#rue lulli

[philoursmars]

Je reviens à mon projet de présenter la plupart de mes 54110 photos (nouveau compte )

2014. Marseille la nuit

- Les Réformés et la Lune

- le Cours Belsunce

- les 2 suivantes : Le monument des Mobiles

- Rue Lulli, le kiosque “L’Opéra Noir”

- le nouveau Centre Bourse

- le temple protestant, rue Grignan

[fionaapplerocks]

Rue Sainte-Ann, Paris in 2012 [x] and today [x]

The building on the left is the house once owned by Jean Baptiste Lully [x]

[parisfind]

Peeked out a window at the bibliothèque national Richelieu only to see my old neighborhood and apartment on the Square Louvois. Great memories! I remember the first time I saw the fountain in that square In the center of the trees containing sculptures that represent four major French rivers and rivers: the Seine , the Garonne , the Loire , and the Saône. French architect Louis Visconti created the Louvois fountain. Love you rue Lulli, Paris. . . . #paris #parisphoto #parisjetaime #parislife #parisart #parismonamour #parismaville #parislove #pariscity #villedeparis #iloveparis #parisfind (at Square Louvois) https://www.instagram.com/p/ClThK9PtDeR/?igshid=NGJjMDIxMWI=

[bloodbecomeswater]

𝗧𝗛𝗘 𝗦𝗘𝗧𝗟𝗜𝗦𝗧 𝗖𝗢𝗟𝗟𝗘𝗖𝗧𝗜𝗢𝗡

An exhibition and book release featuring original setlists written and performed between 2006 and 2024. ⁣ ⁣ 🗓 𝟐𝟐 𝐉𝐮𝐧𝐞 – 𝟐𝟏 𝐒𝐞𝐩𝐭𝐞𝐦𝐛𝐞𝐫 𝟐𝟎𝟐𝟒⁣ 📍 72 Records, 72 Rue du Midi, 1000 Brussels⁣ 🕑 Monday-Sunday, 12pm-7pm⁣ ⁣ 𝘖𝘧𝘧𝘪𝘤𝘪𝘢𝘭 𝘰𝘱𝘦𝘯𝘪𝘯𝘨: 22 𝘑𝘶𝘯𝘦 / 5𝘱𝘮 𝘸𝘪𝘵𝘩 𝘢 𝘭𝘪𝘷𝘦 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘣𝘺 𝘒𝘦𝘦𝘱𝘦𝘳 𝘝𝘰𝘭𝘢𝘯𝘵, 𝘱𝘭𝘢𝘺𝘪𝘯𝘨 𝘵𝘩𝘦𝘪𝘳 𝘴𝘦𝘵𝘭𝘪𝘴𝘵 𝘧𝘦𝘢𝘵𝘶𝘳𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘣𝘰𝘰𝘬. ⁣ 𝗧𝗛𝗘 𝗕𝗢𝗢𝗞 ‘The Setlist Collection’ follows the paper trail left behind by 70 bands across different genres from rock’n’roll, garage, punk and psychedelic soul to post-punk, wave and alternative indie - a personal anthology of setlists stretching out over 18 years, 40 venues, 8 festivals and 13 countries, featuring⁣ ⁣ !!! • A Place To Bury Strangers • Acid Baby Jesus • Allah-Las • Asphalt • Atomic Suplex • Babyface Clan • Bass Drum Of Death • Bazooka • Beach Coma • Bikes • Black Lips • Cheveu • Control Freaks • Crash Normal • Demon’s Claws • Deus • Dragster • Fryd Chikin • Giuda • Henry Fiat’s Open Sore • Hollywood Sinners • Ice Age • Jack Of Heart • Kaiser Chiefs • Keeper Volant • King Automatic • King Khan And The Shrines • Les Lullies • Mind Rays • Mountain Bike • Mudhoney • New Bomb Turks • Peeping Tom • Permanentz • Proto Idiot • Regal • Reverend Beat-man • Sects Tape • Shannon And The Clams • Sic Alps • Slander Tongue • Sore Points • Sultan Bathery • The Bedstars • The Cavemen • The Dirtiest • The Equals • The Female Troubles • The Good, The Bad & The Queen • The Gruesomes • The Monsters • The Noise Figures • The Pacifics • The Parkinsons • The Raws • The Revelators • The Rip Offs • The Rippers • The Shivas • The Spits • The Wands • Thee Gruesomes • Thee Marvin Gays • Thee MVP’s • Thee Oops • Total Control • Turquoise Days • Unkle • Useless Eaters • Viagra Boys⁣ ⁣ ‘The Setlist Collection’ is a project by Blood Becomes Water published in the very limited edition of 100 copies. ⁣

Attend the event on Facebook

[toutmontbeliard-com]

