#fromental halévy

[lesser-known-composers]

Fromental Halévy (1799–1862) - La Magicienne: Récit et air de Blanche "Ce sentier nous conduit vers le couvent voisin" ·

Véronique Gens ·

Münchner Rundfunkorchester · Hervé Niquet

[opera-ghosts]

Bass Nazzareno De Angelis – L’Ebrea “Voi che del Dio vivente” (1928)

Fromental Halévy - La Juive.

[infinitelytheheartexpands]

screaming crying throwing up at john osborn’s “rachel quand du seigneur”

[doyouknowthisopera]

[whencyclopedia]

Georges Bizet

Georges Bizet (1838-1875) was a French Romantic composer best known for his opera Carmen and the instrumental music for the play L'Arlésienne. None of his earlier operas had enjoyed any great success, and even Carmen took several months to gain public and critical acclaim, too late for the composer, who died of a heart attack aged 36, to witness.

Early Life

Alexandre César Leopold Bizet (later known simply as Georges Bizet) was born in Paris on 25 October 1838. His father, Adolphe Bizet, was a wig-maker and hairdresser, but he taught singing occasionally. Georges's mother, Aiméé Delsarte, was the daughter of a successful businessman, and she also had musical talent, this time as a pianist. Georges showed his own great musical talent at an early age, and he was enrolled in the Conservatory in Paris aged just nine (one year younger than was usually permitted, but his aunt and maternal uncle pulled some strings). In 1855, when he was just 17, Georges wrote his Symphony in C. Georges was a star pupil at the Conservatory where he won the 1857 Prix de Rome along with several other prizes such as for composition, his entry being the one-act opera Le docteur miracle. Other prizes were gained for his piano and organ playing and for two cantatas, David and Clovis et Clotilde.

One of Bizet's composition teachers was Fromental Halévy (1799-1862), significantly, a composer of operas. Bizet became a great admirer of the German opera composer Giacomo Meyerbeer (1791-1864), whom he described as "a thundering dramatic genius" (Schonberg, 269). Another influence on the young composer was Charles Gounod (1818-1893) whose operas included Faust (1859). Above all, Bizet believed in melody, and he admired those who could produce it.

Upon graduation in 1858, Bizet went to Rome – paid for out of his prizes – where he spent the next three years visiting the ancient sites and composing. Bizet enjoyed Italy and was beginning to find himself. He said, "I am beginning to think of myself as an artist but what howlers, what failures" (Steen, 585). Here in Italy, he composed a comic opera, Don Procopia (not performed until 1906), and various orchestral works but not the mass he was supposed to have composed as a condition of his grant. The orchestral works would be rearranged into the composer's Roma symphony, not fully completed to his satisfaction until 1871. It was in the Italian capital that Bizet first began to have the problem with his throat that plagued him for the rest of his life.

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[outer-spec]

tumblr if the french republican calendar still existed:

👑 monarchistmiku Follow

to remember how many days there are in a gregorian month, u just gotta use this rhyme:

thirty days h september april june and november, all the rest have thirty one, except for february for some reason idk

🇫🇷 frenchrepublic-official Follow

To remember how many days there are in a french republican month you just remember “30” because our calendar wasn’t invented by a drunk mathematician rolling dice.

👑 monarchist-miku Follow

yeah well at least we don’t have fucking leap months

🎹 composerblr Follow

happy birthday 2 Fromental Halévy!!! 🎉

🎻 catboy-mozart Follow

bro it’s already may 29, ur literally two days late

🎹 composerblr Follow

its the 7th of prarial you american

🦞 lobster-lover Follow

TIL lobster thermidor is named after the month “thermidor”… I feel so stupid

🚡 peepeepooposting Follow

Actually, the lobster dish is named after the play Thermidor, which takes place during the French Revolution!

🦞 lobster-lover Follow

thanks, now i feel even stupider

🎀 socialistmarieantoinette Follow

do french stoners think Nivose 20th is an extremely funny date????

📮 pingas Follow

why would i find “20/4” funny

🗼fightingfrenchphobia Follow

friendly reminder that you don’t get to celebrate french new year unless you’re literally french or if you are invited by a french person

🚡 peepeepooposting Follow

As a French person, I invite everyone reading this to celebrate Raisin with us! 🍇🎊🍾

🎻 catboy-mozart Follow

wait werent you the guy who said napoleon did nothing wrong

[pargolettasworld]

https://www.youtube.com/watch?v=VOepZQwvAlo

In my experience, if Jacques-Fromental Halévy crops up in a music history class, it will be in connection with two points of interest.  1.  He composed the opera La Juive, which music history instructors like to trot out as a prime example of nineteenth-century French opera, and 2.  He was a Jewish composer whom Richard Wagner actually kind of liked.* Certainly if you went by the kind of music history teaching I received, you could get the impression that Halévy was just A Pretty Darn Good Composer, who just happened to be Jewish, a happenstance upon which the fact that he composed an opera called La Juive has absolutely no bearing.

