Ponchielli - Marion Delorme

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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. In 2000, Casanova became honorary member of the TBoard of Directors of the International Institute of Verdi Studies. In 2009, he opened his singing school, the Singing Academy Pier Miranda Ferrarol, in New York City. Marion and Didier enter. They have hidden themselves among a troupe of traveling comedians and are given roles. Didier is desperate to flee with Marion, and asks her again to marry him. Marion is spotted by Savergny, who passes the information to Laffemas. He realizes that the fugitive he seeks must be among the actors. Didier discovers that the woman he loves is none other than Marion de Lorme, the courtesan. Revolted, he denounces himself to Laffemas, who arrests him. Saverny, in an attempt to save Didier, unmasks himself, but he is arrested too. Dalibor Jenis often has guest appearances at the Hamburgische Staatsoper ( Eugene Onegin, Barbiere di Siviglia, Bohème and Pagliacci), the Wiener Staatsoper ( Barbiere di Siviglia), the Royal Opera House Covent Garden London, where he sang before the role of Guglielmo in W.A. Mozart’s Così fan tutte and Marcello in Puccini’s La Bohème and at the Opéra National de Paris, where he celebrated an enormous success with his Figaro in the new production of Rossini’s Barbiere di Siviglia last season (2003) and could be heard as Yeletzky in Tchaikovsky’s Pique Dame. In Tokyo, he sang the title-role in the first Japanese performance of Ferruccio Busoni ‘s Doktor Faust, and in Montpellier, he appeared in a concert version of Amilcare Ponchielli‘s seldom performed opera Marion Delorme, as well as in the world premiere of Offenbach’s romantic opera die Rhein-Nixen during a concert at the Festival de Radio France. He was also engaged to perform in Janacek’s opera Cunning Little Vixen at the Teatro Colon Buenos Aires and the Teatro Real Madrid.

History may have sided with the critics and abandoned a melodrama that was undoubtedly old-fashioned in 1885, but the first audiences at La Scala took Ponchielli’s last opera Marion Delorme to their hearts. So congratulations to Friedemann Layer for this enterprising concert performance.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 Main article: List of compositions by Giovanni Bottesini Selected works for solo double bass [ edit ] Amilcare Ponchielli, born on August 31, will always be remembered for one work of opera – “La Gioconda.” And some might add that not even these days the opera is as popular as to give him sufficient clout as one of opera’s legendary composers. Wikipedia articles incorporating a citation from The American Cyclopaedia with a Wikisource reference He also performed at the Wiener Staatsoper, Berlin State Opera, Teatro Massimo, Opera Orchestra of New York, and Carnegie Hall, among others.

In reality, the composer’s famous work has lost its status in recent years, and by extension, the composer’s profile has dropped rapidly. Find sources: "Marion de Lorme"Hugo– news · newspapers · books · scholar · JSTOR ( September 2014) ( Learn how and when to remove this template message)

Based on Alessandro Manzoni’s famous novel, which also inspired Verdi’s admiration for the author, and the subsequent Requiem, the opera premiered in 1856 and was later revised for 1872. The Comedians. The scene is the château de Genlis. Saverny enters, incognito, who related to the judge Laffemas the story of his own death. But during the conversation, Saverny learns that the man he fought with was Didier and that it was Marion's lover who saved his life. Shortly afterwards, Laffemas receives a letter announcing the escape of Didier, probably accompanied by Marion. He goes after them. 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.

Shortly before his death, in 1888 he was appointed director of Parma Conservatory on Verdi's recommendation. Bottesini died in Parma on 7 July 1889. His solo works remain standard repertoire for accomplished double bassists to this day. Bottesini was a freemason, initiated 20 June 1849, in the Bank of England Lodge No. 263, London. 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.

Based on a drama by Victor Hugo (source of so many 19th-century libretti), it is far from being the best plotted of operas. Taking place in 1638 France, dominated by Cardinal Richelieu, it concerns that favourite Romantic figure of the good-hearted demi-mondaine, the Marion of the title, who is greatly loved by the youthful, unhappy Didier, who has no idea of her courtesan past in Paris. Eventually he learns about it and of her numerous lovers, among them the devil-may-care Severny (who eventually goes to the stake with Didier, as a punishment for duelling, outlawed by the Cardinal) and the Scarpia-like Laffemas. As with Tosca and Scarpia, Marion agrees to give herself to him to save Didier, all to no avail. The plot faithfully follows the external events of the failed revolt of the French nobility against Richelieu's consolidation of power ( Count de Soissons's conspiracy [ fr]), but adds a secret love affair between the Marquis of Cinq-Mars and princess Marie de Gonzague. Whereas de Vigny's character yearned to become her social equal, the opera's hero enters politics only on learning of a planned marriage between Marie and the king of Poland. After the conspiracy is discovered, she is given a chance to save him by agreeing to the match, but her sacrifice is in vain: before their escape plans can be put into effect, the hour of execution is suddenly moved forward. Bottesini wrote three operas besides those previously mentioned: Il Diavolo della Notte (Milan, 1859); Vinciguerra (Paris, 1870); and Ero e Leandro (Turin, 1880), the last named to a libretto by Arrigo Boito, which was subsequently set by Luigi Mancinelli. He also wrote The Garden of Olivet, a devotional oratorio (libretto by Joseph Bennett), which was produced at the Norwich festival in 1887, eleven string quartets, a quintet for string quartet and double bass, and many works for the double bass, including two concertos for solo double bass, the Gran Duo Concertante (originally) for two double basses, Passione Amorosa for two double basses, numerous pieces for double bass and piano, and an instructional book ("Complete Method for Double Bass"). On leaving Milan, he spent some time in America and also occupied the position of principal double-bass in the Italian opera at Havana, where he later became director. Here his first opera, Cristoforo Colombo, was produced in 1847. In 1849 he made his first appearance in England, playing double bass solos at one of the Musical Union concerts. After this he made frequent visits to England, and his extraordinary command of his unwieldy instrument gained him great popularity in London and the provinces.

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. 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: When conducting opera, Bottesini would frequently bring his double bass on stage during the intermission to play fantasies on the evening's opera. His fantasies on Lucia di Lammermoor, I puritani and Beatrice di Tenda are virtuosic tours de force that are still popular with those who are highly accomplished on the instrument.

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Giovanni Bottesini (22 December 1821 – 7 July 1889) was an Italian Romantic composer, conductor, and a double bass virtuoso. 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. 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. 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.