Ponchielli - Marion Delorme

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Among his signature rolees were Jew Élèazar, Mario Cavaradossi, Manrico, Arrigo both in “I Vespri Siciliani and “La Battaglia di Legnano,” Riccardo in “Un Ballo in Maschera,” Enzo Grimaldo, Didier in “Marion Delorme,” Jacopo Foscari, and Avito in “L’Amore dei Tre Re.” In total, he went onto sing 56 leading tenor roles including 22 by Giuseppe Verdi. Dalibor Jenis starts the current season (2004) at Royal Opera House Covent Garden London with a new production of Charles Gounod’s Faust in the role of Valentin under the baton of Maurizio Benini. At the Hamburgische Staatsoper he will sing Germont in La Traviata under the baton of Niksa Bareza; in Basle he is to hear in a gala concert under Fabio Luisi. At the Opéra National de Paris he sings the title-role of Barbiere di Siviglia under Daniel Oren and Marc Piollet. In concert he will appear together with the WDR Sinfonieorchester Köln and Gerd Albrecht in Dvorak´s König und Köhler. He will finish this season with the revival of Don Carlo (Posa) at the Deutsche Staatsoper Berlin. Dalibor Jenis appears on the CD recording of Gianni Schicchi with Mirella Freni and Leo Nucci, and on a concert recording of Cristoforo Colombo with Renato Bruson produced on the occasion of the 500 th anniversary of the discovery of America.

After a choir sings the beauty of courtesan Marion Delorme ("A Marion, reine des belles"), Fontrailles, Montrésor, Montmort, de Brienne, Monglat, and the other courtesans discuss the increasing influence of Cinq-Mars over the King. The nobles are dissatisfied with the excessive power that the Cardinal of Richelieu has assumed, and they wonder if Cinq-Mars will join finally their cause. Marion reports that the Cardinal threatens to exile Cinq-Mars; Fontrailles is surprised, and is sure that Paris would become very boring without its elegant salons ("On ne verra plus dans Paris"). Marion announces that she will organize a ball the next day, which will give them the opportunity to cast the basis of an intrigue to eliminate the Cardinal. Cinq-Mars appears and is welcomed by the courtesans ("Ah! Monsieur le Grand Ecuyer"). Marie has just arrived at the Court, and the two lovers are reunited ("Quand vous m'avez dit un jour"). However, just after this blessed moment, Father Joseph comes to announce that, in spite of the King's informal agreement of Cinq-Mars's marriage with Marie, the Cardinal refuses to formalize their union, preferring rather to follow the original plan of marrying Marie to the King of Poland. Born on Oct. 3 in the Dominican Republic, the tenor began music lessons with his mother at the age of seven and went on to receive lessons from Enrique Estevez Pacheco. But Ponchielli was rather prolific throughout his career, composing a total of 10 operas throughout 30 years. In looking over his work, one thing that pops out is how the composer tinkered with each opera long after composing it. Here is a look at the works that encapsulated the composer’s career. She was the daughter of Jean de Lou, sieur de l'Orme, president of the treasurers of France in Champagne, and of Marie Chastelain. She was born in a wealthy family at her father's château near Champaubert. Initiated into the philosophy of physical pleasures by the epicurean and atheist Jacques Vallée, Sieur Des Barreaux, she soon left him for Henri Coiffier de Ruzé, Marquis of Cinq-Mars, at that time at the height of his popularity, and succeeded, it is said, in marrying him in secret. She began hosting a salon, and was introduced into the life of being a courtesan.Bottesini was widely acclaimed, and his virtuosic skill in the bass paralleled that of Paganini himself on the violin. Because of the contributions of Bottesini (along with those of Sperger and Dragonetti) to bass technique, many have come to view the double bass as a diverse and versatile instrument. Most notably there are many virtuoso bass players who draw inspiration from the early renaissance of the double bass. He also won Singer of the Year 2002 by the Berlin Opera, The First Grand Prize for Male Voices of the 28th Edition of the Francisco Viñas Singing Competition, as well as the Special Prize La Traviata (Barcelona 1990), the Second Prize for Male Voices of the Bilbao III Singing Competition (Bilbao 1990). He was also a National Finalist of the Metropolitan Opera Guild Singing Competition in 1989. The evening begins with the reading of Madeleine de Scudéry's last novel, Clélie, followed by a long pastoral entertainment with ballet, including notably a sonnet sung by a shepherd ("De vos traits mon âme est navrée"). More serious things are on everyone's mind, however ("Viendra-t-il?"). Fontrailles assures everyone that Cinq-Mars will join the plot, as he predicted, and that Cinq-Mars will arrive soon. He declares that the King is no longer in total control of the country, and that the eviction of the Cardinal is a just cause; civil war is imminent, and he assures his co-conspirators that he arranged a treaty with Spain, which implies that their armies will intervene on their side. De Thou suddenly interrupts him, and warns him against opening France up to a foreign power, but the marquis remains resolute. Her last years have been adorned with considerable legend (cf. Eugène de Mirecourt, Confessions de Marie Delorme, Paris, 1856). It seems established that she died in 1650. But she was believed to have lived until 1706 or even 1741, after having had the most fantastic adventures, including marriage with an English lord, and an old age spent in poverty in Paris. Her name has been popularized by various authors, especially by Alfred de Vigny in his novel Cinq Mars, by Victor Hugo in the drama Marion Delorme, and by Amilcare Ponchielli and Giovanni Bottesini in two operas of the same title, as well as Camille Saint-Saëns opera Cinq Mars. Giovanni Bottesini (22 December 1821 – 7 July 1889) was an Italian Romantic composer, conductor, and a double bass virtuoso.