Conseil municipal de Montbéliard

Conseil municipal de Montbéliard ce lundi 27 février 2023 à 18h00, salle du Conseil de Pays de Montbéliard Agglomération, avenue des Alliés à Montbéliard. L’ordre du jour est : Informations : - Présentation de la mission de maîtrise d’œuvre de conception scénographique et de réalisation de contenus audiovisuels et multimédias pour le parcours historique du Musée du Château par le groupement GFTK - Présentation de l’état d’avancement du Projet Scientifique et Culturel par Mme Cécile REY HUGELÉ, Directrice des Musées. Mme Marie-Noëlle BIGUINET 1- Projet d’évolution du site du Château – Autorisation du dépôt de dossiers de demande de subvention au Conseil Départemental du Doubs Mme Marie-Noëlle BIGUINET 2- Chambre Régionale des Comptes – Observations définitives relatives au contrôle de la gestion de la Communauté d’Agglomération du Pays de Montbéliard (Enquêtes Développement économique / Gestion de l’eau) Mme Marie-Noëlle BIGUINET 3- Acquisition parcelle CL 30 – 4 à 8 rue Lulli – Néolia Mme Marie-Noëlle BIGUINET 4- Acquisition parcelle CL 167 – Lieudit Le Chênois – Office Public de l’Habitat du Doubs Mme Marie-Noëlle BIGUINET 5- Rachat de l’immeuble sis 4 rue des Halles – 17 Place de la Lizaine en portage foncier à l’Etablissement Public Foncier de Bourgogne Franche-Comté Mme Marie-Noëlle BIGUINET 6- Cession route d’Allondans – M. Claude MENETRIER Mme Marie-Noëlle BIGUINET 7- Cession des parcelles BE 248 et BE 250 sis Pied des Gouttes au profit de Pays de Montbéliard Agglomération Mme Marie-Noëlle BIGUINET 8- Marché de la Petite-Hollande – Demande de gratuité M. Eddie STAMPONE 9- Rapport sur la situation en matière d’égalité femmes / hommes M. Eddie STAMPONE 10- Budget Principal – Reprise anticipée des résultats de l’exercice 2022 au Budget Primitif 2023 M. Eddie STAMPONE 11- Budget Primitif – Année 2023 – Budget Principal M. Eddie STAMPONE 12- Budget annexe du service public des cimetières – Reprise anticipée des résultats de l’exercice 2022 au Budget Primitif 2023 M. Eddie STAMPONE 13- Budget Primitif – Année 2023 – Budget annexe du service public des cimetières M. Eddie STAMPONE 14- Impôts locaux – Fixation des taux 2023 M. Eddie STAMPONE 15- Autorisations de Programme – Budget Primitif 2023 – Ajustement M. Eddie STAMPONE 16- Subventions aux associations, au CCAS et subventions d’investissement – Année 2023 M. Eddie STAMPONE 17- Provisions comptables et reprises sur provisions – Budget Principal – Année 2023 M. Eddie STAMPONE 18- Tarification – Année 2023 - Actualisation M. Eddie STAMPONE 19- Personnel communal – Actualisation du tableau des emplois Mme Christine SCHMITT 20- Partenariat entre la Ville, l’Office de Tourisme et les organisateurs de manifestations soutenues par la Ville pour l’hébergement dans les hôtels montbéliardais – Convention type M. Philippe TISSOT 21- Association pour la Promotion de la Culture Rock dans le Pays de Montbéliard (APCRPM) – Signature d’une convention d’objectifs et de moyens entre la Ville de Montbéliard et l’APCRPM – Années 2023 / 2027 M. Philippe TISSOT 22- Harmonie Municipale de Montbéliard – Signature d’une convention d’objectifs et de moyens entre la Ville de Montbéliard et l’Harmonie Municipale de Montbéliard – Années 2023 / 2027 M. Christophe FROPPIER 23- SEDIA – Proposition de modification statutaire de la SCCV Immobilier H2 M. Christophe FROPPIER 24- SEDIA – Adoption des statuts de la SCCV SEDIA/SH Partner’s ou SCCV Les Mesnil Pasteur M. Christophe FROPPIER 25- Projet de dynamisation du centre-ville – Fonds d’aide à la requalification des enseignes et façades commerciales – Versement des subventions M. Christophe FROPPIER 26- Ravalements de façades d’immeubles – Versement des subventions M. Gilles MAILLARD 27- Sinistres causés par des tiers sur des éléments du domaine public – Réparation amiable – Protocoles d’accord transactionnel M. Gilles MAILLARD 28- Convention avec la Recyclerie des Forges pour la collecte et le réemploi des vélos laissés à l’abandon sur le domaine public M. Gilles MAILLARD 29- CEREMA (Centre d’Etudes et d’Expertise sur les Risques, l’Environnement, la Mobilité et l’Aménagement) - Adhésion Questions diverses. Read the full article

[vincentdelaplage]

LES LUMIÈRES DE VERSAILLES #leslumièresdeversailles Louise de La Vallière, rencontre Louis XIV en 1661, à 17 ans, et devient sa première favorite officielle. Elle restera plus de dix ans à la cour avant de se retirer au couvent en 1674, jusqu’à sa mort en 1710. UNE IDÉE DE PEINTURE Portrait présumé de la duchesse de la Vallière accompagnée de ses enfants. Copie d'après un original attribué à Mignard au château de Windsor ; commandé par Louis-Philippe pour le musée historique de Versailles en 1837. UN PEU D'HISTOIRE Honteuse « d’être maitresse, d’être mère, d’être duchesse » selon les écrits de Madame de Sévigné, Louise de La Vallière souffre de l’exposition de cet adultère. Elle fut la maîtresse royale la plus désintéressée, ne demandant jamais rien pour elle. Eclipsée à partir de 1668 par Madame de Montespan, elle forme le souhait de se retirer au couvent, mais Louis XIV la retient à la Cour. Après des années de cohabitation imposée, Louise est autorisée à quitter la Cour ; elle entre au couvent des Grandes Carmélites de la rue Saint-Jacques en 1674, après avoir publiquement demandé pardon à la reine. Sous le nom de Louise de la Miséricorde, elle se tient à distance de ses enfants et mène une vie de pénitence jusqu’à sa mort en 1710. Peu touché par sa perte, Louis XIV affirmera que Louise de La Vallière est morte pour lui le jour de son entrée au couvent. UNE MUSIQUE D'UN BONHEUR CONTAGIEUX Jean-Baptiste Lully, Chaconne de L'Amour médecin https://youtu.be/WYfXRQ37L6M S’il est un compositeur qui symbolise les fastes de Versailles, il s’agit bien de Lully. Venu d’Italie, il a réussi à gravir les échelons de la Cour, jusqu’à être nommé surintendant de la musique royale, et à régner sans partage sur les plaisirs musicaux de Louis XIV. https://www.facebook.com/groups/716146568740323/?ref=share_group_link https://www.instagram.com/p/ChjcC1YM68R/?igshid=NGJjMDIxMWI=

[lucdesportes]

Chez le notaire, rue Lulli, aujourd’hui.

[ruexberry]

“I’m not tired.” Rue mumbled with a sleepy expression. “I’m not.... tired... at all....” She fell asleep in his arms, Sebastian’s heartbeat lullying her to sleep.

Infiltrated

@sebastian-huxley

This was a big day, Rue was wearing her pastel pink pants suit!! She hummed as she strut right into her local police station, holding a big box with a bright smile. She went past the front desk with confidence, even humming as she set down a giant box of cupcakes on a nearby table.

Rue had an assignment to do and she was going to get that A no questions asked. She’ll give the cops a little something sweet then BOOM top secret access! This plan was FOOL PROOF. As long as she acts confident in this super professional pink suit she’ll fit right in!

[autodidact-adventures]

Ballet History (Part 17): Women at the Paris Opera

Despite the fact that the English, on the whole, were not partial to ballet, London was still a vigorous cultural centre with freedoms far greater than Paris.  In 1730 (not long after Weaver left Drury Lane), Voltaire wrote to a London friend about the French ballerina Marie Sallé, whom he knew and admired.

Marie Sallé.

Sallé had had problems at the Paris Opera, both artistically & administratively, so she'd left Paris and was on her way to London, where she met with great success.  Voltaire complained to his friend about “the difference between their freedoms and our slavery, between their wise confidence and our crazy superstition, between the encouragement that London gives to the arts and the shameful oppression under which they languish in Paris.”

The Paris Opera was stuck in an artistic rut, and was beset with internal problems.  These issues were getting worse and worse, and so London continued to attract French dancers, which increasingly annoyed French officials (especially at the Opera).

The main problem was that the Opera remained tied to aristocratic taste & etiquette.  By royal decree, they were only allowed to perform tragédies lyriques and opéras-ballets, so there was no mixing of high & low theatre, like there was in England and other European theatres.  The works of Lully & others of his age still dominated, and would continue to do so well into the 1770's.

