#éden théâtre

[philoursmars]

La Ciotat, fin août.

L'Eden Théâtre est la plus vieille salle de cinéma au monde, qui a vu les premiers films des frères Lumière.

Sur la 2, c'est la Chapelle des Pénitents Bleus.

[tvfsud]

Swann Arlaud au Cinéma Éden théâtre La Ciotat présente anatomie d'une chute Palme d'or 2023 https://youtu.be/BGLO6R9QAoc

[opera-ghosts]

Rosine Bloch (7 November 1844 – 1 February 1891) was a French operatic mezzo-soprano of Jewish descent who had a successful stage career in Europe between 1865 and 1891. She not only possessed a beautiful, warm, and lyrical voice but was also a remarkably beautiful woman physically. Although most of her career was spent performing at the Opéra in Paris, she also appeared in stages in Belgium, Monaco, and England. Bloch was born in Paris, the daughter of a merchant. She studied at the Conservatoire de Paris, and in 1865 won the Conservatoire's first prize for singing and the first prize for opera. She made her professional opera debut on 13 November 1865 at the Opéra's Salle Le Peletier as Azucena in Giuseppe Verdi's Le trouvère, and continued singing in that theatre, where her most notable roles included Lelia in Félicien David's Herculanumand Léonore in Gaetano Donizetti's La favorite. She also sang Edwige in Gioacchino Rossini's Guillaume Tell (with Jean-Baptiste Faure as Guillaume and Marie Battu as Mathilde in 1868 and with Caroline Carvalho as Mathilde in 1870), and Fidès in Giacomo Meyerbeer's Le prophète in 1872. Early in 1870 the Théâtre Lyrique on the Place du Châtelet lost its director Jules Pasdeloup, and the artists of that company made a desperate attempt to manage the company on their own. The director of the Opéra, Émile Perrin, magnanimously granted the Lyrique the rights to perform Fromental Halévy's Charles VI, which had first been performed at the Opéra in 1843 and was last seen there in 1850. The soprano Hélène Brunet-Lafleur, who was cast in the leading role of Odette, abandoned the Lyrique's production, and Perrin allowed Bloch to take on the part. The revival was delayed after Bloch became ill with influenza, but eventually opened on 5 April 1870. It was described by a former director of the Opéra, Nestor Roqueplan, as a fiasco, but received 22 representations. However, on 31 May the Théâtre Lyrique folded, and Bloch returned to the Opéra. After the Opéra moved to the Palais Garnier, Bloch repeated some of her roles in new productions at that house, including Léonore in Donizetti's La favorite (21 January 1875, 443rd representation of the opera), and Fidès in the Meyerbeer's Le prophète (16 August 1876, 322nd representation of the opera).[12]She also sang Catarina Cornaro in Halévy's La reine de Chypre (16 August 1877),[13]Queen Gertrude in Ambroise Thomas' Hamlet (12 August 1878),[14]and Amneris in the Opéra's first performance of Verdi's Aida (22 March 1880), before retiring from the company. Verdi had considered casting Bloch as Eboli in the premiere of his opera Don Carlos in 1867, but finally selected Pauline Guéymard-Lauters for that role.[16] The soprano Teresa Stolz, who attended the dress rehearsal for the Paris premiere of Aida with Verdi's wife, described Bloch as "a most beautiful Amneris: she may not be an 'eagle,' but in any case, she is much better than our two Milan Amnerises (of this year)." Appearances with other companies included performances at La Monnaie in Brussels (1870 and 1874), the Opéra de Monte-Carlo in Monaco (1879), and the Royal Opera House, Covent Garden in London (1879 as Leonora in La favorite). She married on 14 May 1884 in Brussels becoming Mme S. Lévy, but continued to perform. On 31 October 1890 she sang the role of Dalila in the Paris premiere of Camille Saint-Saëns's Samson et Dalila at the Éden-Théâtre. She died in Monte Carlo (or Nice) in 1891.

