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Born at Drucat-Plessiel, near Abbeville, he was a choir boy in the cathedral of Amiens, and then became musical director at various churches. In 1786 he obtained by open competition the musical directorship of the cathedral of Notre-Dame de Paris, where he gave successful performances of sacred music with a full orchestra. He resigned in 1787; and, after a retirement of five years in a friend's country house, he produced La Caverne and two other operas at the Théâtre Feydeau in Paris.

At the foundation of the Paris Conservatoire (1795), Lesueur was appointed one of its inspectors of studies, but was dismissed in 1802, owing to his disagreements with Etienne Méhul. Lesueur succeeded Giovanni Paisiello as Maestro di cappella to Napoleon, and produced (1804) his Ossian at the Opera.

He also composed for the emperor's coronation a mass and a Te Deum. King Louis XVIII, who had retained Lesueur in his court, appointed him (1818) professor of composition at the Conservatoire; and at this institution he had, among many other pupils, Hector Berlioz, Ambroise Thomas, Louis Désiré Besozzi and Charles Gounod.

Lesueur composed eight operas and several masses, and other sacred music.

See Raoul Rochette, Les Ouvrages de M. Lesueur (Paris. 1819).

Contents

[edit] References

[edit] Operas by L







[edit] ossian

Ossian, ou Les bardes (English: Ossian, or The Bards) is an opera in five acts by the French composer Jean-François Le Sueur. It was first performed at the Opéra, Paris on 10 July 1804. The libretto, by Alphonse François "Paul" Palat-Dercy and Jean-Marie Deschamps, is based on the Ossian poems of James Macpherson (specifically the poem Calthon and Colmal), which had been translated into French by Pierre-Prime-Félicien Le Tourneur.

[edit] Roles

Role Voice type Premiere Cast, July 10, 1804
Conductor: Jean-Baptiste Rey
Ossian tenor Étienne Lainez
Duntalmo bass Augustin-Athanase Chéron
Rosmala soprano Marie-Aimable Armand
Mornal tenor Roland
Rozmar bass Martin-Joseph Adrien
Hydala baritone François Laÿs
Salgar bass Jean-Honoré Bertin
A bard tenor Jean-Blaise Martin
A Caledonian woman soprano Jannard
A soldier tenor Casimir Eloy

[edit] Sources

[edit] Czech opera

Czech opera is the tradition of opera in the Czech language. It includes works by such famous composers as Smetana, Dvořák, Janáček and Martinů.

[edit] Early years

In the 18th century Italian opera dominated most European countries (apart from France) and the Czech lands of Bohemia and Moravia were no exception. Although the most famous Czech-born opera composer of the era, Josef Mysliveček, was nicknamed "Il Boemo" ("The Bohemian"), none of his works show any trace of a distinctive national style - they are firmly in the Neapolitan tradition. Popularity of Mozart. By contrast with the prestigious Italian-language opera, the first experiments in Czech opera were local and amateur. The first known opera in Czech Pargometeka was probably written by an anonymous monk for performance at a monastery near Olomouc, Moravia in 1747. It was followed by isolated instances of small-scale operas with dialogue resembling German Singspiele, but it was not until 1826 that a Czech opera by a professional composer appeared on the stage: Drátenik (The Tinker) by František Škroup. Although this comic singspiel was immensely popular, it formed no lasting tradition and it was not until the 1860s that serious attempts were made at founding a Czech national opera.

[edit] The Czech National Revival

The quest to establish a national operatic tradition in the Czech language cannot be understood without some knowledge of the political and historical background.

[edit] Musical and literary influences

Berlioz was a unique mixture of an innovative modernist and a backward-looking conservative. His taste in music had been formed in the Paris of the 1820s, when the operas of his hero Gluck were being pushed aside in favour of Rossinian bel canto. Though Berlioz grudgingly admired some works by Rossini, he despised what he saw as the showy effects of the Italian style and longed to return opera to the dramatic truth of Gluck and his followers: Cherubini, Méhul and, above all, Spontini.

Beethoven's innovative use of programme music in his Pastoral Symphony also showed Berlioz new possibilities of writing dramatic music after his bid at an operatic career was largely frustrated by the Parisian authorities. R&J also choral (B No.9)

Berlioz's trip to Italy did little to increase his respect for Italian classical music, but the sights and sounds of the Italian countryside and peasant life can be found in his symphony Harold in Italy and opera Benvenuto Cellini. One specifically French element in Berlioz's music is his drawing on the tradition of French Revolutionary music. influenced the Requiem with its brass bands and the Symphonie funebre.