But it did have some bearing!  Like a lot of Pretty Darn Good Jewish Composers, Halévy came from a cantorial family, and he knew his way around the liturgy, even the versions of it that emerged from the twin pressures of the French Revolution and Napoleon.  This is a choral setting of part of Psalm 118** that Halévy composed for his nephew’s wedding in 1858.  It was also used for a synagogue dedication in 1874, so one would imagine that it kept circulating for various events over sixteen years, and maybe built up some cachet to be used again rather than Halévy just composing something new for the occasion.

*I haven’t heard anything about what Cosima Wagner, the Natasha Fatale to Richard’s Boris Badenov, thought about Halévy.

**Psalm 118 is very long, and it has multiple jarring shifts of perspective, mood, and topic.�� Noah Aronson thinks that Psalm 118 may be intended to represent the diverse thoughts of a whole crowd of people coming to the Temple for a festival, which is one of the better interpretations of it that I’ve heard.  But because it is so patchwork, not many people are inspired to set the whole thing to one piece of music.***

***That being said, if anyone were tempted to do that, I’d lay money that it would be a shape-note composer.

[operaportugues]

The Tempest (Thomas Adès) - MET, 10/novembro/2012

Ópera completa com legenda em português.

1. Crie login gratuito no site https://www.metopera.org/

2. Instale o programa “Bigasoft Video Downloader Pro” Ele permite download do Metropolitan Opera.

3. Seriais Vá ao menu “Ajuda” - “Registrar” e digite um serial no campo “Código de Licença”.

4. Adicione no programa Bigasoft um destes 2 links para fazer o download. Ao usar a opção https://ondemand.metopera.org, o Bigasoft solicitará em janela pop-up que você digite seu login/senha do site do MET. https://ondemand.metopera.org/performance/detail/fa85ab8f-f2e5-5510-991e-b0263f9ecd8b https://www.metopera.org/Season/On-Demand/opera/?upc=811357015865

5. Legenda em português: link.

"A Tempestade", de Shakespeare, de musicalidade intrínseca, inspirou música instrumental aos mais diversos compositores, como Beethoven, Debussy e Tchaikovsky. Entre as óperas baseadas na peça estão La Tempesta, de Fromental Halévy (1850), e Un re in ascolto, de Luciano Berio (1984). Thomas Adès deu nova vida à peça, com música que captura a cintilante magia do texto mas preserva suas zonas de sombra. Sua libretista, Meredith Oakes, gerou controvérsia ao se distanciar da linguagem do Bardo e até introduzir modificações na trama. Mas em momento algum perde-se Shakespeare de vista, nem mesmo quando personagens como Próspero e Caliban se exprimem com versos em melopeia. Um dos pontos altos é o espírito de Ariel, cujas acrobacias vocais no agudo do registro de soprano brilham a cada momento da ópera.

The Tempest, a segunda ópera de Adès, estreou na Royal Opera House de Londres em 2004 quando o compositor tinha 32 anos. A pressão foi grande antes da noite de abertura, pois os críticos lembraram que a segunda ópera de Britten fora a obra-prima Peter Grimes.

O compositor Thomas Adès rege esta estreia no Met da sua poderosa ópera baseada na última peça de Shakespeare, numa produção brilhantemente inventiva de Robert Lepage. Simon Keenlyside é o mágico Próspero, que conjura a tempestade que faz naufragar os seus inimigos e desencadeia o curso dos acontecimentos.

Sinopse em inglês

New Production Preview 2012 (Met Opera)

"My Lover Smiling"

"Their Brains Are Boiled"

"High on the Headland"

Papéis Principais: - Próspero: o deposto duque de Milão, versado em artes mágicas - Miranda: sua filha - Ariel: um espírito feito cativo por Próspero - Caliban: um monstro feito cativo por Próspero - O Rei: rei de Nápoles - Ferdinand: seu filho

Sinopse: Numa ilha remota

Ato I Após a tempestade descrita na abertura, vítimas do naufrágio chegam a uma ilha remota. Comovida com seus lamentos, Miranda interroga o pai, Próspero. Ele explica que foi o destino que lhe entregou seus inimigos: o irmão, Antonio, que lhe usurpara a posição de duque de Milão, e o rei de Nápoles. Enquanto Miranda dorme, Próspero ordena ao espírito de Ariel, mantido em cativeiro, que resgate as vítimas. Caliban, um monstro nativo da ilha, afirma ser o seu rei, mas Próspero o acusa de loucura. Ariel informa ter salvado as vítimas, lembrando a Próspero que ele prometeu liberdade. Ao despertar, Miranda apaixona-se por um sobrevivente do naufrágio, Ferdinand, filho do rei. Próspero vale-se da magia para imobilizá-lo.

