Von dem Buch Daniel-Francois-Esprit Auber haben wir 4 gleiche oder sehr ähnliche Ausgaben identifiziert!

Falls Sie nur an einem bestimmten Exempar interessiert sind, können Sie aus der folgenden Liste jenes wählen, an dem Sie interessiert sind:

Daniel-Francois-Esprit Auber100%: Robert Ignatius Letellier: Daniel-Francois-Esprit Auber (ISBN: 9781443839273) 1871, in Englisch, Taschenbuch.
Nur diese Ausgabe anzeigen…
Daniel-Francois-Esprit Auber, Le Domino Noir58%: Robert Ignatius Letellier, Editor: Robert Ignatius Letellier: Daniel-Francois-Esprit Auber, Le Domino Noir (ISBN: 9781443828512) 2011, Cambridge Scholars Publishing, in Englisch, Taschenbuch.
Nur diese Ausgabe anzeigen…
Daniel-Francois-Esprit Auber, La Barcarolle58%: Robert Ignatius Letellier, Editor: Robert Ignatius Letellier: Daniel-Francois-Esprit Auber, La Barcarolle (ISBN: 9781443828963) 2011, Cambridge Scholars Publishing, Erstausgabe, in Englisch, Taschenbuch.
Nur diese Ausgabe anzeigen…
Daniel-Francois-Esprit Auber56%: Robert Ignatius Letellier: Daniel-Francois-Esprit Auber (ISBN: 9781443839228) 1877, in Englisch, Taschenbuch.
Nur diese Ausgabe anzeigen…

Daniel-Francois-Esprit Auber - 14 Angebote vergleichen

Preise201520182019
Schnitt 79,59 63,32 66,34
Nachfrage
Bester Preis: 58,77 (vom 13.06.2019)
1
9781443828512 - Cambridge Scholars Publishing: Daniel-Francois-Esprit Auber, Le Domino Noir
Symbolbild
Cambridge Scholars Publishing

Daniel-Francois-Esprit Auber, Le Domino Noir (2011)

Lieferung erfolgt aus/von: Niederlande EN PB NW

ISBN: 9781443828512 bzw. 1443828513, in Englisch, Cambridge Scholars Publishing, Taschenbuch, neu.

