#louis de cahusac

[vincentdelaplage]

LES LUMIÈRES DE VERSAILLES #leslumièresdeversailles 1--« On se sentait forcé de l’aimer dans l’instant. » CASANOVA (1725-1798), de passage en France, 1750, Histoire de ma vie L’aventurier et mémorialiste italien (d’expression française) confirme cette impression de prestance et de grâce que Louis XV donne à quiconque l’approche : « La tête de Louis XV était belle à ravir et plantée sur son cou l’on ne pouvait pas mieux. Jamais peintre très habile ne put dessiner le coup de tête de ce monarque lorsqu’il se retournait pour regarder quelqu’un. » 2--UNE IDÉE DE PEINTURE : François Lemoyne Junon, Iris et Flore François Lemoyne (1688-1737) , est un artiste peintre français, nommé premier peintre du Roi en 1736. Il est l'un des pères du style rococo et le maître et ami de Charles-Joseph Natoire et François Boucher 3--UNE MUSIQUE D'UN BONHEUR CONTAGIEUX Les fetes de Polymnie: Ouverture https://youtu.be/uP1MhdCxOwo Les Fêtes de Polymnie est un opéra-ballet (ou « ballet héroïque ») de Jean-Philippe Rameau sur un livret de Louis de Cahusac. La pièce, en un prologue et trois entrées, a été représentée pour la première fois le 12 octobre 1745 à l'Académie royale de musique. Elle a été composée pour célébrer la victoire de Fontenoy remportée le 11 mai précédent par le Maréchal de Saxe, en présence de Louis XV, sur les troupes coalisées commandées par le duc de Cumberland. https://www.facebook.com/groups/716146568740323/?ref=share_group_link https://www.instagram.com/p/CoUSiWSMyRw/?igshid=NGJjMDIxMWI=

[autodidact-adventures]

Ballet History (Part 19): The ballet d’action

By now, ballet in Paris had reached a crisis.  Sallé and her generation were gone, and dance was moving towards virtuosic technical feats, but not much more.  Both artists and critics scorned dance for its shallow artifice and insincere deceit.  “Like a dancing master” was a common insult to describe anything that had fallen into a false, decadent state.

This criticism of ballet came from the cultural upheaval of the French Enlightenment.  1600's French classical culture had declined into decorative excess and overindulgence, and the current generation of artists & writers were at odds with the society they lived in. The Enlightenment wasn't just about the ancien régime's underlying principles, but everything – how people dressed, moved and danced. Politics, art, fashion, performing arts – all these were the subject of strong debate.  Many of the articles written about dance were published in Diderot and d'Alembert's Encyclopédie (compiled 1751-80).

Noverre acknowledged his debt to Diderot in his Lettres.  Diderot had written a lot about the problems in French theatre, which he found “wooden” and far too formal.  The actors postured & preened at the front of the stage (where the light was best) to perform their dramatic speeches.  Then they would drop out of character and wander aimlessly around the stage.

Diderot wanted to develop a new kind of theatre, which would have sustained action, dramatic tableaux, and pantomime as its base.  He wanted actors to remove their masks; look & speak to each other, not the audience; and stop using the traditional declamation techniques (like Garrick). Others had the same ideas.

Diderot & others also wanted to make the costumes more realistic – peasants didn't wear silk!  And in the 1750's, actors began to listen.  In 1753, Madame Favart (Comédie Italienne) wore simple peasant dress when playing the part of a village girl.  In 1755, Mademoiselle Clairon (a tragic actress) performed without hoopskirts and toned down her delivery.

But if the problem with theatre was that it didn't say things realistically, then the problem with dance was that it didn't say anything at all!  Louis de Cahusac was a writer & librettist who worked with Jean-Philippe Rameau, and he complained that ballet had reached its limits – Sallé had been expressive, but ballet-dancers nowadays were nothing more than technicians, and they were debasing their art.

