#Charles Francois Gounod

[infinitelytheheartexpands]

just gonna leave this here

[lesser-known-composers]

Charles-Francois Gounod (1818-1893) - Symphony No. 2 in E-Flat Major: II. Larghetto (non troppo)

Conductor: Patrick Gallois

Orchestra: Sinfonia Finlandia Jyvaskyla

[emotionalmotionsicknessxx]

Photos from my Opera Garnier Trip 2 of 3

Took some photos of the exhibit up at the Opera Garnier for my own (cough cough) research purposes and thought it might be helpful for others! Thought the Don Quixote dress looked awfully familiar!

Transcript of the information under the cut:

Gounod and Massenet at the Palais Garnier

Charles Gounod and Jules Massenet were two of the main composers who dominated the stage of the Palais Garnier around 1900, achieving a string of critically acclaimed successes. They embodied both a genre - that of grand opera with its hoses of star performers, featuring some of the greatest dramatic female singers of the day - and an artistic and financial system that led to the development of by-products and the golden age of the Paris Opera from its inauguration to the eve of the First World War. In 1859, Faust, based on Part 1 of Goethe's Faust (with a libretto by Jules Barbier and Michel Carre) was performed for the first time at the Theater-Lyrique. Charles-Francois Gounod's work was an undeniable success and was performed 70 times in its first year alone. It soon entered the repertory of the Opera and became a mainstay. Jules Massenet, another prolific composer who explored most musical genres, also achieved great success at the Palais Garnier with Le Cid, Thais, and Griselidis. Fascinated by Wagner, whom he discovered in 1860, Massenet rapidly developed his own style, and soon acquired a following. In his composition class at the Conservatoire, he taught a whole generation of opera composers, including Gustave Charpentier, Reynaldo Hahn, Xavier Leroux, and Gabriel Pierne.

Opera at the Palais Garnier around 1900

While Jules Massenet, Charles Gounod, and Giuseppe Verdi (who supervised the first performances of his words at the Palais Garnier himself) were all triumphantly acclaimed at the Paris Opera in their lifetimes, Wagner took a little longer to inspire the unanimous recognition of the Parisian public. His rise was slow but the deeply-rooted and Germany's most famous composer finally enjoyed genuine success thanks to the unremitting work of a management team headed by Andre Charles Prosper Messager (1908-1914) known as "Messager", and Leimistin Broussan, known as "Broussan". As a result, Paris audiences were able to see a performance of the entire Ring cycle for the first time in June 1911. At this period, the Palais Garnier hosted Serge Diaghilev's Ballet Russes company, and Richard Strauss' Salome and Saint-Saens Dejanire both entered the repertory. During the Belle Epoque, the Palais Garnier was one of the chief places for Paris society to meet and be entertained, with an audience of subscribers made up of leading financiers, industrialists, and politicians.

Major Ballets at the Palais Garnier

4 June 1875

Coppelia - Argument de Charles Nuitter et Saint-Leon, Musique de Leo Delibes, choregraphie de Louis Merante

Giselle - Livret de Theophile Gautier et Jules-Henry Vernoy de Saint-Georges d'apres Heinrich Heine, musique de Adolphe Adam, choregraphie de Jean Coralli et Jules Perrot (creation le 28 Juin 1841 a l'opera national de Paris). Ce ballet est tombe dans l'oubli, et a ete transmis par Marius Petipa en 1887. Giselle fait son retour au Palais Garnier en 1920

20 Juin 1921

Daphnis et Chloe

musique de Maurice Ravel, choregraphie de Michel Fokine, decors de Leon Bakst

9 Jullet 1935

Icare

Musique de Szyfer et Arthur Honegger, choregraphie de Serge Lifar, decors et costumes de Paul R Larthe d'apres Pablo Picasso

[hunty627]

Coming up soon on Little Einsteins: New Missions, Leo was feeling very sad because he can't find his photo album, where he keeps all his pictures, even his baby pictures. Big Jet told him he didn't take it, and he hopes Leo finds it soon. Dora came by and heard what happened. She told them that Leo's photo album is at the lost city, where all the toys and treasure that everyone has ever lost. Dora knows that because that's where she and Boots found Dora's teddy bear, Benny's baseball bat, Isa's scooter wheels, Tico's car keys, Azul's whistle and Swiper's glove. If Dora helps them search for Leo's photo album and everything else that some of our friends had lost, she will become an honorary member of the Little Einsteins. Will they find Leo's photo album? Find out in this upcoming episode of Little Einsteins: New Missions, Leo and the lost city. Featuring the music "Funeral March of a Marionette" by Charles Francois Gounod.