Literary influences were just as important as musical ones to Berlioz and again we see the same mixture of Classicism and Romanticism. Virgil Chateaubriand Byron Shakespeare would understand me



French Revolutionary music influenced the Requiem with its brass bands and the Symphonie funebre.

During his early development as a composer, Berlioz was excited by new music from Germany.

Apart from the many literary influences, Berlioz also championed Beethoven who was at the time unknown in France. The performance of the "Eroica" symphony in Paris seems to have been a turning point for Berlioz's compositions. Next to those of Beethoven, Berlioz showed deep reverence for the works of Gluck, Mozart, Étienne Méhul, Carl Maria von Weber and Gaspare Spontini, as well as respect for those of Rossini, Meyerbeer and Verdi.

Berlioz had a keen affection for literature, and many of his best compositions are inspired by literary works. For Symphonie Fantastique, Berlioz was inspired in part by Thomas de Quincey's Confessions of an English Opium-Eater. For La damnation de Faust, Berlioz drew on Goethe's Faust; for Harold in Italy, he drew on Byron's Childe Harold; for Benvenuto Cellini, he drew on Cellini's own autobiography. For Roméo et Juliette, Berlioz turned, of course, to Shakespeare's Romeo and Juliet. For his magnum opus, the monumental opera Les Troyens, Berlioz turned to Virgil's epic poem The Aeneid. In his last opera, the comic opera Béatrice et Bénédict, Berlioz prepared a libretto based loosely on Shakespeare's Much Ado About Nothing. His composition " Tristia" (for Orchestra and Chorus) drew its inspiration from Shakespeare's Hamlet.


Curiously perhaps, the adventures in chromaticism of his prominent contemporaries and associates Frederic Chopin and Richard Wagner seemed to have little effect on Berlioz's style.

[edit] New opera articles

Titon et l'Aurore (English: Tithonus and Aurora) is an opera in three acts and a prologue by the French composer Jean-Joseph de Mondonville which was first performed at the Académie royale de musique, Paris on 9 January 1753. The authorship of the libretto has been subject to debate; Mondonville's contemporaries ascribed the prologue to Antoine Houdar de la Motte and the three acts of the opera to the Abbé de la Marre. Titon et l'Aurore belongs to the genre known as the pastorale-héroïque. The work played an important role in the so-called Querelle des Bouffons, a dispute over the relative merits of the French and Italian operatic traditions which dominated the intellectual life of Paris in the early 1750s. The tremendous success of Mondonville's opera at its premiere was an important victory for the French camp (although their Italian rivals claimed that this was because they had been excluded from their seats by members of the army). Titon was one of Mondonville's most popular works and went on to enjoy several revivals during his lifetime.

[edit] Roles

Original version Premiere, Paris 1753
Titon haute-contre Pierre Jélyotte
l'Aurore soprano Marie Fel
Promethée, Eole bass Claude Chassé
Palès soprano Mlle Chevalier
L'Amour soprano Mlle Coupée

[edit] Synopsis

  • Prologue Promethée (Prometheus) has stolen fire from heaven to give life to his statues. L'Amour (Cupid) teaches them about the delights of love.
  • Act One Titon (Tithonus), a mortal shepherd, is in love with Aurore (Aurora), the goddess of the dawn. He awaits her and when she arrives the two sing of their love for each other. This arouses the jealousy of Eole (Aeolus), the god of the winds, who is in love with Aurore. Palès (Pales), another goddess, is also in love with Titon and asks Eole to be allowed to deal with him.
  • Act Two Aurore rejects Eole's advances, saying she would rather lose her immortality than the love of Titon. Palès is also unsuccessful in her wooing of Titon and her love turns to anger.
  • Act Three Palès curses Titon with premature old age. Nevertheless Aurore remains faithful to him and L'Amour saves the day by reversing the spell.

[edit] Recordings

[edit] Sources

  • Booklet notes to the Minkowski recording

[edit] Roles

Original version Premiere, Paris 1737
Castor haute-contre Monsieur Tribou
Pollux bass Claude Chassé
Télaïre soprano Mlle Pélissier
Phébé soprano Marie Antier
Jupiter bass Monsieur Dun
Vénus soprano Mlle Rabon
Mars bass Monsieur Le Page
Minerve mezzo-soprano Mlle Eremans

[edit] List of terms used in French Baroque opera

  • Acte de ballet
  • Air An aria. Also a dance.
  • Ariette A long aria in the style of Italian opera seria providing plenty of opportunity for vocal display.
  • Comédie-ballet
  • Comédie lyrique
  • Divertissement (from the French meaning "entertainment")
  • Entrée
  • Machine
  • Machine tragedy
  • Musette
  • Notes inégales
  • Ouverture
  • Pastorale
  • Prologue
  • Ritournelle
  • Sommeil A sleep or dream scene. Lully. Rossi.
  • Tempête A musical depiction of a storm. The tempête in Marin Marais's Alcyone was particularly famous.