Diderot said: “I would like someone to tell me what all these dances such as the minuet, the passepied, and the rigaudon signify...this man carries himself with an infinite grace; every movement of his conveys ease, charm and nobility: but what is he imitating?  That's not singing, that's solfège.”

Jean-Jacques Rousseau had composed operas & ballets in Paris in the 1740's and 50's, but he would later turn against ballet, saying that it was an example of how society “enchained” individuals, destroying their natural goodness with unnecessary social graces:

If I were a dancing master, I would not perform all the monkeyshines of Marcel, good only for that country where he engages in them.  Instead of eternally busying my pupil with leaps, I would take him to the foot of a cliff.  There I would show him what attitude he must take, how he must bear his body and his head, what movements he must make, in what way he must place now his foot, now his hand, so as to follow lightly the steep, rough, uneven paths and to bound from peak to peak in climbing up as well as down.  I would make him the emulation of a goat rather than that of a dancer at the Opéra.

Rousseau believed that performing ballets within operas interrupted the story and wrecked its dramatic effect.  Baron Grimm agreed, worrying that ballet had taken over French opera: “French opera has become a spectacle where everything that is good and evil in the characters is reduced to dances.”  And these dances, he said, were nothing more than academic exercises.

Rousseau's decision was that “all dances that depict only themselves, and all ballet which is just dancing, should be banished from lyric theatre.”

Noverre wrote about these issues in his Lettres.  He wanted to turn ballet away from the shallowness & pleasure-seeking of the aristocracy, and towards the study of man, towards tragedy and moral dilemmas. Performing beautiful movements against beautiful sets with beautiful costumes was not enough – ballet should appeal to the emotions as well as the eyes, becoming a “portrait of humanity” with manking & truth as its subjects.  The German critic & dramatist Gotthold Ephraim Lessing (who admired Noverre) said the same thing, in a different way: “If pomp and etiquette make machines out of men, it is the task of the poet to make men again out of these machines.”

So dance had to tell a story without words of any kind – only with movement.  Not just light, entertaining stories – Noverre wanted to choreograph ballets about murder, betrayal and incest, and he went on to do so.

But he had no intention of changing the actual steps & poses of the noble style.  The reformation of ballet would be done with pantomime, not with the  steps.  Noverre would create the ballet d'action – a mixture of pantomime, dance and music.  It would be a new genre.

By “pantomime”, Noverre didn't mean the “low and trivial” gestures of the Italian bouffons, or the “false and lying” gestures of society, which people practised in front of mirrors.  This type of pantomime would cut through the pretense and artifice of court forms, and reach the human core.  It would be a “second organ” and a “cry of nature”, revealing man's deepest & most secret feelings.

Words often failed, Noverre wrote.  Or they could be used to cover up what you truly meant.  But the body couldn't lie – it moved instinctively, the muscles twisting the body into positions that conveyed inner torment far better than words ever could.

But pantomime had its limits – for example, it couldn't express the past or the future.  So Noverre decided that ballets should be like paintings, not plays.  They should be a series of “living tableaux” that followed one after the other, like a triptych.

Noverre studied art & architecture, and then applied the laws of perspective, proportion, and light to his ballets.  He arranged the dancers by height, shortest at the front and tallest at the back, and then worked out patterns of chiaroscuro (light & shade) onstage.

The dancers, he argued, shouldn't be just pretty ornaments lined up in neat rows, but individual people, each given a specific role, with gestures and poses, to realistically show a moment of action.  In his tableaux, the dancers often froze in a photo-like image and then moved on. Noverre even introduced pauses into his ballets, to bring attention to “all the details” of these “pictures”.  [Not sure if that's referring to his regular ballets as opposed to the ballets d'action, or the dancing within the ballets d'action.]