[melonthesprigatito]

Little Einsteins is the reason why I lost my shit when I heard Carmen-Overture playing in an episode of Bluey that one time (it was Faceytalk)

My brain permanently associates that song with Australia because of "Jump Joey, jump jump to the talent show! Jump Joey, jump! Jump Joey jump! 🦘🦘🦘🦘" and I heard it again in a different show set in Australia.

I also don't think of Fur Elise, I think of counting the planets.

I don't think of Trout Quartet, I think of Silly Sock.

I don't think of Symphony No. 9 "From the New World" by Antonín Dvořák, I think of one of Saturn's rings falling to the Earth.

I don't think of Hungarian Dance No. 5 by Johannes Brahms, I think of the legend of the Golden Pyramid.

I don't think of  L'Arlésienne Suite No. 2 by Georges Bizet, I think of "ALLEGRO, HERE WE GO, HURRY UP JUST HURRY UP, JUST GO ALLEGRO"

I don't think of  Eine kleine Nachtmusik by Wolfgang Amadeus Mozart, I think of a mouse wanting to give a present to the Moon

I don't think of The Four Seasons: Spring by Antonio Vivaldi, I think of "Oh yes, oh yes, it's Spring time! Oh yes, oh yes it's Spring time!"

I don't think of Orchestral Suite No. 2 by Johann Sebastian Bach, I think of a woodpecker tapping along to the beat

I don't think of Symphony No. 40 by Wolfgang Amadeus Mozart, I think of Purple Plane

I don't think of Symphony No. 8: Unfinished Symphony by Franz Schubert, I think of Mr Penguin's ice cream train.

I don't think of The Moldau by Bedrich Smetana, I think of instrument dinosaurs and that one Andy Warhol volcano painting that scared the shit out of me as a kid.

I don't think of 1812 Overture by Pyotr Ilyich Tchaikovsky, I think of a unicorn and a fire truck

I don't think of Funeral March of a Marionette by Charles Francois Gounod, I think of the three silly puppets

I don't think of William Tell Overture by Gioacchino Rossini, I think of Rocket kicking Big Jet's ass in the sky race

I didn't recognise the song OP mentioned until they said Melody the Music Pet and the song instantly started playing in my head.

The fact I remembered the songs and where they played but had to Google their names to write this post says a lot.

you know as much as i loved little einsteins as a kid i have to admit they kinda failed in their mission. they made the show going "okay we're going to use this as a platform to teach kids about classical art and music" except now as a 20-smth when i hear classical music i do not think "oh i know this, it's 'humoresque number 7 in g flat major opus.101'" i instead just think "oh holy shit guys it's melody the music pet"

[tomtefairytaleblog]

Illustrations by Gustaf Tenggren for Charles Francois Gounod’s Faust, featured in Stories From the Great Metropolitan Operas by Helen Dike (1943).

[opera-shitpost]

Gounod’s Faust but every time a character says “Dieu” it gets faster

[acquagalaxies]

                        👑𝒶𝓃𝒹𝓇𝑒𝒶 𝒷𝑜𝒸𝑒𝓁𝓁𝒾 ― 𝓂𝓊𝓈𝒾𝒸 𝒻𝑜𝓇 𝐻𝑜𝓅𝑒👑           

🐇🎀 ᴴᵒᵖᵉᵈ ᵖᵉᵒᵖˡᵉ ᵃʳᵒᵘⁿᵈ ᵗʰᵉ ʷᵒʳˡᵈ ᵉⁿʲᵒʸᵉᵈ ᵗʰᵉⁱʳ ᵉᵃˢᵗᵉʳ ᶜᵉˡᵉᵇʳᵃᵗⁱᵒⁿ ᵘⁿⁱᵗᵉᵈ 🎀🐇 una voce che diventa coro per tutte panis angelicus {from “Messe Solennelle”, César Franck} Ave Maria {arr. from Johann S. Bach, “Prelude”, Charles-François Gounod} Sancta Maria {from “Cavalleria Rusticana”, Pietro Mascagni} Domine Deus {from “Petite Messe Solennelle”, Gioachino Antonio Rossini} amazing Grace {John Newton}

è stato così suggestivo e di un’aura quasi sacrale la sua presenza, la sua voce, riempire l’interno del Duomo, ora vuoto ma ancora pieno della sua anima. il tenore accompagnato solo dalle note del pianista, unica compagnia viva oltre alla musica. amazing Grace diventa inoltre un canto per Milano, un vento che vuole trasportarsi per tutto il mondo, portando parole potenti e di speranza. Ho assistito al suo amore che ha dato speranza.