92,58
unverbindlich
Lieferung aus: Niederlande, Vermoedelijk 4-6 weken.
bol.com.
Daniel-Francois-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opera-comique La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in ... Daniel-Francois-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opera-comique La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber's life was his meeting with the librettist Eugene Scribe (1791-1861), with whom he developed a long and illustrious working partnership that ended only with Scribe's death. Success followed success; works such as Le Macon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d'Honneur. Auber seems to have been fated to live in revolutionary times; during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). Auber's famous historical grand opera La Muette de Portici (also known by its hero's name as Masaniello) is perhaps unsurprisingly based on revolution, depicting the 1647 Neapolitan uprising against Spanish rule. It is a key work in operatic history, and has a revolutionary history itself: it was a performance of this work in Brussels in 1830 that helped spark the revolution that led to the separation of Belgium from Holland. It was a revolution that hastened Auber's death at the old age of 89. He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. He had refused to leave the city he had always loved, even after his house had been set on fire by the petroleurs et petroleuses. In a twist of fate, a mark had been placed on the house of the composer of Masaniello, the very voice of Romantic liberty! Auber's overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, high Wagnerian ideology, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber's elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was. Le Domino noir, an opera-comique in three acts, with libretto by Eugene Scribe, was premiered at the Opera-Comique (Salle de la place de la Bourse/Salle des Nouveautes) on 2 December 1837. It was an instant success, and remained hugely popular. The music is employed with economy, mellifluous, but pared and pointed. Its wit and elements of parody look forward to Jacques Offenbach. The action takes place in Madrid, around 1780; Angele, a noblewoman who is about to take solemn vows and become the Abbess of a convent at the behest of the Queen of Spain, nonetheless still attends masked balls, disguised in a black domino. At one of the balls she falls in love with the handsome and eligible Horace de Massarena, who is equally smitten. Horace attends the installation of the new abbess and sees Angele about to receive this great honour. Suddenly a messenger from the Queen of Spain appears, ordering the convent to select a new abbess and releasing Angele from her vows. She and Horace are now free to marry. The libretto is one of the best from the great dramatist. The choice of subject, characterized as it was by ideas current at the time of its creation-the emancipated view of womanhood and the daring treatment of religious themes-was felt by the middle of the 19th century not to be in the best taste. However, the unconventional daring and single-mindedness of the fashionable heroine becomes a kind of celebration of feminine independence and resourcefulness. The evocation of a gracious high society and the enterprising servanthood of the opera-comique tradition, as well as the tender, romanticized evocation of the convent and religious life, invest the whole with the aura of an urban pastoral. Le Domino noir was celebrated for its lightness, elegance and wit, the libretto and music complementing each other perfectly in realizing a masterpiece of this genre. This is Auber's most original opera-comique, the one in which he most fully abandoned himself to charming fantasy and melodic grace. Nearly all the pieces became popular. The overture, which is perfect in itself, presents the context of the romance, and sketches the elusive charm of the heroine. This work was more popular in Paris than Fra Diavolo: the 1000th performance took place in 1882, the 1209th in 1909. Between 1838 and 1845 translations were made into German, English, Russian, Danish, Czech, Italian, Spanish, Portuguese, Hungarian and Swedish, with later versions in Finnish, Croatian, Polish and Norwegian. In more recent times there were performances in Paris (ORTF, 1950, 1965), London (Opera Viva, 1979) and Compiegne (2006). This edition reproduces the vocal score published in Paris by E. Troupenas (1837).Taal: Engels;Afmetingen: 0x212x148 mm;Gewicht: 930,00 gram;Verschijningsdatum: maart 2011;ISBN10: 1443828513;ISBN13: 9781443828512; Engelstalig | Paperback | 2011.
2
9781443839273 - Ruth Warburton: Daniel-Francois-Esprit Auber : Le Premier Jour de bonheur
Ruth Warburton

Daniel-Francois-Esprit Auber : Le Premier Jour de bonheur (1871)

Lieferung erfolgt aus/von: Vereinigtes Königreich Großbritannien und Nordirland EN NW EB DL

ISBN: 9781443839273 bzw. 1443839272, in Englisch, Hachette Children's Group, neu, E-Book, elektronischer Download.