The use of tableaux wasn't an original idea – as mentioned earlier, Diderot wanted to use pantomime for a new form of theatre.  Parisian lawyers had begun using dramatic poses & tableaux to strengthen their arguments, as a rhetorical tool.  The aristocracy used tableaux for art, too – when Louis XVI married Marie Antoinette in 1770, the celebrations included tableaux, with actors freezing in painting-like scenes, each marking an important symbolic moment in the celebrations.  In the late 1700's, staging “live paintings” became a popular salon activity, especially for women.

But Noverre's use of tableaux changed how ballets were structured.  In French opera, ballets were divertissements (numbers), arranged around an overarching theme, for aesthetic purposes.  Symmetry, hierarchy, and patterns gave order to the dancers and the stage.  Instead, Noverre created a series of static tableaux, in which irregularly-posed groups fixed their bodies in expressive postures, limbs at angles.

Noverre also wanted to change how the dancers looked: “Children of Terpsichore...abandon these cold masks, imperfect imitations of nature; they denature your expressions, they eclipse, to put it bluntly, your soul and deprive you of your most necessary resources for expressing yourselves; get rid of these huge wigs and gigantic coifs, which distort the proportions of head and body; do without these tight and fashionable underskirts, which deprive movement of its charms, which disfigure elegant positions and efface the beauty of the upper body in its different poses.”

Like Garrick, Noverre insisted that the theatre should be darkened & quiet during the performance.  The audience members should be seated at exactly the right distance from the stage to best enter the world of the performance.  The backstage area should be hidden from view, and set changes should be invisible and carried out smoothly – in Paris, set changes were usually announced by the stage manager loudly blowing a whistle, and the crew carried them out noisily and in full view of the audience, with curtain raised.  This was the practice until the last decades of the 1700's.

Like Diderot & others, Noverre wanted to strip away the social mask & artistic constraints, to rediscover the natural man beneath it.  The idea of the ballet d'action had a lot in common with the utopian desire to return to a pre-social world, with a primitive & universal language that would speak directly to all people, no matter their social class.  Utopians disliked the French language (one critic called it “a perfidious language”), and many philosophers looked to pantomime as an alternative, one that was clear and completely honest.  Louis-Sébastien Mercier would later say that gesture “is clear, never equivocal; it does not lie.”

These people didn't want to just change art – they wanted to create a new society, one that was honest and direct, and not based on a decadent court culture.  So pantomime was part of a wide array of social/political issues, and thus the subject of a wide-ranging debate.  Ballet was a part of the intellectual life of the time, not separate from it as it is now.

Rousseau was against ballet, but for pantomime.  He felt that it could capture & express essential parts of the human nature, parts that had existed before people had been corrupted by society – the “cry of nature” that Noverre was interested in.

But Rousseau also agreed that pantomime had limitations.  As a form of communication, it was primitive – it could convey basic needs, but nothing complicated.  Humans couldn't fully express their emotions without words, he believed, or become morally self-aware.

So he imagined a golden stage in the development of human culture & society, where people would have enough language to communicate, but not enough to be deceptive & hypocritical.  In this utopian world, people would live among music, dance and poetry.  They would be ethically aware and good.  It was the perfect middle ground between primitivism and decadence.

Rousseau was interested enough in pantomime to write one of his own.  He wrote the one-act Pygmalion in 1763, and it was performed in 1770.  It mixed pantomime, speech and music, and the performers used gesture instead of words at moments of great emotion, when they had been reduced otherwise to silence.

Diderot, on the other hand, wasn't so sure about pantomime.  It is true that he laid out instructions for a new genre of drama, but there was a part of him that was not happy with pantomime.  In 1761, he wrote Le Neveu de Rameau (it wasn't published until after his death).  In it was a dialogue between Diderot and Jean-Philippe Rameau's nephew, who was a real person, a failed composer who had irrational outbursts but did have insightful ideas.