Hra je založena na principu všemocnosti lásky, schopné vykoupit i ztraceného člověka. Francouzská kurtizána Marion de Lorme (1613–1650) je ve hře láskou morálně očištěna. Jejím protipólem je děsivý symbol absolutismu kardinál Richelieu, první ministr krále Ludvíka XIII. Concerto in F ♯ minor [Concerto No.3] (1871) for double bass and orchestra. Accidentally miscredited or published as concerto No.1 (also known as Concerto for Students in some publications/arrangements/lower transpositions, studienkonzert in German publications) In reality, the composer’s famous work has lost its status in recent years, and by extension, the composer’s profile has dropped rapidly. The Rendezvous. The play opens in 1638, in Blois, in the bedchamber of Marion De Lorme. Marion, famous Parisian courtesan, left the capital two months prior, to the despair of her lovers and admirers, and took refuge in Blois. Pressed by Saverny, who found her, she confesses that she has an appointment with a man named Didier who does not know who she is, and she knows nothing of his identity. She urges Saverny to leave. Didier arrives and confesses his love to Marion; he pressures her to marry him, although he has no fortune and is a foundling without a family. To the despair of Didier, Marion hesitates, judging herself unworthy. But she seems ready to yield when Didier reveals what he thinks of Marion Delorme, the famous courtesan:Cinq-Mars was initially performed at the Opéra-Comique on 5 April 1877. The work's reception was lukewarm: "If [it] adds nothing to the glory of Gounod, neither does it diminish it." [1] The opera ran for 56 performances. [2] Some critics seized on the straddling of the genres of grand opéra and opéra comique; a second edition (Léon Grus, n.d.) contains recitatives for the very few spoken scenes as well as an act 3 cantabile for de Thou, written for the La Scala production. Denia Mazzola-Gavazzeni is a magnetic Marion, even when she pushes her voice in uncomfortable directions. And if Francisco Casanova is more a full-throated tenor than a carefully characterised young lover then that’s the fault of the song not the singer. Tarantella in la minore (frequently paired with Elegia No. 1 and referred to as Elegia e Tarantella. Numerous manuscripts by Bottesini himself show that these two pieces were clearly intended to be performed together) It was revived by Leipzig Opera in May 2017, conducted by David Reiland, in a production by Anthony Pilavachi, with Mathias Vidal in the title role. [3] Roles [ edit ] Marion (soprano), costume design for Cinq-Mars (1877) Roles, voice types, premiere cast Role