The building was situated on the rue Saint-Honoré, and was also very much aristocratic.  Like a large royal ballroom, it was rectangular in shape.  It was decorated in gold, white and green, and fancy satin material was used.  The fleur-de-lys was prominently displayed on the proscenium arch over the stage.

Louis XV was the current king (1710-74), and he personally controlled the seating.  The best seats were the 6 boxes right on the stage itself, for the highest nobles & princes of the blood.  They sat there so that they'd be in full view of everyone.  The king sat in the box to the right of the stage, and the queen in the box opposite him.

Other high nobles sat in boxes arranged in a crown, around the first ring (or tier).  The boxes weren't just for sitting to watch the show – they were decorated salons, leased for up to 2-3yrs.

The 2nd & 3rd tiers were where lesser nobles, wealthy priests, courtesans, and demimondaines (women of doubtful social standing & morality) sat.  On the 3rd tier was “paradise” – a balcony with hard benches and tub toilets that stank so badly that people often fled.

The parterre (ground floor behind the orchestra pit) was standing-room only, and only for men.  The crowd could be up to a thousand people, all squashed together, and they were raucous – singing, dancing, shouting, whistling, and even farting their approval or disapproval of the performance.  The king's soldiers patrolled with muskets, in case things got out of control.

Everything was about social display.  The partitions between boxes had been set up so the audience could see each other better than they could see the stage.  The elite all had opera-glasses, and they used them to spy on each other and inspect fashion & behaviour.

The theatre was lit by large candle chandeliers (giving a smoky haze) and many oil lamps, and they remained lit throughout the performance. Aristocrats often arrived fashionably late and left early.  They moved freely between boxes, visiting and gossiping with friends.  All this gave the theatre the air of a party, rather than a performance.

It wasn't that the audience paid no attention to the dancers, though. Many followed the performance closely, and lengthy discussions on it would later be held in salons, and through letters & pamphlets.

Marie Sallé (1707-56) was perhaps the most famous ballerina of her generation.  She belonged to a family of itinerant actors and tumblers (her uncle was a renowned Harlequin), and they performed on the Parisian fair circuit, mostly performing pantomime & tumbling acts.  At this time, the fairs were popular among the lower classes, but the upper classes & royalty also went to them, eager to see parodies of their favourite operas & ballets.

But fair performing was difficult, because of the restrictions placed upon them.  The Paris Opera and Comédie Française were careful to guard their privileges, and at various times fair performers were banned from singing and even speaking onstage.

But there are always ways around that sort of thing.  They planted people in the audience to sing the words from there; played tunes from well-known operas so the audience could join in; held up boldly-lettered placards onstage.  Fairs were basically impossible to censure or regulate, and fairground performance flourished, developing into a successful form of mute theatre.

They were so successful that in 1715, they made a deal with the Paris Opera.  For a fee, they were now allowed to perform opéra-comiques, plays which mixed song, dance and speech (rather like today's musicals).

The fairs weren't the only venue of this kind in Paris.  In 1716, the Italian commedia dell'arte returned to Paris, and established the Comédie Italienne.  The two theatres (Comédie Italienne & the fairs??) merged in 1762, becoming the Opéra-Comique.  They had royal patronage, and were a serious rival to the Opera.

So as Marie Sallé grew up, a major shift in Parisian theatre was occurring.  The Opera was stuck in its own prestige, unable to progress or innovate; the lower genres of pantomime, vaudeville, and circus forms were where the action was.

The Sallés performed in the popular Parisian theatres, and Marie also travelled to London to dance at the Lincoln's Inn Theatre (run by John Rich) in the same years when Weaver was carrying out his experiment in Drury Lane.

As well as performing fairground mime, Marie Sallé studied ballet with Françoise Prévost.  Prévost was an Opera ballerina, and was well-known for her daring performances in the Duchesse du Maine's Grandes Nuits, held at her château in Sceaux.  At the Grandes Nuits, Prévost performed pantomimes in a self-consciously serious (and also highly erotic) style, using the mime of the fairs, but also the elevated manners of the high noble style.  In 1714, her audience was moved to tears by her performance of a scene from Corneille's Les Horaces.  She didn't speak, and didn't wear a mask: all she needed was her face and expressive gestures, bringing a “shocking intimacy and emotional depth to her otherwise formal presentation.”

Françoise Prévost as a Bacchante (painted by Jean Raoux, 1723).

Sallé was even more adventurous than Prévost.  In 1727, she debuted at the Opera, dancing in the noble/serious style.  But she soon became impatient with the strict artistic rules, and inside intrigues.  She got the support of Voltaire and Montesquieu (both admired her beauty), and went to London.  She carried with her several letters of introduction, including one from Montesquieu to Lady Mary Wortley Montagu, an essayist and the daughter of on of the Kit Kat Club Whigs.

London was perfect for Sallé.  She performed at Lincoln's Inn Theatre, and also worked closely with Handel, especially on his Italian operas (such as Alcina).  She choreographed many of her own dances.  In 1734, by “Their Majesties' Command” she performed Pygmalion “without hoopskirts, or corps, dishevelled and with no ornament in her hair...just draped in chiffons on the model of a Greek statue,” one journal wrote.  In another dance, she “expressed the deepest sorrow, despair, anger, and dejection...depicting a woman abandoned by her lover.”

Here, she was free to cast off the masks and corseted dresses and set aside her formal training, instead performing solo dances that mixed pantomime, gesture, and free-form movements.  She could convey a story without words, other dancers, props, masks or costumes.  It was a far cry from the stagnant Opera.

The renowned English actor David Garrick would later recall that audiences loved her so much that they threw her gold guineas, wrapped in banknotes and tied up with colourful ribbons.

In 1735, Sallé returned to the Paris Opera.  She worked with the composer Jean-Philippe Rameau, who struggled against the Lully-ists – his music was emotional and intense, and they found it too unlike the French classical tradition, which was more restrained.  Sallé's acting skills made her an excellent interpreter of his music, and she created & performed many of his most successful productions, including Les Indes Galantes.

But she was no longer dancing like she had in London.  These were formal dances, and the dancers usually wore masks and hoopskirts. Sallé tried to perform at the more artistically-lenient Comédie Italienne, but the king threatened to have her arrested, as loyalty to the Opera was important to him.

Sallé retired in 1741, but continued to perform regularly at court. She died in 1756, in Paris.

Marie Sallé was very important to the development of ballet.  She was the first woman to “intuitively play sex and ballet off each other and to set her talents against convention”.  She was famous for her beauty, but also for her virtue (at this time, actresses & dancers were often also courtesans).  She took no lovers, and when she returned to Paris from London she lived with Rebecca Wick, an Englishwoman, and left her belongings to her when she died.  This modest behaviour annoyed contemporaries, but it also increased her popularity.