He writes the nephew as a desperate, defeated man, because of his inability to live up to his uncle & revitalize French music with a “cry of animal passion”.  He is scornful, bitter, and self-indulgent, and extremely skilled in the art of pantomime, which he uses to make his way in the world.  He demonstrates it for Diderot, showing how he mimes opera scenes and scenes from his own life.  He is vain, manipulative and ingratiating, and uses his skill to get the luxuries he desperately wants.

Diderot tries to persuade him to give all this up, because it is false.  But the nephew refuses to.  Society is unrelenting, he says and social species devour each other (like Mademoiselle Deschamps against the financiers), so he has to join in, too, or he will be nothing.  And so “he leaps, he climbs, he twists, he drags: he spends his life taking and performing positions.”

Diderot is furious: “The fact is you are a weakling, a gourmand, a coward, a muddied soul...No doubt worldly experiences come at a price; but you don't realize the price of the sacrifice you are making to get them. You are dancing, you have danced and you will continue to dance this vile pantomime.”  The nephew is like Jourdain in Le Bourgeois Gentilhomme, self-serving and depraved, morally ruined by social posturing, corrupt and fawning.  He's given up on everything that matters – but he is at least honest by admitting it, and this in a way makes him better than Diderot's philosopher & man of high principles.  By the end of the story, it's not clear who's teaching whom a lesson.  The contrived pantomime may be all we have, in the end.

Diderot considered Le Neveu de Rameau to be one of his “mad” works.  But it shows that behind the self-assured tone in his writings of pantomime & the “natural man”, he was aware of just how impossible it was to escape or get rid of social conventions.  For him, pantomime was all tied up with the failures of French music & social corruption.  It seemed impossible to separate them, let alone get out of it all.

There were others who opposed pantomime.  Jean-François Marmontel was a prominent librettist and a protégé of Voltaire, and he wrote a long article for the Encyclopédie, in which he argued that pantomime was morally dangerous & decadent, a form of pure passion which would seduce audiences and put them into a highly emotional state, unable to reason or think critically.  The Romans had yielded to pantomime, and look what had happened to them!  They had preferred sensational theatrical forms over rational forms that encouraged wisdom and moderation.  Manners and comportment civilized man, but pantomime made him a beast.

Another critic argued that the raw gestures of pantomime were an insult to the French elite, and their formal, restrained manners.

So the ballet d'action wasn't just a new ballet/theatre genre.  Noverre was focusing on pantomime, one of the most fundamental ideas of the French Enlightenment, and tying ballet's future to it.  If he succeeded, if pantomime could cut through the social conventions that stifled & dragged humans down, then it could become the foremost new art of a modern man.  It was very ambitious.

But, as mentioned earlier, Noverre didn't go all the way in eschewing the court origins & roots of ballet.  Ballet and its steps were a court art, rooted in the court etiquette that he wanted to get away from.

Most of his ballets were not ballets d'action, but regular ballets, which stuck to the same conventions & techniques he criticized so strongly in his writings.  He continued to use the steps & poses of the noble style.  By focusing on pantomime, Noverre could use gestures to reform ballet, without going as far as to think about the actual steps, and how to take the court out of them.  It was a safer route to take.

Of course, there were practical reasons for this as well: it wasn't just that he shied away from questioning the foundations of the art he'd been trained in & danced himself.  Outside of London, he depended on the aristocracy to survive.  He opposed the etiquette & conventions of the French elite, and was known for his rough manners and impulsive outbursts, but he was also a courtier, and could be charming & smooth when he needed to be.  His portraits show him very well-groomed, as would be expected of him.

Diderot had the same problem.  He was voluble, gobbled at table, and was far too unrestrained & enthusiastic for polite society, who were offended by him.  But when Louis-Michel van Loo painted him at his desk with messy hair, he complained that he had not been depicted with his wig on.  And Rousseau dramatically renounced Parisian society in the 1750's, getting rid of his fancy clothes and accessories, but he was extremely self-conscious about his appearance for the rest of his life.