Ato II Os náufragos se rejubilam por estarem vivos. Próspero observa os inimigos, enquanto Ariel semeia a confusão. Caliban encontra os recém-chegados e promete mostrar-lhes os segredos da ilha. Os auxiliares do rei buscam Ferdinand enquanto Caliban e seus novos amigos, Stephano e Trinculo, se imaginam gerando "uma nação" quando o rei morrer. Em outra parte da ilha, Próspero constata a força do amor ao ver Miranda libertar Ferdinand.

Ato III Embriagados, Caliban e Trinculo saúdam o reinado de Stephano. Longe dali, Antonio e Sebastian, irmão do verdadeiro rei, quase matam o rei adormecido. Ariel desperta a corte e providencia magicamente um banquete, mas ameaça os inimigos de Próspero. Próspero saboreia o momento em que o rei e Antonio percebem que agiram mal com ele. Miranda e Ferdinand anunciam seu casamento. A sede de vingança de Próspero está aplacada. O "rei Caliban" retorna, decidido a fazer de Miranda sua rainha. Próspero liberta Ariel. Enfeitiçado por Próspero, o rei fica encantado vendo seu filho com Miranda. Os visitantes contemplam o retorno em seu navio magicamente restaurado; Próspero quebra sua vara mágica. Sozinho, Caliban se pergunta se sonhou com seres humanos.

[sunset-supergirl]

Happy birthday Ben Heppner

[personal-reporter]

La stagione 2023 – 24 del Teatro Regio di Torino

Il Regio di Torino per la stagione 2023 – 24 vedrà quattordici titoli, di cui due sono spettacoli di balletto, dei quali ben otto nuovi allestimenti e cinque sono opere di Puccini, per tributare un omaggio al grande musicista nel centenario della morte, che ricorrerà il 29 novembre 2024. Per l’occasione i vertici del Regio hanno scelto titoli  del Maestro assenti da Torino da decenni, come Le Villi, con la direzione di Riccardo Frizza, la Rondine per la  bacchetta di Francesco Lanzillotta, La fanciulla del West con Francesco Ivan Ciampa e il Trittico per il quale tornerà Pinchas Steinberg. Il Regio partirà con la stagione a fine settembre e un nuovo allestimento, firmato da Stefano Poda, di La Juive di Fromental Halévy, grand opéra che parla di intolleranza religiosa, che mostra il coraggio di una programmazione artistica rara nei teatri italiani, per la maggior parte legata ai titoli di repertorio. Anche Wagner torna finalmente a Torino con L’olandese volante nella ripresa dell’apprezzato allestimento di Willy Decker commissionato dal Regio una decina di anni fa, che venne allora affidato alla direzione di Giandrea Noseda. Proseguendo il percorso nel mondo di Gaetano Donizetti buffo si potrà rivedere la storica produzione di Ugo Gregoretti del Don Pasquale, con il ritorno di Alessandro de Marchi per la direzione. Evento clou della stagione sarò la presenza di Riccardo Muti per una nuova produzione del Ballo in maschera con un cast ancora parte da definire e la regia di Andrea de Rosa. Dopo il successo di Powder Her Face e Bastiano e Bastianaè stata confermata per il prossimo anno la vocazione di teatro sperimentale e da camera del Piccolo Regio che ospiterà Un mari à la porte, operetta di Jacques Offenbach e The Tender Land di Aaron Copland. Ma la stagione 2023 – 24 vede anche l’addio di Andrea Secchi, per cinque anni maestro del coro del Regio e dalla prossima stagione impegnato a Roma all’Accademia di Santa Cecilia, infatti al suo posto arriverà Ulisse Trabacchin, già Altro Maestro del Coro della Fenice e alla Scala. Read the full article

[lesser-known-composers]

Fromental Halévy (1799–1862)

[opera-ghosts]

Here a less known picture of Aloys Pennarini: as Eleazar in “La Juive” .

[infinitelytheheartexpands]

La juive (Geneva, 2022): Reactions, Part I

ENFIN!!!!!!!!!!

MARC MINKOWSKI MY BELOVED

okay this looks so cool

omg no don’t attack them

(update: surprisingly and thankfully, they did not)

hey you’re supposed to be in church right now so maybe be in there and mind your own fucking business

“the power of christ compels you! THE POWER OF CHRIST COMPELS YOU!!!”