The Slovak baritone, Dalibor Jenis, studied at the Bratislava Conservatory, and during his studies, he stayed in Italy for one year to study at the Accademia Italiana in Osimo. He has been awarded in several voice competitions; among them Karlsbad ("Antonín Dvorák“), Las Palmas ("Alfredo Kraus“) and in 1990 in Vienna ("Belvedere“), followed by concert invitations to the Wexford Festival, the Hessischer Rundfunk Frankfurt and the Berliner Rundfunk. Last season (2003) he sang Sharpless in Madama Butterfly at Covent Garden and at Sächsische Staatsoper Dresden; Barbiere di Siviglia at Vienna State Opera and Dvorak´s Dimitri (Chouiski) in concert. At Deutsche Oper Berlin, he made his role-debut as Renato in Verdi’s Un ballo in maschera. At the Deutsche Staatsoper Berlin he made his role-debut as Posa in a new production of Don Carlo. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. PERFORMER: Denia Mazzola-Gavazzeni, Francisco Casanova, Dalibor Jenis, Carlo Cigni; Montpellier Opera Chorus, Latvian Radio Chorus, Montpellier National Orchestra/Friedemann Layer Marion chce zachránit život svého milence a stráví proto noc s královským soudcem. Didier se dozví o její minulosti a odmítne uprchnout za takovou cenu a navíc nyní Marion pohrdá. Na konci hry se objeví jako hlas z nosítek i Richelieu, ale i on odmítne udělit milost. Didier i de Saverne jsou popraveni, ale ještě před tím Didier Marion její minulost odpustí. Hluboká láska Marion k Diderovi jí tak vrací morální čistotu.A meeting of the conspirators is imminent. Marie appears, contrary to all expectations, and agrees with Cinq-Mars to immediately exchange wedding vows ("Madame, c'est le lieu du rendez-vous"). After their departure, Father Joseph and Eustache appear from a hiding place: Eustache is a spy and makes a complete report of the intrigue to Father Joseph. Father Joseph savors the power which he possesses on the fate of Cinq-Mars ("Tu t'en vas"). He confronts Marie with the announcement of the execution of Cinq-Mars, for betraying the country by dealing independently with a foreign power. Further, he tells her, the Polish ambassador will return soon from a hunt with the King, and Father Joseph advises Marie to answer him favorably; in exchange, Cinq-Mars will be spared. When the royal suite arrives, Marie capitulates ("Hallali! Chasse superbe"). Adaptace [ editovat | editovat zdroj ] Francouzská herečka Marie Dorvalová jako Marion de Lorme při premiéře hry roku 1831, autor kresby Achille Devéria Hudba [ editovat | editovat zdroj ]

Largely eschewing the melodramatic gestures and invigorating energy of Gioconda, Ponchielli shows the influence of the school of his French contemporaries in his light, elegant scoring and through the presence of a peripheral, travesty character, Lelio, sung by a mezzo. The work is lop-sided in that the longest, most emotion-laden Act is the fourth and last. There Marion and Didier have finely shaped solos, then a lengthy duet of recrimination with an original structure. Act 1 has a warm romance for the heroine followed by a love duet. All the other characters have solos suited to their characters, Lelio’s appropriately light and catchy. There is rather too much anonymous infilling, but enough of merit to make the opera worthinvestigating, especially to those sated by the regular repertory.The Cardinal. The scene is the dungeon of Beaugency. Marion, bearing royal pardon, arrives to have Dider released; but the royal pardon has been revoked by the cardinal. Confronted with Laffemas, she finally gives in, and agrees to prostitute herself to him in exchange for Didier's freedom. The thing done, she enters the courtyard where Didier and Saverny are awaiting death, but Didier, still angry and revolted because he guesses what she had to do to get there, refuses to follow her. The guards arrive to escort them away. At the last moment, Didier confesses his love to Marion, who forgives him and asks for forgiveness. The condemned march towards torture. Marion remains alone on stage, and sees the litter of the cardinal, who has just been present at the execution. He also performed at the Wiener Staatsoper, Berlin State Opera, Teatro Massimo, Opera Orchestra of New York, and Carnegie Hall, among others. Another opera with a Ghislanzoni libretto, this one has had a longer life, seeing revivals in Chicago and Toronto, among other places, in the 20 th century. The work takes place in Lithuania and was the first of his operas to premiere at La Scala in 1874. It was revised a year later. The first of three collaborations with Antonio Ghislanzoni, this one-act comic opera, premiered in 1873 and was also left unrevised for the rest of Ponchielli’s life. It was also the biggest gap in the composer’s output, coming 10 years after his previous work. The first of two collaborations with librettist Francesco Guidi, this opera premiered in 1861 and was later revised in 1877.