Foreign courts usually hired Noverre as a French ballet-master, not as a radical. They expected him to stage the usual Parisian ballets that would be performed at the Opéra.  When Noverre travelled to Stuttgart, Vienna & Milan to work there, he brought French dancers with him, and had them keep training in the serious style, even though he was composing his radical pantomime-ballets at the same time.

Throughout his career, Noverre preferred the French costume-designer Louis-René Boquet, who had trained with Boucher.  His costumes were extravagant, following Parisian fashion, and were the exact opposite of what the ballet d'action required.  Noverre represented both the French aristocratic style and the Enlightenment criticism of it (and did very well out of it.)

[operalover2020]

22 de abril de 1749 - Estreno mundial en París, Francia de la ópera Naïs de Jean Philippe Rameau y libreto de Louis de Cahusac.

[frdaejeon]

윌리엄 크리스티의 메트르 아 당세(춤의 대가) / William Christie et les Arts Florissants : Rameau « Maitre à danser »

윌리엄 크리스티의 메트르 아 당세(춤의 대가) William Christie et les Arts Florissants : Rameau « Maitre à danser » 

국내 공연문화를 선도하는 한화는 고품격 클래식 공연 브랜드 한화클래식을 통해 세계적인 수준의 격조있는 무대를 선보인다. 첫 해인 2013년부터 바흐 음악의 대가 헬무트 릴링, 이탈리아 최고의 고음악 해석가인 리날도 알레산드리니와 그가 이끄는 콘체르토 이탈리아노, 정상급 시대악기 오케스트라인 18세기 오케스트라, 프랑스 바로크 음악의 거장 마크 민코프스키와 루브르의 음악가들을 초청해 고음악의 정수를 국내에 소개했다. Le théâtre de Caen et Les Arts Florissants ont choisi de redonner vie à deux pièces de ballet de Jean-Philippe Rameau, intimistes et rarement jouées. L’acte de ballet, courte pièce lyrique en un acte sur une action dramatique légère, réunissant le chant et la danse, figurait parmi les formes privilégiées de Rameau.

2017.09.23 (토) 19시, 예술의전당 콘서트홀 23 septembre à 19h au Séoul Art Center, Concert Hall

2017.09.24 (일) 17시, 대전예술의전당 아트홀 24 septembre à 17h au Daejeon Art Center

  2017년 한화클래식에서는 세계적인 고음악의 거장 윌리엄 크리스티(William Christie)와 그가 이끄는 레자르 플로리상(Les Arts Florissants)의 무대를 선보일 예정이다. 매회 내한하는 팀 자체가 음악계 뉴스가 되고 있는 한화클래식은 5회째를 맞는 올해, 지금까지 맛보지 못한 특별한 무대인 ‘바로크 오페라’를 소개한다. 성악, 기악, 그리고 무용이 한 무대에 올라 프랑스 바로크 작곡가인 장 필립 라모의 오페라 작품 <다프니스와 에글레>와 <오시리스의 탄생>을 선보인다. 프랑스 오페라는 특히 ‘춤’이 돋보이며 작품의 중요한 부분을 차지하는데, 어느 해���다도 화려하고 이색적인 감동을 선사할 것이다. 소프라노 ‘소피 데인만’(Sophie Daneman)이 연출을 맡은 이번 작품은 간결하면서도 세련된 무대로 꾸며질 예정이다. 이 시대 최고의 고음악 거장 윌리엄 크리스티와 레자르 플로리상이 들려주는 프랑스 바로크 음악세계를 기대해도 좋을 것이다.

Le théâtre de Caen et Les Arts Florissants ont choisi de redonner vie à deux pièces de ballet de Jean-Philippe Rameau, intimistes et rarement jouées. L’acte de ballet, courte pièce lyrique en un acte sur une action dramatique légère, réunissant le chant et la danse, figurait parmi les formes privilégiées de Rameau.