59,64 (£ 52,19)¹ + Versand: 11,42 (£ 9,99)¹ = 71,06 (£ 62,18)¹
unverbindlich
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, Despatched same working day before 3pm.
Daniel-Francois-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opera-comique La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber's life was his meeting with the librettist Eugene Scribe (1791-1861), with whom he developed a long and illustrious working partnership that only ended with Scribe's death. Success followed success; works such as Le Macon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d'Honneur.Auber seems to have been fated to live in revolutionary times; during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). Auber's famous historical grand opera La Muette de Portici (also known by its hero's name as Masaniello) is perhaps unsurprisingly based on revolution, depicting the 1647 Neapolitan uprising against Spanish rule. It is a key work in operatic history, and has a revolutionary history itself: it was a performance of this work in Brussels in 1830 that helped spark the revolution that led to the separation of Belgium from Holland. It was a revolution that hastened Auber's death at the old age of 89. He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. He had refused to leave the city he had always loved, even after his house had been set on fire by the petroleurs et petroleuses. In a twist of fate, a mark had been placed on the house of the composer of Masaniello, the very voice of Romantic liberty!Auber's overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, Wagnerian transcendentalism, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber's elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was.Le Premier Jour de bonheur, an opera-comique in three acts, was first performed at the Opera-Comique (Deuxieme Salle Favart) on 15 February 1868. It was the 86-year-old Auber's second-last opera. Eugene Scribe had died in 1861, and Auber chose Adolphe-Philippe Dennery (actually Adolphe Philippe) and Eugene Cormon (Pierre-Etienne Piestre) as his collaborators for his last two operas. The subject of Le Premier Jour de bonheur was borrowed from a comedy by Souques called Le Chevalier de Canolle given at the Odeon on 17 May 1816.For Gaston de Maillepres, an officer serving in the French army during the colonial wars with Britain, every happy event is marred by some misfortune. He has fallen in love, but with an unknown woman whom he saw twice in London before the wars, as her carriage went by. An English girl, Helene, and her craven fiancee Sir John Littlepool arrive, having been apprehended as spies while on their way to the English garrison at Madras. Gaston recognizes in Helene his mysterious lady; she is in fact the daughter of the governor of Madras. Gaston releases Helene, but keeps Littlepool as a hostage. In act 2 Gaston comes to Madras under a flag of truce to see Helene, but is taken prisoner, and condemned to be shot the next day in reprisal for Sir John's predicament. Helene takes pity on him and confesses her love for him. Gaston's joy at this helps him to forget his despair over his imminent fate. In the last act the impressionable Sir John, released from captivity, relinquishes all claims to Helene, now believing that Helene has chosen Gaston simply to save his life, and is reconciled to their union. Gaston's first day of happiness has at last arrived.The libretto was constructed with skill, but the givens of the situation lack enough power and simplicity to sustain interest. The score contains lovely pieces. The overture presents an overall contrast between the Indian elements of the story (the graceful Ballad of the Djinns) and the French colonial ones (a bellicose march full of military swagger and dance themes from the act 2 ball).Le Premier Jour de bonheur was the only significant work of the last decade of Auber's life, and indeed his last great success. The cast was very accomplished, consisting of: Joseph-Amedee-Victor Capoul (Gaston de Maillepres); Marie Cabel (Helene); Charles-Louis Sainte-Foy (Littlepool); Mlle Marie-Rose (Djelma); Leon Melchissedec (De Mailly, a French officer); Victor Prilleux (Bergerac, a French officer); and Bernard (the governor of Madras). Between 1867-70 there were 167 performances in Paris. The work was given in German, Italian and Hungarian.
3
9781443839273 - None: Daniel-Francois-Esprit Auber - Le Premier Jour de bonheur
None

Daniel-Francois-Esprit Auber - Le Premier Jour de bonheur

Lieferung erfolgt aus/von: Deutschland DE NW

ISBN: 9781443839273 bzw. 1443839272, in Deutsch, Cambridge Scholars Publishing, neu.

