a Minnesinger (tenor): Horst R. Laubenthal Biterolf, a Minnesinger (bass): Klaus Hirte Heinrich der Schreiber, a Minnesinger (tenor): Friedrich Lenz Reinmar von Zweter, a Minnesinger (bass): Hans Sotin Conductor: Otto Gerdes Chor und Orchester der Deutschen Oper Berlin Berlin, 1969
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