[anxiolotl]

Ventilation grill over the chandelier of the auditorium of the Éden-Théâtre in Paris, inaugurated in 1883 and demolished in 1895

[retronautis]

Ernst van dijckkaai - Ongedateerd Ernst van Dijck was een zoon van een fabrikant, genoot een opleiding als jurist, studeerde rechtsgeleerdheid aan de Katholieke Universiteit Leuven en Universiteit van Brussel. Hij werd journalist bij het blad La Patrie. Hij studeerde zang bij Saint-Yves Bas en de componisten Jules Massenet en Emmanuel Chabrier te Parijs. Vanaf 1883 trad hij op bij 'concerts Lamoureux', een jaar later maakte hij zijn lyrisch debuut te Antwerpen. In 1887 zong hij in het Éden-Théâtre de Franstalige première van Lohengrin. In 1888 debuteerde hij in de rol van Parsifal tijdens het Bayreuther Festspiele, een rol die hij vervolgens regelmatig blijft vertolken. Van 1888 tot 1900 was hij lid van Weense Opera. #retronautis #Belgie #Belgium #antwerpen #antwerp #visitantwerp #erfgoed #bestofantwerp #bestofbelgium #vlaanderen #thisisantwerp #stadsgids #history #anvers #vintage #tourism #historic #flanders #brabant #geschiedenis https://www.instagram.com/p/CT-L7B1IB5H/?utm_medium=tumblr

[tvfsud]

ÉGYPTE / Claudine Le Tourneur d’Ison au Cinéma Éden Théâtre présente l’î...

[tvfsud]

Christophe Van Huffel, superviseur musical et mixeur du film au cinéma Éden théâtre La Ciotat. https://youtu.be/O11T46iNysM

[opera-ghosts]

Ernest van Dyck (2 April 1861 – 31 August 1923) was a Belgian dramatic tenor who was closely identified with the Wagnerian repertoire.  In Paris he studied singing with Saint-Yves Bax before making his stage debut at the Théâtre Éden on 3 May 1887; the occasion marked the French premiere of Lohengrin. Intensive study with Felix Mottl followed before he appeared as Parsifal at the Bayreuth Festival in 1888, with great success. The intensity of his acting was praised in particular and he was invited back to Bayreuth on repeated occasions, where he became a proponent of the Sprechgesang style of operatic vocalism. The Vienna Opera soon engaged him, and he remained with the company for a decade, during which time he created the title-role in Massenet's Werther (16 February 1892). He also made guest appearances throughout Europe; among these, he featured in the world premiere of Wilhelm Kienzl's Der Evangelimann in London in 1897.  Van Dyck made his American debut on 29 November 1898, singing Tannhäuser at the Metropolitan Opera.  He stayed in New York City until the 1901–02 season, singing not only Wagner roles but also parts in French operas.  Having made his debut at Covent Garden in 1891, in 1907 he undertook a season of German opera there. In 1914 he appeared in the first Parisian performances of Parsifal. For the Musica journal, n° 13, October 1903 he wrote an article on 'Richard Wagner et l’interprétation'.  Van Dyck sang in the first performance of Debussy's L'enfant prodigue in Paris on 27 July 1884.  With Camille de Roddaz, Van Dyck provided the libretto for Massenet's ballet set in Courtrai ('Légende mimée et dansée en un acte') Le Carillon, for the Vienna Opera in February 1892.  He appeared regularly at the Theatre de la Monnaie in Brussels in 1894, where his repertoire included Wagner (Lohengrin, Tannhäuser, Tristan) and Massenet (Werther, Des Grieux)

[retronautis]

Ernst van dijckkaai - Ongedateerd Ernst van Dijck was een zoon van een fabrikant, genoot een opleiding als jurist, studeerde rechtsgeleerdheid aan de Katholieke Universiteit Leuven en Universiteit van Brussel. Hij werd journalist bij het blad La Patrie. Hij studeerde zang bij Saint-Yves Bas en de componisten Jules Massenet en Emmanuel Chabrier te Parijs. Vanaf 1883 trad hij op bij 'concerts Lamoureux', een jaar later maakte hij zijn lyrisch debuut te Antwerpen. In 1887 zong hij in het Éden-Théâtre de Franstalige première van Lohengrin. In 1888 debuteerde hij in de rol van Parsifal tijdens het Bayreuther Festspiele, een rol die hij vervolgens regelmatig blijft vertolken. Van 1888 tot 1900 was hij lid van Weense Opera. #retronautis #Belgie #Belgium #antwerpen #antwerp #visitantwerp #erfgoed #bestofantwerp #bestofbelgium #vlaanderen #thisisantwerp #stadsgids #history #anvers #vintage #tourism #historic #flanders #brabant #geschiedenis https://www.instagram.com/p/CT7QX3zIIKx/?utm_medium=tumblr