Daniel-Francois-Esprit Auber: Daniel-Francois-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opera-comique La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber`s life was his meeting with the librettist Eugene Scribe (1791-1861), with whom he developed a long and illustrious working partnership that only ended with Scribe`s death. Success followed success works such as Le Macon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d`Honneur.Auber seems to have been fated to live in revolutionary times during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). Auber`s famous historical grand opera La Muette de Portici (also known by its hero`s name as Masaniello) is perhaps unsurprisingly based on revolution, depicting the 1647 Neapolitan uprising against Spanish rule. It is a key work in operatic history, and has a revolutionary history itself: it was a performance of this work in Brussels in 1830 that helped spark the revolution that led to the separation of Belgium from Holland. It was a revolution that hastened Auber`s death at the old age of 89. He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. He had refused to leave the city he had always loved, even after his house had been set on fire by the petroleurs et petroleuses. In a twist of fate, a mark had been placed on the house of the composer of Masaniello, the very voice of Romantic liberty!Auber`s overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, Wagnerian transcendentalism, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber`s elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was.Le Premier Jour de bonheur, an opera-comique in three acts, was first performed at the Opera-Comique (Deuxieme Salle Favart) on 15 February 1868. It was the 86-year-old Auber`s second-last opera. Eugene Scribe had died in 1861, and Auber chose Adolphe-Philippe Dennery (actually Adolphe Philippe) and Eugene Cormon (Pierre-Etienne Piestre) as his collaborators for his last two operas. The subject of Le Premier Jour de bonheur was borrowed from a comedy by Souques called Le Chevalier de Canolle given at the Odeon on 17 May 1816.For Gaston de Maillepres, an officer serving in the French army during the colonial wars with Britain, every happy event is marred by some misfortune. He has fallen in love, but with an unknown woman whom he saw twice in London before the wars, as her carriage went by. An English girl, Helene, and her craven fiancee Sir John Littlepool arrive, having been apprehended as spies while on their way to the English garrison at Madras. Gaston recognizes in Helene his mysterious lady she is in fact the daughter of the governor of Madras. Gaston releases Helene, but keeps Littlepool as a hostage. In act 2 Gaston comes to Madras under a flag of truce to see Helene, but is taken prisoner, and condemned to be shot the next day in reprisal for Sir John`s predicament. Helene takes pity on him and confesses her love for him. Gaston`s joy at this helps him to forget his despair over his imminent fate. In the last act the impressionable Sir John, released from captivity, relinquishes all claims to Helene, now believing that Helene has chosen Gaston simply to save his life, and is reconciled to their union. Gaston`s first day of happiness has at last arrived.The libretto was constructed with skill, but the givens of the situation lack enough power and simplicity to sustain interest. The score contains lovely pieces. The overture presents an overall contrast between the Indian elements of the story (the graceful Ballad of the Djinns) and the French colonial ones (a bellicose march full of military swagger and dance themes from the act 2 ball).Le Premier Jour de bonheur was the only significant work of the last decade of Auber`s life, and indeed his last great success. The cast was very accomplished, consisting of: Joseph-Amedee-Victor Capoul (Gaston de Maillepres) Marie Cabel (Helene) Charles-Louis Sainte-Foy (Littlepool) Mlle Marie-Rose (Djelma) Leon Melchissedec (De Mailly, a French officer) Victor Prilleux (Bergerac, a French officer) and Bernard (the governor of Madras). Between 1867-70 there were 167 performances in Paris. The work was given in German, Italian and Hungarian. Ebook.
4
9781443839273 - Robert Ignatius Letellier: Daniel-Francois-Esprit Auber - Le Premier Jour de bonheur
Robert Ignatius Letellier

Daniel-Francois-Esprit Auber - Le Premier Jour de bonheur (1871)

Lieferung erfolgt aus/von: Deutschland ~EN NW EB DL

ISBN: 9781443839273 bzw. 1443839272, vermutlich in Englisch, Cambridge Scholars Publishing, neu, E-Book, elektronischer Download.