오시리스의 탄생 (La Naissance d'Osiris, 1754) <다프니스와 에글레>와 <오시리스의 탄생>은 춤을 사랑했던 프랑스 취향이 극음악과 만나 이루어진 미니 오페라이다. 이 두 작품은 프랑스를 대표하는 작곡가 장 필립 라모가 프랑스 궁정을 위해 작곡한 작품이다. 또한 작곡가의 진보적이고 개성적인 음악 언어를 잘 드러낸 걸작이다. <다프니스와 에글레>는 퐁텐블로 궁전에서 공연하기 위해 만들어졌지만 최종 리허설 이후 초연이 취소되고 20세기까지 무대에 오르지 못했다. 프랑스 바로크 오페라가 화려하게 부활한 20세기에 이 작품도 다시 살아났다. 두 작품은 모두 70대에 접어든 라모의 원숙한 경지를 엿볼 수 있는 역작이자, 그의 소규모 오페라를 대표할 만한 작품이다. <오시리스의 탄생>은 1754년 베리 공작(훗날의 루이 16세)의 탄생을 축하하기 위해 만들어진 작품으로, 베리 공작을 고대 이집트의 신인 ‘오시리스’에 빗댔다. 라모는 이 작품을 개인적으로 매우 아껴서 다른 작품에서 <오시리스의 탄생>을 끊임없이 인용했다. La Naissance d’Osiris et Daphnis et Églé font partie des pièces que Rameau avait composées pour les divertissements dansés à la Cour. La Naissance d’Osiris lui avait été commandée pour célébrer la naissance du duc de Berry, futur Louis XVI. Le livret a été à confié à Cahusac, le librettiste préféré de Rameau (il a signé aussi Les Fêtes de Polymnie, Les Fêtes de l’Hymen et de l’amour, Zaïs, Naïs, Zoroastre et Anacréon). Rameau réutilisera certains passages dans d’autres œuvres lyriques comme Zoroastre. Créé en 1753, Daphnis et Églé était destiné à égayer les parties de chasse de la cour à Fontainebleau.

Cette nouvelle production du théâtre de Caen s’inscrit dans l’année Rameau 2014,à l’occasion du 250e anniversaire de la mort du compositeur.

Ce spectacle permet de découvrir ces petits bijoux de raffinement qui attestent – si besoin en est – du génie de Rameau. Grand compositeur mais également théoricien de renom, Rameau a marqué le travail des Arts Florissants à de nombreuses reprises. Après leurs interprétations des grands opéra de Rameau, Les Arts Florissants relèvent ici le défi de redonner vie à ce répertoire plus intime mais tout aussi ciselé.

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Les Arts Florissants

레자르 플로리상 (Les Arts Florissants) ‘아름다운 꽃 만발한 바로크 예술’ 레자르 플로리상은 프랑스 바로크 음악을 재발견하여, 고음악 연주의 새로운 척도를 제시한 대표적인 프랑스 연주단체이다. ‘꽃 피는 예술’이라는 뜻의 레자르 플로리상은 프랑스 작곡가 샤르팡티에가 1685년 작곡한 실내 오페라 ‘레자르 플로리상’에서 그 이름을 가져왔다. 이 단체는 성악과 기악이 함께하는 앙상블 팀으로 다른 고음악 단체와는 구별된다. 레자르 플로리상은 윌리엄 크리스티가 1979년 설립했으며 바로크 시대 악기로 바로크 음악을 구현하는 것이 특징이다. 현재 프랑스 고음악계를 이끄는 마크 민코프스키, 에르베 니케, 크리스토프 루세, 에마누엘레 아임 등이 모두 레자르 플로리상 단원 출신이라는 것만 봐도 그 절대적인 영향력을 감지할 수 있을 것이다. 레자르 플로리상은 프랑스 국립도서관에 숨겨져 있던 보석 같은 작품들을 발굴해내며 그 전까지 소외되어 왔던 프랑스 음악의 부상에 크게 기여하였고, 전 세계에 프랑스 문화를 전파하는 대사 역할을 하고 있다.