Before Sallé, the noble style had belonged to men.  Women came to it late, and performed in the shadows of men.  But Sallé changed this. She removed its ornate clothing and wore plain, revealing Grecian drapery; she moved in more natural ways, using gestures & pantomime to lessen its artifice & formality; she made it erotic and feminine.  The way she danced could depict inner, personal worlds, not just ceremonial ritual & forms.  It was intimate and very unlike the status quo of the time.

Marie-Anne de Cupis de Camargo (1710-1770), Sallé's rival, also changed dance, but in a different way.  Until now, women had not performed the virtuosic steps, jumps and beats of men (or acrobatic Italian dancers).  But Camargo did, and she even shortened her skirts to calf-length so that her footwork could be seen.  She was one of the first dancers to wear slippers instead of heeled shoes.  Also unlike Sallé, her private life was filled with scandal and lovers.  She became quite rich, and very notorious.

La Camargo Dancing (Nicolas Lancret, 1723)

Sallé and Camargo moved ballet towards the ballerina, who would eventually replace the danseur as the focus in ballet. However, at this time, women who danced in the serious/noble style, or who were virtuoso performers, were described as imitating men. Camargo was said to “dance like a man”, even though her style was very provocative.  Anne Heinel (a later dancer) also danced in the serious style, and was described as “a superb man in woman's clothing”.  Another person said, “it was like watching Vestris dancing as a woman”.

At this time, the social status of women at the Opera was quite peculiar.  By the end of the 1700's, most Opera dancers were from low backgrounds, including artisanal/theatrical backgrounds.  Because they were employed by Opera, they were therefore servants of the king.  This was pretty simple for the men – they owed duties, and were afforded protections.  But for women, it was different.  Their fathers and husbands no longer had a financial/social hold over them, as their employ fell under the exclusive control of the king and gentilhommes du roi.  So the Opera was a sort of haven for them.

This meant that they were allowed to keep their earnings, unlike most women in French society, and they were independent.  But they were also more vulnerable to slander, financial ruin, and abandonment.  Many took advantage of their freedom & beauty by also becoming courtesans.  Prévost did so (and Camargo); so did Mesdemoiselles Barbarini, Dervieux, Deschamps, Guimard and Petit: they juggled multiple lovers and often lived in incredible luxury.  One police official complained that the Opera was “the nation's harem”.

Professional female dancers were relatively new.  When they'd first performed onstage in the 1680's, their dances were often ones that were often performed (simplified) by noblewomen at court, and in high society.  So onstage, the Opera dancers were acting like aristocrats, even though they certainly weren't in real life.

At that time, theatrical illusion and reality were not as separate as they are now.  When an actor died onstage, he was seen to really be dead (for that moment); so a dancer was really noble (while onstage).

Also, dancers often mixed with royalty in real life.  Many were wealthy, and had the “trappings of status” and the manners of royalty (although their speech was probably not upper-class).  The clause de non-dérogation that procted nobles from losing their status if they performed on a public stage also helped the dancers, giving some respectability to their profession, even though they were also regarded as courtesans.  Many of the filles d'opéra, as they were called, tried to cleverly turn this curious situation to their advantage.

Camargo was one of the few dancers to come from a family of true noble descent (Spanish & Italian), but they were impoverished. Her father sent his daughters to the Opera because they could earn a living there without their family losing status.

Camargo & her sister were taken off to a secluded retreat by the Comte de Melun, a wealthy & jealous admirer.  Their father wrote an angry complaint, insisting that they be treated befitting their noble birth, and demanding that the Comte either propose or be brought to justice by the authorities.  He did neither, nothing happened, and Camargo's life went back to normal.

In 1734, Camargo apparently left the Opera for 6 years (while she was at the height of her fame) to live with Comte de Clermont, the abbé de Saint-Germain-des-Prés, and high-ranking.  He kept her secluded in various Parisian houses, and she gave birth to two children during her time with her.  He eventually abandoned her, and she returned to the Opera again.

In 1740, Mademoiselle Petit was slandered for “illicit relations”, and she replied in print, admitting that she'd chosen to work at the Opera for the sole purpose of using her beauty for social & financial gain.  But, she continued, she'd always acted “as a woman of high birth” and she should be treated like it – it was no less real for being instrumental.

Petit was indignant at the accusations, but she knew that her argument was shaky.  So she compared her situation to tax farmers, who often courted her.  Tax farmers collected duties & taxes for the king, and were a hated symbol of the regime's abuses.  Her position was the same as theirs, Petit claimed – they both began from nothing, were cold-blooded, and juggled many clients at once; tax farmers got their status from their wealth, and hers from her charms.  But at least the men she courted loved her, whereas tax farmers were universally hated.

The tax farmers, predictably, were outraged.  The Fermiers Généraux was a powerful organization of tax collectors & financiers employed by the king, and in 1741 they published a pamphlet to reject the claims of this “little Actrice”.  She was idle and useless, the pamphlet said, and her loose morals were bad for society.  Nothing came of the pamphlet war, but Petit's actions had exposed the shakiness of her own position, and of theirs.

The female Opera dancers did not have a clear social identity.  In 1760, an architect filed a lawsuit against Mademoiselle Deschamps, for failing to pay him.  Deschamps was married, but legally separated; she was protected by powerful, wealthy interests, including the Duc d'Orléans and a tax farmer called Brissart).  The lawyers had no idea who was responsible for the architect's fees:

The Actresses of the Royal Academy of Music are privileged and virtually indefinable beings.  They are useless, though unfortunately regarded as necessary, not so much authorized as protected, and tolerated by the political Government, though not by legislation. Isolated at the heart of civil society, they rule in a sphere that is quite apart from any other...They belong neither to parents nor to spouses: in a sense they depend only upon themselves.

She was a social blank, with no civic identity, but her position at the Opera still gave her a social standing.  The lawyers didn't know what to do, so they focused on the economics of the problem, rather than the social issue.  People had to be held responsible for their actions in the market-place, they said, in order to have a good economy.  So she had to pay, and she did.

But as she got older, Deschamps fell into debt, and had to sell her possessions in a public auction.  Lines of carriages brought the elite to rubber-neck, and the crowds were so great that tickets were issued, with the most distinguished visitors first – as if she were dancing the final act of the ballet of her life.

Deschamps was eventually forced to flee Paris, and was imprisoned by the police in Lyon.  She did escape, but never regained her status, and died in the early 1770's, in a miserable state.

Going back to Sallé and Camargo – it was women who were often pushing the envelope in the 1700's & 1800's because they had less to lose, and more to gain, and their independent but shaky position gave them a kind of reckless courage.  Their actions were instrumental in pushing ballet in a new direction, out of the rut it had found itself in, and opening up the possibilities for more developments.