64,09 + Versand: 23,00 = 87,09
unverbindlich
Lieferung aus: Deutschland, Free shipping.
Daniel-Francois-Esprit Auber: Daniel-Francois-Esprit Auber (1782-1871) was long considered one of the most typically French as well as one of the most successful of the opera composers of the 19th century. Although musically gifted, he initially chose commerce as a career, but soon realized that his future lay in music. He studied under Cherubini, and it was not long before his opera-comique La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. Perhaps the greatest turning point in Auber`s life was his meeting with the librettist Eugene Scribe (1791-1861), with whom he developed a long and illustrious working partnership that only ended with Scribe`s death. Success followed success works such as Le Macon (1825) and La Muette de Portici (1828) brought Auber public fame and official recognition. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d`Honneur.Auber seems to have been fated to live in revolutionary times during his long life no less than four revolutions took place in France (1789, 1830, 1848, 1870). Auber`s famous historical grand opera La Muette de Portici (also known by its hero`s name as Masaniello) is perhaps unsurprisingly based on revolution, depicting the 1647 Neapolitan uprising against Spanish rule. It is a key work in operatic history, and has a revolutionary history itself: it was a performance of this work in Brussels in 1830 that helped spark the revolution that led to the separation of Belgium from Holland. It was a revolution that hastened Auber`s death at the old age of 89. He died on 12 May 1871 as a result of a long illness aggravated by the privations and dangers of the Siege of Paris. He had refused to leave the city he had always loved, even after his house had been set on fire by the petroleurs et petroleuses. In a twist of fate, a mark had been placed on the house of the composer of Masaniello, the very voice of Romantic liberty!Auber`s overtures were once instantly recognizable, favourites of the light Classical repertoire. His gracious melodies and dance rhythms had a huge influence, both on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. Musical tastes and fashions have changed, and contemporary audiences are more accustomed to the heavier fare of verismo, Wagnerian transcendentalism, and twentieth-century experimentalism. The operas themselves, apart from Fra Diavolo (1830), are seldom performed, yet Auber`s elegant, delicate and restrained art remains as appealing to the discerning listener as ever it was.Le Premier Jour de bonheur, an opera-comique in three acts, was first performed at the Opera-Comique (Deuxieme Salle Favart) on 15 February 1868. It was the 86-year-old Auber`s second-last opera. Eugene Scribe had died in 1861, and Auber chose Adolphe-Philippe Dennery (actually Adolphe Philippe) and Eugene Cormon (Pierre-Etienne Piestre) as his collaborators for his last two operas. The subject of Le Premier Jour de bonheur was borrowed from a comedy by Souques called Le Chevalier de Canolle given at the Odeon on 17 May 1816.For Gaston de Maillepres, an officer serving in the French army during the colonial wars with Britain, every happy event is marred by some misfortune. He has fallen in love, but with an unknown woman whom he saw twice in London before the wars, as her carriage went by. An English girl, Helene, and her craven fiancee Sir John Littlepool arrive, having been apprehended as spies while on their way to the English garrison at Madras. Gaston recognizes in Helene his mysterious lady she is in fact the daughter of the governor of Madras. Gaston releases Helene, but keeps Littlepool as a hostage. In act 2 Gaston comes to Madras under a flag of truce to see Helene, but is taken prisoner, and condemned to be shot the next day in reprisal for Sir John`s predicament. Helene takes pity on him and confesses her love for him. Gaston`s joy at this helps him to forget his despair over his imminent fate. In the last act the impressionable Sir John, released from captivity, relinquishes all claims to Helene, now believing that Helene has chosen Gaston simply to save his life, and is reconciled to their union. Gaston`s first day of happiness has at last arrived.The libretto was constructed with skill, but the givens of the situation lack enough power and simplicity to sustain interest. The score contains lovely pieces. The overture presents an overall contrast between the Indian elements of the story (the graceful Ballad of the Djinns) and the French colonial ones (a bellicose march full of military swagger and dance themes from the act 2 ball).Le Premier Jour de bonheur was the only significant work of the last decade of Auber`s life, and indeed his last great success. The cast was very accomplished, consisting of: Joseph-Amedee-Victor Capoul (Gaston de Maillepres) Marie Cabel (Helene) Charles-Louis Sainte-Foy (Littlepool) Mlle Marie-Rose (Djelma) Leon Melchissedec (De Mailly, a French officer) Victor Prilleux (Bergerac, a French officer) and Bernard (the governor of Madras). Between 1867-70 there were 167 performances in Paris. The work was given in German, Italian and Hungarian. Englisch, Ebook.
5
9781443828963 - Cambridge Scholars Publishing: Daniel-Francois-Esprit Auber, La Barcarolle
Symbolbild
Cambridge Scholars Publishing

Daniel-Francois-Esprit Auber, La Barcarolle (2011)

Lieferung erfolgt aus/von: Niederlande EN PB NW

ISBN: 9781443828963 bzw. 1443828963, in Englisch, Cambridge Scholars Publishing, Taschenbuch, neu.