“…i’m jewish, not a vampire”

JOHN OSBORN MY BELOVED

léopold you shady little motherfucker

“the hussites have been defeated—”

“EYYYYYYYYYUP THAT WAS ME BITCHES”

i love when Abstract Organs Are There

time for a Public Service Announcement TM

free alcohol: the fastest way to excite a crowd

omg no don’t attack his shop

OMG NO DON’T ATTACK MY BABY

TELL ‘EM OFF ÉLÉAZAR

hmm. interesting!

rip to his family (unless…)

AWWWWWWWWWWWWWWWWWWW 🥺

can you be friends after such shit has passed between you??? can you even not hate each other???

when an aria turns into a gorg ensemble *chef’s kiss because halévy was a master*

they don’t know it but…

TAKE RACHEL’S NAME OUT OF YOUR FUCKING MOUTH

“oh hi orchestra thanks for helping with my seduction serenading”

spicy times

admittedly this is some very spicy music

léopold more like “i wanna get laid-o-pold”

she’s so adorable i can’t

“uh…yeah. just like you. totally jewish.”

love the church bell addition

love the look

interesting choice!

day drinking a little too hard

this is literally the SECOND time in the past THIRTY minutes you have threatened to MURDER them

and i oop

okay her voice kinda reminds me of Anna Caterina Antonacci’s 😍

halévy went OFF with this absolute banger

EXCELLENT use of film

yeah léopold you have a WIFE and KIDS what is WRONG with you

them against the world 💔

THE LOOK ON HIS FACE LMAOOOOOOOOO

(also: bling)

and the party and the antisemitism go on!

sometimes just EXISTING is an act of indescribable bravery

actual picture of me trying to not burn myself with matches (and usually failing)

léopold: imma yeet the matzoh

rachel: dude what the fuck

GOD TIER SINGING AND ACTING FROM JOHN OSBORN

AWWWWWWWWWW (again)

uh oh…

words cannot describe how much i hate this wig

also: TIME FOR MY FAVORITE TRIO IN THIS OPERA

okay tbh the outfit kinda pops off tho

like the detailing on the bottom of the coat!!!

NOT LÉOPOLD HIDING FROM EUDOXIE IN PLAIN SIGHT PLEAAAAAAASE

you done fucked up boy

the assignment was apparently to do stereotypical diva poses and by GOLLY she understood the assignment

a) the dress pops off

b) WHAT IS THE DANCE THE LADIES ARE DOING IN THE BACKGROUND LMAOOOOOOOOO

AWWWWWWWWWWWWWWW (again, yes. they are just SO PRECIOUS pls let them be happy)

this is EXQUISITE

still like the Konwitschny staging of this trio better because a) no weird cuts and b) ALL the chaotic energy but this, like the rest of the show so far, is very good!

to be continued later :)

[dolenteimmagine]

Fromental Halévy, La Juive: Rachel, quand du Seigneur

Mario Del Monaco, Tenor Alberto Erede, Conductor Orchestra dell’Accademia di Santa Cecilia 1956

[whencyclopedia]

Jacques Offenbach

Jacques Offenbach (1819-1880) was a composer of German birth who took French citizenship and became famous in Paris for his comic operettas, a genre he created, and for the more serious opera, The Tales of Hoffmann. A virtuoso cellist, conductor, and prolific composer of stage works, Offenbach was hugely popular across Europe through the 1860s.

Early Life

Jakob Eberst was born in Cologne, Germany, on 20 June 1819; his new family name of Offenbach was adopted later and derived from his grandfather's hometown of Offenbach am Main near Frankfurt in central Germany. His father, Isaac, was a leader of prayer and music in a synagogue. Jakob learnt to play the violin from age six and then the cello from age nine.

Jakob moved to Paris with his father and brother Julius in 1833. Jakob, now known as Jacques, was good enough to attend the Paris Conservatoire but he studied there only for one year. Living the bohemian life of Paris, his first job was in the orchestra of the Opéra-Comique. He paid for private lessons in composition from Fromental Halévy (1799-1862). In his spare time, Offenbach composed pieces for cello and piano, as well as a host of sentimental ballads, many of which were performed in salons in the French capital. Offenbach became best known as a virtuoso of the cello, but he also had a few waltzes played by the outdoor orchestra in the Jardin Turc. His career ticked along through the 1840s, but things took an upturn from 1850 when he became the conductor at the Théâtre Français.

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[opera-shitpost]

if I had a nickel for every time an 1830s French grand opéra with a libretto partially by Eugène Scribe and a world premiere cast including (but not limited to) Adolphe Nourrit, Marie-Cornélie Falcon, Julie Dorus-Gras, and Nicolas Levasseur ended with a guy inadvertently killing his own daughter due to him engaging in religious persecution of non-Catholics, I'd have two nickels.

which isn't a lot, but it's weird that it happened twice.