[aurianneor]

Théâtre de rue

Le père de Fanfan l’emmenait, elle et son frère au festival d'Avignon. Non pas par amour du théâtre mais parce que le parc des jardins du Palais des Papes devenait impraticable pendant cet événement puisque Fanfan passait devant avant de s’y rendre et qu’elle le suppliait toujours de rester. Cela ne lui déplaisait pas non plus et il était aisé pour lui de voir que ses enfants étaient émerveillés par l’ampleur de l’évènement. Et il y avait de quoi ! Tous ces gens qui jouaient dans les rues ; les uns à côté des autres ; si serrés que lorsque l'on regardait un spectacle, on entendait également celui de droite et celui de gauche en même temps. Une sorte de stéréo qui n'était en aucun cas une gêne. L'être humain est doté d'un formidable organe du nom d'oreille sélective. Les enfants, eux, étaient absorbés dans les histoires qu’ils vivaient autant que les acteurs toutes les intrigues. Fanfan ne manquait pas de subir de brusques retours à la réalité et de planer un peu avant d’atterrir pour revenir au quotidien. Les premières années, ils n’allaient que sur la place du Palais. Puis, années après années, le phénomène s'étendant dans toutes les rues du centre-ville d’Avignon, ils profitaient de l’ensemble du spectacle, de toute l’ampleur de l’évènement. L'ambiance était un peu celle des fêtes de Bayonne sauf que l'ivresse venait des spectacles et non de l'excès de boisson. Et cette foule ; qui permettait à peine de circuler… Ils ne choisissaient plus ce qu’ils regardaient ; ils étaient embouteillés devant tel ou tel spectacle. L'aventure était extrêmement plaisante. La surprise d'autant meilleure, même si parfois ils tombaient sur un truc qui ne leur plaisait pas du tout. Et comme j’adore Forrest Gump, le personnage, le film et la bande son, disons que lorsqu’ils allaient au festival, ils ne savaient jamais sur quoi ils allaient tomber. Ce festival était comme une boîte de chocolats et les spectacles qu’ils aimaient étaient d’autant meilleurs qu’ils en avaient vu d’autres qui leur déplaisaient. Et même parfois, c’était ceux qui leur déplaisaient qui avaient un goût qui restait en bouche car ils les avaient interpellés, fait réfléchir et parfois changer d’idée. Ce festival était fait de rencontres inattendues ; et comme dans la vie, c’était sa diversité qui faisait sa richesse. C’était sa diversité qui faisait son intelligence car il n’y a pas de bon et de mauvais goût ; il n’y a que notre goût et celui des autres. La rencontre permet le mariage des saveurs, un liant entre les différents êtres humains de tous âges, toutes origines, tous milieux sociaux. C’est là que réside toute sa beauté.

En grandissant, Fanfan avait fini par devenir actrice de ce type d'événements. Lors des fêtes de la musique, elle chantait chaque année dans les rues avec ses chorales ou, à l'occasion, jouait de la flûte. Elle voyait le public qui allait et venait ; comme des vagues de cet océan humain ; s'échouant ici et là, puis repartant. Au début, elle regardait si famille et amis étaient là ; mais n'en voyait point... En grandissant, elle se rendit compte que c'était bien parce qu’ils n’étaient pas là que le don de son art, aussi petit soit-il, aussi modeste soit-il, avait du sens. En effet, proposer un spectacle à la sphère familiale ; comme elle le faisait, petite, dans le salon, à la maison, est une prémices nécessaire pour surmonter sa timidité, mais les louanges de la famille et des amis sont forcées. Un public d'inconnus aime ou n'aime pas. Il reste ou il part. Quel honneur quand il reste ! Quel plaisir de pouvoir partager ce qu'on aime ! 

Que ce soient les acteurs d'Avignon ou les enfants de son école de musique, personne n’était payé. Au festival, un chapeau passait à la fin de chaque représentation, mais le père de Fanfan ne donnait jamais rien. On ne partage pas son art pour de l'argent mais par amour de son art, et surtout des autres. Les artistes méritent d'être rémunérés. Mais ils ne le font pas seulement pour être rémunérés sans quoi ils ne peuvent vraiment être artistes. Car chercher à plaire ne laisse place qu’au consensus et le consensus n'est pas le partage de ce que l'on aime, le consensus n’est pas une rencontre sincère. Mais comme l'artiste fait vivre cafetiers, boutiquiers, restaurateurs et hôteliers, il est bien normal de leur reverser une partie de ces recettes. Et les artistes doivent beaucoup travailler pour pouvoir s’exposer. Il faut bien qu’ils vivent.

Petit à petit, le festival d'Avignon s'est renfermé dans ses murs. Quelle tristesse de voir ses rues où la marée humaine avait laissé place à des ruisseaux de taille moyenne qui ne s'arrêtaient plus ; les gens allant d'un point à un autre, les yeux rivés sur des plans et des programmes. Il y avait certes quelques rares animations de rues mais il était évident qu'elles étaient offertes par la ville tant elles cherchaient à plaire au plus grand nombre, finalement devenues déplaisantes pour tous, en dehors des quelques bambins qui n'avaient rien connu d'autre. 

Fanfan ne venait plus avec son père. Tout étant devenu payant, il ne battait plus les pavés de cet événement qui avait pourtant gagné en renommée. C'était la dernière fois qu’elle y mit les pieds. À quand cela remontait-il ? A l'an 2000 ? Fanfan comprit ce que signifiait « acheteur pour Kiabi sur la zone Asie ». C’était le travail de Rose. Elle parvenait à obtenir des billets pour absolument n’importe quel spectacle, même ceux qui étaient bondés. Eh oui, l’époque des spectacles de rue était terminée ; il fallait maintenant se battre comme des chiffonniers et s’aligner dans de longues queues pour pouvoir assister à un spectacle. Fanfan avait adoré le cirque du soleil et la représentation dans la cour d’honneur du Palais des Papes. Elle y avait déjà été, l’année précédente, voir Nathan le sage  avec son amoureux et le beau-père de celui-ci. Elle comprit quelque chose d’essentiel, ou plutôt plusieurs choses essentielles. 1) Voir un spectacle avec des gens qu’on aime rend le spectacle 2 à 10 fois meilleur. 2) Les spectacles qu’elle avait vus avec Rose étaient tous absolument fabuleux, exceptionnels et elle était très heureuse que Rose lui ait fait ce cadeau. Mais elle préférait largement l’amateurisme où, comme dans une boîte de chocolat, on ne sait jamais sur quoi on va tomber ; des fois on aime, des fois on déteste ; mais ça n’est jamais pareil. C’est une vraie rencontre humaine. C’est une rencontre artistique riche même si des fois le ridicule de certains fait rire. Au moins, les acteurs essaient de créer, d’innover et d’être eux-mêmes. Elle préférait cent fois cela au professionnalisme qui formate, bien qu’il présente des choses qui, il faut le dire, sont très belles ; souvent bien plus belles que ne le seront jamais les performances des amateurs.  3) Elle adorait le pélardon avec du raisin blanc frais qu’elle partageait avec Rose le midi.