83,31
unverbindlich
Lieferung aus: Niederlande, Vermoedelijk 4-6 weken.
bol.com.
Daniel-Francois-Esprit Auber (1782-1871), once one of the most well-known and well-loved names in French 19th-century opera, came later in life than many famous composers to his art, yet had one of the longest and most successful careers. He studied with Cherubini after abandoning an initial attempt to establish a career in commerce, and experienced his first real triumph at the age of 38 with La Bergere Chateleine (1820). His subsequent association with the librettist Eugene Scribe (1791-1861),... Daniel-Francois-Esprit Auber (1782-1871), once one of the most well-known and well-loved names in French 19th-century opera, came later in life than many famous composers to his art, yet had one of the longest and most successful careers. He studied with Cherubini after abandoning an initial attempt to establish a career in commerce, and experienced his first real triumph at the age of 38 with La Bergere Chateleine (1820). His subsequent association with the librettist Eugene Scribe (1791-1861), a collaboration that lasted until Scribe's death, became one of the most famous and successful partnerships in musical history. Works such as Le Macon (1825) and La Muette de Portici (1828) cemented Auber's popularity with the public and drew official recognition and honours. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d'Honneur. Auber's grand opera La Muette de Portici (also known by its hero's name as Masaniello), a work of great significance in the history of opera, is set against a background of revolution and uprising-a situation that Auber knew only too well. He lived through four French Revolutions (1789, 1830, 1848, 1870), dying at the advanced age of 89 in the desperate conditions of the Commune, of a long-standing illness aggravated by the dangers and privations that attended the Siege of Paris. Auber had always loved his home city, and was not prepared to leave it, even after his house had been set on fire by the petroleurs et petroleuses. Ironically, a mark had been placed against the house of the composer of La Muette de Portici, a man so successful in depicting revolutionary fervour that a performance of this opera in Brussels in 1830 had helped to inspire the revolution that led to the separation of Belgium from Holland. Auber's charming and graceful overtures were once staples of the light Classical repertoire, known and loved everywhere. His gracious melodies and dance rhythms had an overwhelming influence on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. His operas, apart from Fra Diavolo (1830), have virtually passed out of the repertoire. Contemporary audiences are not attuned to Auber's elegant and restrained art, accustomed as they are to verismo, high Wagnerian ideology, and 20th-century experimentalism, but those willing to listen are rewarded by works that retain all their freshness, delicacy and charm. La Barcarolle, an opera-comique in three acts, with libretto by Eugene Scribe, was premiered at the Opera-Comique (Deuxieme Salle Favart) on 22 April 1845. The opera is set in Parma in the 18th century, and the story involves a tale of artistic rivalry and social aspiration in the midst of Court intrigue. The Count de Fiesque gives his half-brother, the composer Fabio, the poem to a barcarolle which Fabio is to set to music, and thus bring his work to the attention of the Grand Duke. The Kapellmeister Cafarini and the Marquis de Felino, who are seeking advancement at court themselves, secretly copy the poem, set it to the music they overhear Fabio singing, and send it to the Duchess. The Grand Duke discovers the barcarolle, suspects the Count of being an admirer of his wife, and has him arrested. Fabio learns through Cafarini's niece Gina of the Kapellmeister's part in the plot, and having been forbidden entry to the Duke's concert, disguises himself as a member of the orchestra and places the parts to his barcarolle on the music stands. Gina saves Fabio from arrest by producing the music in Cafarini's handwriting; the Kapellmeister disentangles himself by identifying the Marquis's draft. The Duke pardons everyone. The libretto is simply structured, but the action moves forward most skilfully. Traces of topical humour characteristic of the original comedie-vaudeville that the libretto was derived from have been retained in the dialogue, even though these elements have been fundamentally toned down. This creates an unconscious and slightly discordant duality between the spoken and musical numbers. The Marquis is not altogether convincing as a villain, and his intrigues to imprison the Count and exile Fabio seem exaggerated and out of context. Auber's music is elegant, pliable and distinguished, like all his work. Many motifs recall memories from earlier works. The soprano air for Gina in act 1 ( Personne en ces lieux ne m'a vue ) and the comic duet for two basses ( Viens, que par toi nos muses ) offer good musical declamation. There is a touching duet in act 1 for Fabio and the Count, in which they celebrate their kinship. The Barcarolle itself serves as a Leitmotif, presented imaginatively in various forms throughout the work-solo, duet, quintet, sextet, and finally quartet at the end of the opera. Of the sixteen numbers in the score, eight are duets, six of them for male voices, and two for the two basses. The score also tunes into a tradition of satire-both of musicians and artists, and of musical styles, in the manner of the most famous French example, the enduringly popular Le Maitre de chapelle (1821) by Ferdinando Paer. The original cast were: Gustave-Hippolyte Roger (Fabio), Chaix (Felino), Leonard Hermann-Leon (Cafarini), Edouard Gassier (Count de Fiesque), Anoinette-Jeanne-Hermance Revilly (Clelia), and Mlle Octavie Delille (Gina). The work did not last beyond the year of its premiere, 1845. There were 27 performances. After the economic slump of 1845, frivolous tales found little public response, and this may well have turned normally receptive listeners away from this work in which the collaboration between Scribe and Auber is subtle but essentially most effective.Taal: Engels;Afmetingen: 0x212x148 mm;Gewicht: 930,00 gram;Verschijningsdatum: mei 2011;ISBN10: 1443828963;ISBN13: 9781443828963; Engelstalig | Paperback | 2011.
6
9781443828963 - Robert Ignatius Letellier, Editor: Robert Ignatius Letellier: Daniel-Francois-Esprit Auber: La Barcarolle
Robert Ignatius Letellier, Editor: Robert Ignatius Letellier