[edit] Dances

Mention Pigmalion

  • Bourrée
  • Chaconne
  • Contredanse
  • Loure
  • Marche
  • Menuet
  • Pantomime
  • Passecaille
  • Passepied
  • Rigaudon
  • Sarabande
  • Tambourin

[edit] Venues

[edit] Voice types here?

  • Dessus
  • Haute-contre
  • Taille

Singing techniques?


Testing 123 Testing 456

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[edit] Meyerbeer

Giacomo Meyerbeer was a friend and fellow-student of Weber under Abt Vogler and began, like him, writing German operas. However, he came to believe that Italian opera offered many features, especially in melodic line and singing styles, which were not available in Germany. The fusion of German and Italian styles, together with French taste, that he was to develop in his series of grand operas, starting with Il crociato in Egitto (Venice,1824) and Robert le diable (Paris, 1831) came to be perceived (by Wagner and Robert Schumann amongst others) as the major threat to the development of a truly German opera style, especially in the light of their enormous popular success. Meyerbeer, who had facilitated the first production of Wagner's Rienzi in Dresden (1841), became director of music to the Prussian court in 1842, and thus was particularly influential in German music during the period that Wagner was developing his independent style at Dresden. Meyerbeer's German singspiel Ein Feldlager in Schlesien was premiered in Berlin in 1844. Weber's family chose Meyerbeer to complete Weber's unfinished opera Die drei Pintos, but he never achieved this (it was finally undertaken by Gustav Mahler).