[hunty627]

I adore the Funeral March of a marionette by Charles Francois Gounod.

[blackswaneuroparedux]

Anonymous asked: Since you live in Paris what is the most beautiful view of Paris that you know?

It has been said that the most beautiful view of Paris is from the top of Montparnasse tower....because it’s the only place you can’t see the Montparnasse tower when you look across the skyline of Paris.

Of course I am riffing off another famous vignette about the Paris skyline. The popular French writer Guy de Maupassant reportedly ate lunch in the Eiffel Tower’s restaurant every day for years - not because he loved the great iron monument but because, so the story goes, it was the only place in Paris where he could sit and not see the tower itself. He dismissed the Eiffel Tower as “this high and skinny pyramid of iron ladders, this giant ungainly skeleton”.

Maupassant, like countless French artists and aestheticians of the late 19th century had opposed its construction. He wasn’t alone. Others had nothing charitable to say either: Paul Verlaine (“this belfry skeleton”), Joris-Karl Huysmans (“this hideous column with railings, this infundibuliform chicken wire, glory to the wire and the slab, arrow of Notre-Dame of bric-a-brac”), the poet Francois Coppée (“this mast of iron gymnasium apparatus, incomplete, confused and deformed”). Other great figures weighed in against the Eiffel Tower including the composer Charles Gounod, Alexandre Dumas’ son, the poets Leconte de Lisle and Sully Prudhomme, the artists William Bouguereau and Ernest Meissonier, and even Charles Garnier, the architect of the Opera. They all despised Gustave Eiffel’s creation, seeing it as a vulgar eyesore and a blight on their beloved Parisian skyline.

But I think they all would be truly horrified by the Montparnasse Tower that casts an ugly shadow over the Parisian skyline.

Commonly named Tour Montparnasse, it stands at 210-metre (689 ft). It sits on the Montparnasse-Bienvenüe metro station. It’s 59 floors are mainly used for offices. Constructed from 1969 to 1973, it was the tallest skyscraper in France until 2011, when it was surpassed by the 231-metre (758 ft) Tour First. It remains the tallest building in Paris outside of the La Défense business district which is mercifully far to the west side of Paris and away from the centre.

If architrcture is frozen music as Goethe once surmised then the Montparnasse tower leaves me cold. It really is an eyesore on the one of the most beautiful cities in the world. But the only thing going for it is that it’s an excellent platform to see breath-taking views of Paris from above.

Don’t believe me. Take a look....

Take a trip to the top of the Montparnasse Tower. It’s worth it. I have had the good fortune to travel to many cities around the world and marvel at what they offer but the sky line of Paris still takes me breath away.

Thanks for your question.

[opera-ghosts]