Fanfan n’est jamais retournée au festival d’Avignon. Mais elle a étudié le théâtre en classe d’hypokhâgne et khâgne puis à l’université et surtout elle a adoré les représentations de la Royal Shakespeare Company à Stratford-upon-Avon, ville natale de Shakespeare en Angleterre. Elle adorait la ville, elle adorait les théâtres, elle adorait être spectateur. Mais, de nos jours, on n’est plus debout, on ne parle plus, on n’a même plus le droit de manger dans les théâtres. Ça n’a pas toujours été comme cela. Ce type de théâtre a un charme fou, on s’habitue à son style, à sa classe et on finit par oublier que d’autres types de théâtre existent. Son 18, au BAC, Fanfan l’avait eu pour sa performance mais aussi pour son étude de l’espace théâtral. Le jury lui avait demandé, quel espace elle préférait et elle avait répondu sans hésiter une seule seconde celui où l’acteur construit lui-même son espace en évoluant parmi son public. De nos jours, les seules personnes qui montent sur des caisses ne le font pas pour exprimer leurs opinions politiques, comme c’est le mythe aux Etats-Unis. Ceux qui cherchent à avoir un public dans la rue ne le font que pour mieux mendier ; à l’exception de certains musiciens qui sont les seuls à avoir gardé cet esprit de rencontre artistique : aller chercher le public et créer une surprise. Aujourd’hui, le théâtre passe par des intermédiaires : une salle fermée et payante c’est-à-dire qu’il faut faire des compromis avec les propriétaires de la salle et les exigences économiques. La télévision et la radio qui doivent plaire à ceux qui achètent des espaces de publicité. La publicité dans les journaux, les castings et j’en passe.

Alors, pour finir, j’aimerais vous parler du meilleur show que Fanfan ait jamais fait. Elle en était très fière alors même qu’elle s’était faite siffler par les spectateurs. C’était celui dont elle se souviendrait toujours. Alors, que certainement, ce n’était pas le meilleur moment qu’elle ait passé, et idem pour les autres victimes qui étaient les spectateurs et les autres personnes qui partageaient la scène avec elle. Elle avait brûlé les planches de nombreuses fois ; elle avait fait rêver, elle avait fait passer sûrement de meilleurs moments à pas mal de monde. Mais cette représentation-là, huée de tous, elle restera toujours gravée dans sa mémoire comme l’apogée de tout ce qu’elle avait pu faire. La représentation de l’imprévu est ce qui rend le public le plus interactif. Le public fait partie intégrante du show. Et ça, c’est précieux.

C’était sa première année à Nîmes et le mois de juin approchait. 1996 était l’année où elle avait dû changer toutes ses activités extra-scolaires. Elle avait découvert le conservatoire de musique où le professeur ne l’avait pas cru quand elle lui avait montré que non seulement elle connaissait Lully à 15 ans mais qu’en plus elle appréciait sa musique. Son professeur lui avait quand même récité la vie et l’œuvre de Lully comme elle l’avait prévu dans son bloc-notes, sans en changer une virgule. Un vrai papier à musique cette femme ! Bien sûr, elle répéta nombre d’éléments que Fanfan venait de lui dire. Quelques semaines plus tard, elle avait rejoint un groupe de rock afin d’abandonner la rigidité du professeur du conservatoire qui lui enlevait tout le plaisir de la musique et histoire de sortir de sa zone de confort. Elle avait fait sensation quand elle avait avoué ne pas connaître Queen, toujours à 15 ans. Le groupe n’en revenait pas et se demandaient d’où elle sortait. Mais leur gentillesse et bienveillance lui avait permis d’apprendre à mieux connaître le rock et aussi d’apprendre l’improvisation, exercice qui était contre-nature pour elle. Le professeur était extrêmement patient. Elle avait également découvert le conservatoire de théâtre de Nîmes et, comme beaucoup, commençait à ne plus pouvoir s’en passer. Elle servait d’accessoiriste et faisait des mini-rôles pour aider ses camarades qui jouaient la fantastique pièce de Boris Vian Les bâtisseurs d’empire. Son mini-rôle préféré étant celui d’un des Schmürz envahissant la scène à la fin de la pièce.

La veille de la fête de la musique, la troupe avait joué en deuxième partie de soirée à l’université de Montpellier dans l’un des amphithéâtres de l’université. C’était en semaine. Il avait ensuite fallu tout ranger, puis ils étaient allés dormir sur des matelas improvisés chez une des actrices et pris le train vers 6h pour être à 8h en cours au lycée à Nîmes. A midi, Fanfan alla répéter au conservatoire pour une scène de Peer Gynt d’Ibsen, qu’elle préparait avec un autre acteur pour le spectacle de fin d’année. Elle était retournée au lycée puis avait retrouvé le groupe de rock dans lequel elle jouait, en début de soirée, dans un bar qui était bondé pour l’occasion. Quelle jeunesse, c’était un emploi du temps de ministre et elle manquait de sommeil. Le professeur les plaça sur scène. Fanfan était assez sûre d’elle car aux dernières répétitions et à un concert auquel ils avaient participé, avec d’autres groupes, dans un champ, elle avait joué le morceau avec un très joli son. Par contre, son gros point faible et qu’elle n’avait absolument aucune oreille pour s’accorder. Le professeur était débordé car il y avait quelques soucis techniques. Le guitariste proposa gentiment de l’aider.

La musique commença. Très bien jouée par les autres musiciens. Puis, c’était au tour de la flûte de jouer le thème principal. Désastre ! Ils n’étaient pas accordés… Fanfan ne pouvait s’arrêter de jouer pour le faire car elle n’avait absolument aucune idée de ce qu’il fallait faire. Le guitariste continuait de jouer et elle en fit de même. Des sifflements commencèrent à se faire entendre ; pas trop en rythme. Fanfan ne savait que faire. Mais comme ils jouaient The Show Must Go On, elle se dit que le meilleur choix artistique était de suivre les volontés de Freddie Mercury. Après tout, le groupe n’avait pas de chanteur, alors il fallait bien donner du sens au morceau d’une autre manière !

Malgré la foule qui les huait et qui les sifflait de plus en plus fort jusqu’à ce que les musiciens ne puissent plus être entendus ; de quelques coups d’œil furtifs, le groupe décida de finir ensemble le morceau. Ils n’avaient que les notes, certaines justes d’autres fausses, mais ils allaient faire le show coûte que coûte. Fanfan n’avait jamais eu un public aussi participatif. Encore aujourd’hui, c’était un de ses meilleurs souvenirs sur scène.

Pour le plaisir, je vous laisse lire la seule chose qui manquait à leur performance: les paroles de la chanson.

The Show Must Go On

Empty spaces - what are we living for

Abandoned places - I guess we know the score

On and on, does anybody know what we are looking for…

Another hero, another mindless crime

Behind the curtain, in the pantomime

Hold the line, does anybody want to take it anymore

The show must go on,

The show must go on

Inside my heart is breaking

My make-up may be flaking

But my smile still stays on.