[edit] Couperin

  • Premier livre (1713) : Ordres 1 to 5
  • 1st ordre, g/G: Allemande L’auguste; Première courante; Seconde courante; Sarabande La majestueuse; Gavotte; La Milordine, gigue; Menuet (et double); Les silvains; Les abeilles; La Nanète; Les sentimens, sarabande; La pastorelle; Les nonètes (Les blondes, Les brunes); La bourbonnoise, gavotte; La Manon; L’enchanteresse; La fleurie, ou La tendre Nanette; Les plaisirs de St Germain en Laÿe
  • 2nd ordre, d/D: Allemande La laborieuse; Premiere courante; Seconde courante; Sarabande La prude; L’Antonine; Gavote; Menuet; Canaries (with double); Passe-pied; Rigaudon; La Charoloise; La Diane; Fanfare pour la suitte de la Diane; La Terpsicore; La Florentine; La Garnier; La Babet; Les idées heureuses; La Mimi; La diligente; La flateuse; La voluptueuse; Les papillons
  • 3rd ordre, do m/do M: La ténébreuse, allemande; Premiere courante; Seconde courante; La lugubre, sarabande; Gavotte; Menuet; Les pélerines; Les laurentines; L’Espagnolète; Les regrets; Les matelotes provençales; La favorite, chaconne; La lutine
  • 4th ordre, fa M: La marche des gris-vêtus; Les baccanales; La pateline; Le réveil-matin
  • 5th ordre, la M/la m: La logiviére, allemande; [Premier] courante; Seconde courante; La dangereuse, sarabande; Gigue; La tendre Fanchon; La badine; La bandoline; La Flore; L’Angélique; La Villers; Les vendangeuses; Les agrémens; Les ondes
dad This user is a mother
  • Deuxième livre (1716-17) : Ordres 6 à 12
  • 6th ordre, si M: Les moissoneurs; Les langueurs-tendres; Le gazoüillement; La Bersan; Les baricades mistérieuses; Les bergeries, rondeau; La commére; Le moucheron
  • 7th ordre, sol M/sol m: La Ménetou; Les petits âges: La muse naissante, L’enfantine, L’adolescente, Les délices; La Basque; La Chazé; Les amusemens
  • 8th ordre, si m: La Raphaéle; Allemande L’Ausoniéne; [Premiere] courante; Seconde courante; Sarabande L’unique; Gavotte; Rondeau; Gigue; Passacaille; La Monéte
  • 9th ordre, la M/la m: Allemande à deux clavecins; La rafraîchissante; Les charmes; La Princesse de Sens; L’olimpique; L’insinüante; La séduisante; Le bavolet-flotant; Le petit-deüil, ou Les trois veuves; Menuet
  • 10th ordre, ré M/ré m: La triomphante; La Mézangére; La Gabriéle; La Nointéle; La fringante; L’amazône; Les bagatelles
  • 11th ordre, do m/do M: La castelane; L’etincelante, ou La bontems; Les graces-naturéles; La Zénobie; Les fastes de la grande et anciénne Mxnxstrxndxsx [en 5 actes]
  • 12th ordre, mi M/mi m: Les juméles; L’intîme, mouvement de courante; La galante; La coribante; La Vauvré; La fileuse; La boulonoise; L’Atalante
  • Troisième livre (1722) : Ordres 13 à 19
  • 13th ordre, si m: Les lis naissans; Les rozeaux; L’engageante; Les folies françoises, ou Les dominos; L’âme-en peine
  • 14th ordre, ré M/ré m: Le rossignol-en-amour; Double du rossignol; La linote-éfarouchée; Les fauvétes plaintives; Le rossignol-vainqueur; La Julliet; Le carillon de Cithére; Le petit-rien
  • 15th ordre, la m/la M: La régente, ou La Minerve; Le dodo, ou L’amour au berceau; L’evaporée; Muséte de Choisi; Muséte de Taverni; La douce et piquante; Les vergers fleüris; La Princesse de Chabeüil, ou La muse de Monaco
  • 16th ordre, sol M/sol m: Les graces incomparables, ou La Conti; L’himenamour; Les vestales; L’aimable Thérése; Le drôle de corps; La distraite; La Létiville
  • 17th ordre, mi m: La superbe, ou La Forqueray; Les petits moulins à vent; Les timbres; Courante; Les petites chrémiéres de Bagnolet
  • 18th ordre, fa m/fa M: Allemande La Verneüil; La Verneüilléte; Sœur Monique; Le turbulent; L’atendrissante; Le tic-toc-choc, ou Les maillotins; Le gaillard-boiteux
  • 19th ordre, ré m/ré M: Les Calotins et les Calotines, ou La piéce à tretous; Les Calotines; L’ingénuë; L’artiste; Les culbutes Ixcxbxnxs; La muse-Palantine; L’enjouée
  • Quatrième livre (1728) : Ordres 20 à 27
  • 20th ordre, sol M/sol m: La Princesse Marie; La boufonne; Les chérubins, ou L’aimable Lazure; La Croûilli, ou La Couperinéte; La fine Madelon; La douce Janneton; La Sezile; Les tambourins
  • 21st ordre, mi m: La reine des cœurs; La bondissante; La Couperin; La harpée; La petite pince-sans rire
  • 22nd ordre, ré M/ré m: Le trophée; Le point du jour, allemande; L’anguille; Le croc-en-jambe; Menuets croisés; Les tours de passe-passe
  • 23rd ordre, fa M: L’audacieuse; Les tricoteuses; L’arlequine; Les gondoles de Délos; Les satires, chevre-pieds
  • 24th ordre, la m/la M: Les vieux seigneurs, sarabande grave; Les jeunes seigneurs; Les dars-homicides; Les guirlandes; Les brinborions; La divine-Babiche, ou Les amours badins; La belle Javotte, autre fois l’infante; L’amphibie, mouvement de passacaille
  • 25th ordre, mi M/do M/do m: La visionnaire; La misterieuse; La Monflambert; La muse victorieuse; Les ombres errantes
  • 26th ordre, fa m: La convalescente; Gavote; La Sophie; L’epineuse; La pantomime
  • 27th ordre, si m: L’exquise, allemande; Les pavots; Les chinois; Saillie
  • L'Art de toucher le clavecin (1716) containing eight preludes and one allemande:

Allemande, ré mineur; Premier prélude, do majeur; Second prélude, ré mineur; Troisième prélude, sol mineur; Quatrième prélude, fa mineur; Cinquième prélude, la majeur; Sixième prélude, si mineur; Septième prélude, si majeur; Huitième prélude, mi mineur

[edit] Berlioz songs

  • La dépit de la bergère
  • Le maure jaloux
  • Amitié reprends ton empire
  • Pleure, pauvre Colette
  • Canon libre à quinte
  • Le montagnard exilé
  • Toi qui l'aimas, verse des pleurs
  • Nocturne
  • Le pêcheur
  • Le roi de Thulé
  • Le coucher du soleil
  • Hélène
  • La belle voyageuse
  • L'origine de la harpe
  • Adieu Bessy
  • Elégie en prose
  • La captive
  • Le jeune pâtre breton
  • Les champs
  • Sara la baigneuse
  • Je crois en vous
  • Le chant des Bretons
  • Chansonette
  • Les nuits d'été:
  1. Villanelle
  2. Le spectre de la rose
  3. Sur les lagunes
  4. L'absence
  5. Au cimitière
  6. L'île inconnue
  • La mort d'Ophélie
  • La belle Isabeau
  • Le chasseur danois
  • Zaïde
  • Le trébuchet
  • Nessun maggior piacere
  • Le matin
  • Petit oiseau

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