Christina (or Kristina − she also commonly wrote Christine) Nilsson was born on 20 August 1843 on a farm in Vederslöv’s parish in the region of Småland, and died on 22 November 1921 in Växjo. She worked as an opera and concert singer from 1864 until 1888. Nilsson was considered one of the foremost Swedish-born international opera singers during the 19th century − a soprano with an impressive high range. She also wrote a few musical works. Christina Nilsson was elected into the Royal Swedish Academy of Music in 1869. Christina Nilsson was the youngest of seven siblings and she was born on 20 August 1843 on a farm named Sjöabol in Vederslöv’s parish just outside of the town of Växjo. Her parents were Jonas Nilsson and Stina-Cajsa Månsdotter. The family was quite poor and in 1848 they were forced to move off the farm. Christina taught herself to play her older brother’s violin and at the age of eight she began visiting roadside inns, markets and dances where she earned money by singing and accompanying herself on the violin. As an 11 year-old, she was mentioned in the newspaper Fäderneslandet in 1855 by the editor Nils Munk af Rosenschöld. Christina Nilsson’s impoverished childhood was later romanticised and often written about. A large number of the early biographies made use of anecdotes about the poor, resourceful little girl. Her life was painted as a Cinderella story. In 1857 a 14-year old Christina Nilsson sang and played at a summer market in Ljungby. Among the audience were District Judge Fredrik Tornerhielm and the pharmacist Sven Edvin Berg who are considered to have discovered her. They arranged for her to have her first music education under the tutelage of the singing teacher Adelaide Valerius (later wed Leuhusen) in Halmstad. Valerius contacted the composer Frans Berwald and in September of 1859, Nilsson moved to Stockholm in order to continue her music schooling under him. It was through Berwald that Stockholm’s music scene was made available to Nilsson. She had her debut in a public concert on 28 February 1860. Criticism was sympathetic but not glowing. Journalist Oscar Patric Sturzen-Becker (pen name, Orvar Odd) wrote that she was artistically undeveloped. However, the sharpest criticism was aimed at Berwald, which led her patrons to arrange for Nilsson to continue her studies in Paris. In September of 1860 she began her studies with the renowned vocal teacher Nicolas Jean Jacques Masset (1811−1903). Masset was succeeded in 1861 by Pierre Francois Wartel (1806−1882) who was her singing teacher until 1864. Wartel arranged for Nilsson to audition for, among others, Thèâtre Lyrique’s director, Léon Carvalho (1825−1897), which resulted in several engagements. On 27 October 1864, Nilsson debuted as Violetta in Giuseppe Verdi’s La Traviata at the Théâtre Lyrique in Paris. She was well received but the debut was not much of a sensation. The critics remarked that her voice was still uneven and that she had a weak middle register. It was her second debut on 23 February 1865, as the Queen of the Night in Wolfgang Amadeus Mozart’s The Magic Flute, which was to be the big breakthrough for her. In this role she was praised to the heavens. Nilsson said herself in the newspaper Ny Illustrerad tidning from 21 April 1894 that her portrayal of Violetta was childish and immature while the Queen of the Night role was better suited to her voice. It was particularly the big aria’s staccato passages in an enormously high tessitura that were an uncommonly good fit for her voice. Nilsson related that at the premier, the audience required her to sing the aria again − three times in total. In 1867 Christina Nilsson had a new breakthrough when she debuted at Her Majesty’s Theatre in London in the role of Margareta in Charles Gounod’s Faust. Between 1867 and 1870 Nilsson sang at both the Paris Opera and Her Majesty’s Theatre. On 9 March 1868 she debuted as Ophelia in Ambrose Thomas’ newly written opera Hamlet. The roll was designed specifically for Nilsson and as a nod to her

Scandinavian origins, a part of the folk tune ‘Näckens polska’ was written into one of Ophelia’s larger arias. The opera broke box office records. In 1869 Nilsson became a member of the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music). In 1870 she did her first concert tour in the USA, and then in 1872, a second tour. During both of these tours she took part in various operas and gave concerts. In her concerts she sang opera arias as well as folk songs. Above all, the song ‘Fjorton år tror jag visst att jag var’ became her signature piece. In July 1872 she married Auguste Rouzaud who henceforth accompanied her until he died in 1882. From 1872 until 1884 she did successive tours in Europe, the USA and Canada. She was named Imperial Chamber Singer in both Austria and Russia. New successes included, above all, Leonora in Verdi’s Il Trovatore, Valentine in Meyerbeer’s Les Huguenots as well as Elsa in Richard Wagner’s Lohengrin. On 22 October 1883, she sang Margareta at the Metropolitan Opera’s opening ceremony. Nilsson stopped performing opera in 1885 but continued to concertise. In September 1885 the so-called ‘Christina Nilsson accident’ occurred in Stockholm when Nilsson sang from a balcony at the Grand Hotel. Panic struck the crowd of 30,000. Sixteen women and two girls were trampled to death and around 70 others were hurt. In 1887 Christina Nilsson married Duke Angelo de Casa Miranda. Shortly thereafter she ended her career. The couple settled in Paris and Madrid, and in 1895 Nilsson bought the home Villa Vik in Småland. In 1902 she was widowed for a second time and after that, she spent her summers in Småland. She died in Växjo on 22 November 1921. Christina Nilsson’s vocal register stretched from low B natural to F above high C. She had an impressive high range and somewhat weaker low and middle ranges. The singer described how she early-on cultivated her high notes because as a child, the people she sang for found it impressive. Nilsson’s timbre is described as special. Phrases such as ‘crystal-clear’, ‘like a bell’ and ‘flute-like’ are often-repeated descriptions. Sofia Berfors in 1877 emphasised that among Nilsson’s contemporaries there were many female singers with larger voices but none more beautiful, while Arvid Ahnfeldt wrote in 1887: ‘Chr. N. has at her disposal, a voice that does not dazzle with impressive strength, does not set fire with passion’s glowing coals, but draws one in through her gentle, tender beauty.’ Christina Nilsson has written a few musical pieces, the songs ‘Ofelias klagan’, ‘Jag hade en vän’, as well as arrangements of the folk songs ‘Om dagen vid mitt arbete’ and ‘Spring and Autumn’ (an English reworking of ‘Fjorton år tror jag visst att jag var’). In ‘Ofelias klagan’ for song, piano and violin one can hear Nilsson’s background as a violinist. The song is expressive and the violin part has a relatively large ambitus. ‘Jag hade en vän’ for song and piano has the feeling of a Swedish folk song in a relatively quick triple metre. All the songs combine the style of Swedish folk song with a bit of vocal virtuosity.