Daniel-Francois-Esprit Auber: La Barcarolle (2011)

Lieferung erfolgt aus/von: Vereinigte Staaten von Amerika EN PB NW FE

ISBN: 9781443828963 bzw. 1443828963, in Englisch, 220 Seiten, Cambridge Scholars Publishing, Taschenbuch, neu, Erstausgabe.

63,49 ($ 67,99)¹ + Versand: 4,65 ($ 4,98)¹ = 68,14 ($ 72,97)¹
unverbindlich
Lieferung aus: Vereinigte Staaten von Amerika, Usually ships in 24 hours.
Von Händler/Antiquariat, Amazon.com.
Daniel-Francois-Esprit Auber (1782-1871), once one of the most well-known and well-loved names in French 19th-century opera. He came later in life than many famous composers to his art, yet had one of the longest and most successful careers. He studied with Cherubini after abandoning an initial attempt to establish a career in commerce, and experienced his first real triumph at the age of 38 with La Bergere Chateleine (1820). His subsequent association with the librettist Eugene Scribe (1791-1861), a collaboration that lasted until Scribe's death, became one of the most famous and successful partnerships in musical history. Works such as Le Macon (1825) and La Muette de Portici (1828) cemented Auber's popularity with the public and drew official recognition and honours. In 1829 he was appointed a member of the Institut, in 1839 Director of Concerts at Court, in 1842 Director of the Conservatoire, in 1852 Musical Director of the Imperial Chapel, and in 1861 Grand Officer of the Legion d'Honneur. Auber's grand opera La Muette de Portici (also known by its hero's name as Masaniello), a work of great significance in the history of opera, is set against a background of revolution and uprising - a situation that Auber knew only too well. He lived through four French Revolutions (1789, 1830, 1848, 1870), dying at the advanced age of 89 in the desperate conditions of the Commune, of a long-standing illness aggravated by the dangers and privations that attended the Siege of Paris. Auber had always loved his home city, and was not prepared to leave it, even after his house had been set on fire by the petroleurs et petroleuses. Ironically, a mark had been placed against the house of the composer of La Muette de Portici, a man so successful in depicting revolutionary fervour that a performance of this opera in Brussels in 1830 had helped to inspire the revolution that led to the separation of Belgium from Holland. Auber's charming and graceful overtures were once staples of the light Classical repertoire, known and loved everywhere. His gracious melodies and dance rhythms had an overwhelming influence on piano and instrumental music, and on the genre of Romantic comic opera, especially in Germany. His operas, apart from Fra Diavolo (1830), have virtually passed out of the repertoire. Contemporary audiences are not attuned to Auber's elegant and restrained art, accustomed as they are to verismo, high Wagnerian ideology, and 20th-century experimentalism, but those willing to listen are rewarded by works that retain all their freshness, delicacy and charm. La Barcarolle, an opera-comique in three acts, with libretto by Eugene Scribe, was premiered at the Opera-Comique (Deuxieme Salle Favart) on 22 April 1845. The opera is set in Parma in the 18th century, and the story involves a tale of artistic rivalry and social aspiration in the midst of Court intrigue. The Count de Fiesque gives his half-brother, the composer Fabio, the poem to a barcarolle which Fabio is to set to music, and thus bring his work to the attention of the Grand Duke. The Kapellmeister Cafarini and the Marquis de Felino, who are seeking advancement at court themselves, secretly copy the poem, set it to the music they overhear Fabio singing, and send it to the Duchess. The Grand Duke discovers the barcarolle, suspects the Count of being an admirer of his wife, and has him arrested. Fabio learns through Cafarini's niece Gina of the Kapellmeister's part in the plot, and having been forbidden entry to the Duke's concert, disguises himself as a member of the orchestra and places the parts to his barcarolle on the music stands. Gina saves Fabio from arrest by producing the music in Cafarini's handwriting; the Kapellmeister disentangles himself by identifying the Marquis' draft. The Duke pardons everyone. The libr, Paperback, Ausgabe: 1st Unabridged, Format: Unabridged, Label: Cambridge Scholars Publishing, Cambridge Scholars Publishing, Produktgruppe: Book, Publiziert: 2011-05-01, Studio: Cambridge Scholars Publishing.
7
9781443828512 - Robert Ignatius Letellier: Daniel-Francois-Esprit Auber: Le Domino Noir
Symbolbild
Robert Ignatius Letellier