/////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// William Christie

지휘｜윌리엄 크리스티 (William Christie) ‘프랑스 음악의 역사이자 살아있는 전설’ 고음악의 거장 윌리엄 크리스티는 니콜라우스 아르농쿠르, 존 엘리엇 가디너, 크리스토퍼 호그우드, 조르디 사발 등과 함께 고음악의 20세기 르네상스를 일으킨 주역이다. 레자르 플로리상을 창단하고 앙상블 음악감독을 맡고 있는 윌리엄 크리스티는 하프시코드 연주자이자 지휘자, 음악학자이자 교수다. 그는 지난 30년간 음악계에 끊임없이 영감을 준 인물로 꼽히며 프랑스 바로크 음악에 대한 대중의 관심을 이끌었다. 윌리엄 크리스티는 글라인드본, 뉴욕 메트로폴리탄, 취리히의 오페라하우스에서 열린 여러 페스티벌의 객원 지휘자로 초청 받아 활동하였으며, 2002-2007년까지 베를린 필하모닉의 객원 지휘자로 활동하였다. 윌리엄 크리스티는 프랑스 음악계에 일대 파란을 일으키며 프랑스 음악 부활의 역사이자 살아있는 전설이 되었다. 총체적인 형식미와 압도적인 혁신을 강조하는 데 그 누구보다도 뛰어난 윌리엄 크리스티는 이번 공연을 통해 프랑스 바로크의 역작을 보여줄 것이다.

///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////

Sources

- Daejeon Art Museum https://www.djac.or.kr/html/kr/performance/performance_010101.html?mode=V&code=2484&genrecode=1&site_dvs_cd=kr&menu_dvs_cd=010101

- Institut Français http://www.institutfrancais-seoul.com/ko/portfolio-item/%ec%9c%8c%eb%a6%ac%ec%97%84-%ed%81%ac%eb%a6%ac%ec%8a%a4%ed%8b%b0%ec%9d%98-%eb%a9%94%ed%8a%b8%eb%a5%b4-%ec%95%84-%eb%8b%b9%ec%84%b8%ec%b6%a4%ec%9d%98-%eb%8c%80%ea%b0%80/

- Arts florissants http://www.arts-florissants.com/

[movizinfo-blog]

Zoroastro Zoroastro is a musical movie. the movie is about a tragiedie lyrique by jean philippe rameau to a libretto by louis de cahusac with a free adaptation of the translation into italian and writings by giacomo casanova.

[blockbusterone]

Zoroastro Zoroastro is a musical movie. about a tragedie lyrique by jean philippe rameau 1749 to a libetto by louis de cahusac with a free adaptation of the translation into italian and writings by giacomo casanova.

[galina-ulanova]

If the problem with theatre was that its performers did not say things realistically, the problem with dance, it was widely agreed, was that it did not say anything at all.  The librettist and writer Louis de Cahusac (who worked with Rameau) lamented that ballet had hit a glass ceiling: Sallé had been expressive, but her successors were dull technicians whose meaningless tricks debased the art.  Diderot had no patience for ballets: 'I would like someone to tell me what all these dances such as the minuet, the passepied, and the rigaudon signify...this man carries himself with an infinity grace; every movement of his conveys ease, charm and nobility: but what is he imitating?  That's not singing, that's solfège.'  And Jean-Jacques Rousseau, who himself had composed operas and ballets in Paris in the 1740s and early 1750s, later turned vehemently on the art, which seemed to him to exemplify the ways in which society 'enchained' individuals, destroying their natural goodness with spurious social graces.

Apollo's Angels: A History of Ballet

[onthisdayinearlymusic]

October 23

1668 - The Venetian composer, instrumentalist and singer Giovanni Rovetta, probably a student of Monteverdi, died in Venice.