Whatever happens, I’ll leave it all to chance

Another heartache, another failed romance

On and on, does anybody know what we are living for?

I guess I’m learning, I must be warmer now

I’ll soon be turning, round the corner now

Outside the dawn is breaking

But inside in the dark I’m aching to be free

The show must go on

The show must go on

Inside my heart is breaking

My make-up may be flaking

But my smile still stays on

My soul is painted like the wings of butterflies

Fairytales of yesterday will grow but never die

I can fly - my friends

The show must go on

The show must go on

I’ll face it with a grin

I’m never giving in

On - with the show -

I’ll top the bill, I’ll overkill

I have to find the will to carry on

On with the -

On with the show -

The show must go on…

Pour voir le clip, cliquez ici: https://www.youtube.com/watch?v=t99KH0TR-J4

Aurianne Or

Sur le thème du théâtre, j'ai également publié “Shakespeare and his Juliets”: https://aurianneor.tumblr.com/post/162281442215/shakespeare-and-his-juliets-feeding-a-multitude 

et “How Juliette met Shakespeare”: https://aurianneor.tumblr.com/post/162083312555/how-juliette-met-shakespeare

J'ai également crée une image sur Richard III au réveil (acte 5 scène 3): https://aurianneor.tumblr.com/post/158387391400/vision-au-réveil-après-un-cauchemar-ce. J’ai également écrit quelques scènes. #scène

Permis sur la planète rouge: https://aurianneor.tumblr.com/post/178817034225/permis-sur-la-planète-rouge-une-histoire-de

Foot massage à กาญจนบุรี: https://aurianneor.tumblr.com/post/166876296355/foot-massage-à-กาญจนบ-ร-soffrir-un-massage-des

Homme à barbe: https://aurianneor.tumblr.com/post/166258001410/homme-à-barbe

Riche: https://aurianneor.tumblr.com/post/173797489620/riche-cétait-une-belle-journée-et-le-paysage

How Juliette met Shakespeare: https://aurianneor.tumblr.com/post/162083312555/how-juliette-met-shakespeare

Toulouse: https://aurianneor.tumblr.com/post/160848281930/toulouseThéâtre de rue: https://aurianneor.tumblr.com/post/161128273180/théâtre-de-rue

Dinosaure sur la route: https://aurianneor.tumblr.com/post/168470355765/dinosaure-sur-la-route-ah-il-faut-quand-même

Explosion Volcanique : https://aurianneor.tumblr.com/post/168251271985/explosion-volcanique-oh-non-quel-désastre

Gender-Le genre: https://aurianneor.tumblr.com/post/158649518000/gender-le-genre

[marthaohara]

Quiet Luxury At The Hotel Design Project – Grand Hotel du Palais Royal

Quiet Luxury At The Hotel Design Project – Grand Hotel du Palais Royal – If there are names that pretty much says it all, Grand Hotel du Palais Royal may be the one. Along the storied and historic Palais Royal and its famous gardens, the Grand Hotel du Palais Royal has completed a full renovation in 2013 inviting guests to enjoy the feeling of quiet luxury. A wonderful destination to relax while Maison et Objet 2018.

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  It is a modern classic that puts on a show, located on the rue Saint-Honor, right in the heart of Paris and Parisian’s favourite neighbourhood. The world-renowned architect Pierre-Yves Rochon, who draws from a sober palette and a wide range of historical influences to deliver a look that’s utterly contemporary, has brilliantly turned this historical monument into a hotel of timeless elegance and glamour. With an enviable location, this Grand Hotel Parisien is literally only a few steps away from the world’s finest attractions: The Louvre Museum, the Opera Garnier, and Saint-Honore fashion designers.

Read also: Boca do Lobo Presents Minimal Maximalism Approach For IMM Cologne 2018

With 57 rooms and 11 suites, it holds grand-hotel standards and offers distinguished and discreet personalised service. They are all the last word in style, luxury, privacy, peaceful and some even feature stunning views of Paris’ most famous monuments. You will find the exclusive decor refined, and set off with works of fine art and the height of functionality.

Through its doors, amenities at the Grand Hotel du Palais Royal positively define luxury and make the Grand Hotel du Palais Royal a secluded oasis. Elegant, refined and so much a home from home, each Paris guest room and suite at the Grand Hotel du Palais Royal offers you a serene and luxurious retreat. Honouring the main of the spirit of Les Grands Hotels Parisiens, the designer Pierre-Yves Rochon applied his same artistic codes blends to a unique heaven.

Don’t leave The Grand Hotel du Palais Royal without dining at Restaurant Le Lulli, designed as a winter garden, with tables offering a view of the beautiful greenhouse along the Valois Square. As if it wasn’t enough, the exclusive Carita SPA offers guests comfort and wellness after a busy day in Paris.

All in all, it’s an instant classic. And I truly believe that this hotel would be extraordinary even if it were set in some dull financial district — set here, adjacent to the Palais Royal, it’s verging on the sublime.

Read also: Maison Et Objet 2018 Has Chosen The Designer Of The Year

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Source: CovetED Magazine

from Quiet Luxury At The Hotel Design Project – Grand Hotel du Palais Royal

[katiezstorey93]

Traveling: Paris couture tour

Back in Paul Gallico’s Mrs Harris Goes To Paris (1958), a London char woman, Ada ‘Arris, puts her heart on buying a Dior evening gown after glimpsing such a creation from the attire of one of her wealthy clients, Lady Dant.

After years of scrimping and scraping Mrs Harris journeys to Paris. When there she sets up a fight against the first prejudice she encounters at France’s finest haute couture house, unwilling to entertain her. Gallico’s allegorical narrative shows that the comprehension of what things in life can be surprising and just how far someone will go to attain their dream.

Within the Yves Saint Laurent Museum.

Looking at the faces of those queueing in the torrential rain early on a Sunday morning to see the Christian Dior Couturier du Rêve (Programmer of Dreams) exhibit, with their expressions of reverential awe and delight, it’s obvious the soul of Mrs Harris resides on.

The display, celebrating the 70th anniversary of the home of Dior, comprises over 300 gowns and more than 1,000 accessories made between 1947 and the present day, including some by Dior’s more recent creative directors like John Galliano, Raf Simons and Maria Grazia Chiuri.

But the extravaganza in the Musée des Arts Décoratifs also brings home the fact that Dior (1905-1957) spared the French fashion business and revived national pride after the Nazi occupation of much of the nation. One moving exhibit is a letter composed by Dior to his dad about his sister Catherine, a member of the Resistance that is French-Polish, imprisoned in the concentration camp of Ravensbrück women.

Back in 1947, when his revolutionary New appearance was revealed by Dior, he also introduced Miss Dior cologne, in honour of his sister.