[infinitelytheheartexpands]

okay los angeles opera, for this, i almost may forgive you that one post about supposed lack of queer subtext in opera

[zerogate]

Giacomo Puccini credited his masterpiece Madama Butterfly to God; he said about it: “I did not write Madama Butterfly; it was God. I was just holding the pen.” Wolfgang Amadeus Mozart related that entire symphonies appeared in his head in their final form; he just had to write them down. Richard Wagner allegedly hallucinated the music that he was writing. In a discussion with the original composer Engelbert Humperdinck in 1880, Wagner said: “Atheistic upbringing is fatal. No atheist has ever created anything of great and lasting value.” Johannes Brahms expressed the same opinion in a conversation with violinist Joseph Joachim: “I know several young composers who are atheists. I have read their scores, and I assure you, Joseph, that they are doomed to speedy oblivion, because they are utterly lacking in inspiration. Their works are purely cerebral. No atheist has ever been or ever will be a great composer.” Charles Francois Gounod answered a female admirer, who asked him how he could invent such lovely melodies, “God, Madame, sends me down some of his angels and they whisper sweet melodies in my ear.”

-- Stanislav Grof, The Way of the Psychonaut, vol. 2

[hunty627]

https://m.soundcloud.com/safrmusic/sir-topham-hitchcock

This is the song titled funeral march of a marionette. Written by Charles Francois Gounod. This version is mixed with the theme of Sir Topham Hatt.

[sheet-music-for-teachers-school]

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Serviciul Stare Civilă din cadrul Direcției pentru Evidența Persoanelor a Municipiului Pitești anunță următoarele măsuri, dispuse de Direcția pentru Evidența Persoanelor și Administrarea Bazelor de Date București, pentru perioada următoa...(Citește tot articolul) - Data publicarii articolului in ARGESULVORBESTE este: Fri, 10 Apr 2020 00:00:00 +0300

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[detroitlib]

Charles-François Gounod (17 June 1818 – 17 or 18 October 1893)

French composer, best known for his Ave Maria, based on a work by Bach, as well as his opera Faust. Another opera by Gounod occasionally still performed is Roméo et Juliette. Although he is known for his Grand Operas, the soprano aria "Que ferons-nous avec le ragoût de citrouille?" from his first opera "Livre de recettes d'un enfant" (Op. 24) is still performed in concert as an encore, similarly to his "Jewel Song" from Faust. (Wikipedia)

From our stacks: 1.-5. Illustrations from A Day with Charles Francois Gounod by May Byron. New York: Hodder & Stoughton, n.d.  6. Frontispiece “Louise Abbeing” from Charles Gounod. His Life and Works By Marie Anne de Bovet. With Portrait and Facsimiles. London: Sampson Low, Marston, Searle & Rivington, 1891.  7. Frontispiece “Charles François Gounod” from Memoirs of an Artist. An Autobiography by Charles François Gounod. Rendered into English by Annette E. Crocker. Chicago and New York: Rand, McNally & Company, 1895.