1695 - The Belgian-born Bavarian architect and decorative designer François de Cuvilliés, who designed and built the Altes Residenztheater in Munich, was born in Soignies.

1754 - Rameau's ballet-héroïque, Anacréon, to a libretto by Louis de Cahusac, was premiered at the Théâtre Royal de la Cour at Fontainebleau.

[vincentdelaplage]

"LE FLAMBEAU DE L'ÉTUDE ÉCLAIRE LA RAISON." Alphonse de LAMARTINE UNE IDÉE DE PEINTURE Portrait en pied de Louis XV (1760) par Louis-Michel Van Loo (1707-1771) Louis-Michel Van Loo sensible aux nécessités du portrait d'apparat à la suite de Rigaud, aux finesses de l'étude psychologique, qui rappellent certaines figures de Greuze ou de Joseph Vernet... En 1765, il succéda à son oncle Carle comme directeur de l'École des élèves protégés. UN PEU D'HISTOIRE MODERNE Lassée du carcan de la pompe royale et de la rigidité des mœurs imposée par un Louis XIV tombé en dévotion, la noblesse aspire à la gaieté et à l’insouciance. Face à Louis XV, ce monarque dont le regard apaisé dit tout, dont l’âme semble mise à nue, la question se pose de savoir si c’est un roi qui incarne la paix, garant de la prospérité de ses sujets, ou un roi de la guerre à l’orée du champ de bataille. UNE MUSIQUE D'UN BONHEUR CONTAGIEUX Rameau-Les Boréades- Marc Minkowski 2004 Opéra de Lyon (extrait) https://youtu.be/2V8O8W30sH4 "Les Boréades" est un opéra commandé à Rameau (1683-1764) par l'Opéra de Paris, mis en répétition durant l'été 1764. Atteint de "fièvre putride" le 23 août, Rameau mourut le 12 septembre et laissa l’œuvre inachevée. Tragédie lyrique en cinq actes, livret de Louis de Cahusac. #leslumièresdeversailles https://www.instagram.com/p/CP0CAyEHsWs/?utm_medium=tumblr

[onthisdayinearlymusic]

June 22

1684 - The Italian composer and violinist Francesco Onofrio Manfredini, who studied with Torelli and Perti in Bologna in his youth and returned to his hometown in 1724 to take up the post of maestro di cappella at the cathedral, was born in Pistoia to the trombonist Domenico Manfredini.

1759 - The French playwright and librettist Louis de Cahusac, main collaborator of Jean-Philippe Rameau from 1745 onward, died in Paris at the age of 53.

[onthisdayinearlymusic]

April 6

1571 - The Florentine architect, engineer and scene designer Giulio Parigi, who was responsible for the scenery and machinery for the entertainment at the Medici court during the early days of opera, was born in Florence to the architect Alfonso Parigi the Elder. 

1660 - The German composer, keyboard player, music theorist of Bohemian origin, and Johann Sebastian Bach's immediate predecessor as the Thomaskantor in Leipzig, Johann Kuhnau, was born in Geising, Erzgebirge. 

1671 - The French poet Jean-Baptiste Rousseau, famous for his cantata texts, was born in Paris. 

1672 - The French composer André Cardinal Destouches was baptized in Paris. 

1706 - The French playwright and librettist Louis de Cahusac, main collaborator of Jean-Philippe Rameau from 1745 onward, was born in Montauban. 

1708 - Georg Reutter (the Younger), son of the organist and theorbist Georg Reutter and student of Antonio Caldara, who succeeded his father as first Kapellmeister at the Stephansdom in 1738, was baptized in Vienna. 

1779 - The Italian composer Tommaso Traetta, a student of Porpora and Durante at the Conservatorio di Santa Maria di Loreto in Naples and an important figure on the operatic stage in the mid-18th-century, died in Venice at the age of 52. His operas were performed in many European cities, such as Naples, Venice, Rome, Vienna, Mannheim, St. Petersburg and London.