Daniel-Francois-Esprit Auber: Le Domino Noir (2011)

Lieferung erfolgt aus/von: Vereinigte Staaten von Amerika EN PB US

ISBN: 9781443828512 bzw. 1443828513, in Englisch, Cambridge Scholars Publishing, Taschenbuch, gebraucht.

56,13
unverbindlich
Lieferung aus: Vereinigte Staaten von Amerika, zzgl. Versandkosten, Verandgebiet: DOM.
Von Händler/Antiquariat, Zubal Books, OH, Cleveland, [RE:5].
275 pp., Paperback, LIKE NEW. Trade paperback.
8
9781443839273 - Robert Ignatius Letellier: Daniel-Francois-Esprit Auber
Robert Ignatius Letellier

Daniel-Francois-Esprit Auber

Lieferung erfolgt aus/von: Deutschland ~EN PB NW

ISBN: 9781443839273 bzw. 1443839272, vermutlich in Englisch, Cambridge Scholars Publishing, Taschenbuch, neu.

68,99 + Versand: 25,00 = 93,99
unverbindlich
Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
9
9781443839273 - Daniel-Francois-Esprit Auber als eBook von Robert Ignatius Letellier

Daniel-Francois-Esprit Auber als eBook von Robert Ignatius Letellier

Lieferung erfolgt aus/von: Vereinigtes Königreich Großbritannien und Nordirland EN NW EB DL

ISBN: 9781443839273 bzw. 1443839272, in Englisch, Cambridge Scholars Publishing, neu, E-Book, elektronischer Download.

Daniel-Francois-Esprit Auber ab 66.99 EURO Le Premier Jour de bonheur.
10
9781443839273 - Daniel-Francois-Esprit Auber

Daniel-Francois-Esprit Auber

Lieferung erfolgt aus/von: Deutschland ~EN NW EB DL

ISBN: 9781443839273 bzw. 1443839272, vermutlich in Englisch, Cambridge Scholars Publishing, United Kingdom of Great Britain and Northern Ireland, neu, E-Book, elektronischer Download.

Daniel-Francois-Esprit Auber ab 73.49 EURO Le Premier Jour de bonheur.
Lade…