The exhibition, interspersed with a lot of images by artists like Renoir Monet and Salvador Dalí, movie footage and functions by photographers ranging to Irving Penn and Richard Avedon, leads up to some finale.

A hall of mirrors, like that in the Palace of Versailles, features a dazzling collection of stunning night dresses and a light show — starting at “dawn” throughout the Palace windows and finish with a display of the night sky constellations plus a cascade of golden stars.

January 2018, the Dior exhibition, combined with Fortuny runs until 7.

A rare treat is to see Mariano Fortuny’s (1871-1949) controversial Delphos gowns. The silk, loose, finely styled “Grecian” dresses, ornamented with Murano glass beads have been worn with no underwear and made a sensation when found in 1907, freeing women from the corset. The Delphos springs back into shape when unfurled, when rolled up into a ball.

An ideal hotel, just 200 yards from the Louvre and the Dior exhibition is the five-star Grand Hôtel du Palais Royal on the rue de Valois, a silent side-street alongside the Palais-Royal, the former Royal Palace that was notorious for its glittering parties, gaming, intrigue and debauchery.

The 18th-century 68-room hotel, also a member of Small Luxury Hotels that has 520 independently-owned hotels across 80 countries was renovated by architect Pierre-Yves Rochon. Rochon has accepted this Palais-Royal’s concealed garden courtyard sanctuary that the buildings around the hotel, along with the artworks of the Louvre. Its most contemporary features incorporate the Carita spa and pub, the Le Lulli restaurant, fitness centre, along with a hammam.

Lots of the suites and rooms have balconies with views across the Paris rooftops.

Rooms are elegantly furnished and guests are welcomed with complimentary treats like a plate of French macarons, flowers, fruit juices and bottled water on arrival. The spoiling proceeds in the baths that have a variety of luxury Atelier toiletries.

Children, dogs and cats are also welcome. There is a kids’ area with toys, scooters offered for family excursions, along with a children’s menu.

Completing the trio of style destinations, and also one that enables people to set foot into the salons in which shows were saw by clients or arrived for fittings and throughout the entrance hall, would be the Yves Saint Laurent Museum on Avenue Marceau.

At the center of the museum will be your design studio, in which Saint Laurent (1936-2008), famed for his signature creations that reimagined menswear in fashions for women — for example Le Smoking, also a tuxedo-style trouser suit, safari suits and trench coats — worked in his desk cluttered with postcards, pencils and paperweights, not forgetting the dog bowl on the ground.

If a single day of large style is too much of a culture shock after an Air France flight of two hours from Scotland, complete then the ideal antidote is an evening out in Oh My God She is Parisian! — a one-woman comedy show, in English, composed and performed by Julie Collas.

Collas’s one-hour show every Friday and Saturday evening in the Théâtre BO Saint-Martin, debunks the myth of this elegant Parisian, pokes fun at political partners like President Macron and Brigitte along with Donald Trump and Melania, also takes the viewer into the mind of this rude Parisian, waiters, also subway users, childcare hassles and far more.

Despite being a newcomer to the comedy scene, Collas, who made a decision to change her lifestyle after the Bataclan terror attack in November 2015, is bringing crowds from around the world eager to get a hilarious crash course about the “actual Paris”.

Following this type of rousing evening a visit to Spoon 2, Alain Ducasse’s new restaurant in the Palais Brongniart, the former French Stock Exchange about the Place de la Bourse, will keep the “choice Paris vibe” going. Ducasse, who’s among the planet’s most decorated chefs, also spotted a niche in the marketplace.

Dishes served in the casual restaurant where diners comprise Zahtar shoulder of lamb with yogurt, shrimp cake, set their own cutlery and dried bonito fish.

But any visit to Paris, the world capital of odor, could be incomplete without some mention of cologne — Dior explained: “a woman’s cologne tells more about her than her handwriting” — along with a visit to the Grand Musée Du Parfum housed within a 18th-century mansion, previously Christian Lacroix’s couture house.

The Syndicat Français de la Parfumerie, supports the museum, which opened in 2016, representing 66 perfume homes. It tells the story of cologne from its roots thousands of years tracing its history as the greatest aphrodisiac in Mark and Cleopatra Antony to their latter-day avatars Elizabeth Taylor and Richard Burton.

Diane Thalheimer, the museum’s olfactive profiler, says when it has to do with memories and odor “everybody has their own truth” and institutions.

The museum’s hands interactive exhibits also supply whiffs of cannabis, tobacco, absinthe and also “boudoir liberator” (we’re in Paris…) and it has even maintained a whisky profiling workshop, therefore it would appear that accessorising a Dior production may not be so difficult after all.

Air France offers 42 direct flights from Scotland from Aberdeen and Edinburgh airports. Fares start from #89 including taxes and fees. To book see www.airfrance.co.uk or call 0207 660 0337.

Book a stay in the Grand Hôtel Du Palais Royal with Small Luxury Hotels of the World from #327 per night (two sharing) on a room only basis.

Www.slh.com/palaisroyal or call 08000 0482 314.

Paris Shopping Tours: www.parisshoppingtour.com, diane@parisshoppingtour.com

from network 8 http://www.jewishtoursistanbul.com/traveling-paris-couture-tour/

[parisfind]

The #squareLouvois #fountain composed of allegorical sculptures that represent four major #French #rivers: the Seine, the Garonne, the Loire, and the Saone the old #neighborhood in #Paris #Parismaville #Parisjetaime #Pariscity #iloveParis #villedeParis #parisfind (at Rue Lulli)

[jeanetjeannepatin]

Mercredi 22 novembre 2017 à 19H sur Radio-Radio (Toulouse 106.8 Mhz) et sur http://62.210.215.26:8000/xstream , nouvelle émission de la Petite Boutique Fantasque intitulée : Rue de fourche boogie. Programme musical : Funky cloud (Alif Tree) / Shamas ud doha badar ud doja (Nusrath Fateh Ali Khan) / Boogie street (Léonard Cohen) / Follow me home (Dire Straits) / Bande annonce de Grandeur et décadence d'un commerce de cinéma de Jean-Luc Godard / Fork in the road (Neil Young) / Ouverture du Triomphe de l'amour (Lully) par Hugo Reyne et la simphonie du Marais/ Flying (Herbie Mann) / Annie Laurie (Alicia Scott) Pour ceux qui auraient piscine indienne, ou toute autre obligation, il y aura possibilité de rattrapage, un jour, avec les podcasts : http://www.radioradiotoulouse.net/#!baca

[hottytoddynews]

City of Lights: it’s called this because Paris was one of the first cities to become fully electrified. It’s called City of Amour because, well, simply put, the French know something about amour. Any visitor leaves forever remembering the sites – and the sites in the night lights. The Place de Concorde is the gateway to Les Tuileries and, nestled at the very front, are huge Rodins and the Musee de l’Orangerie [home of Monet’s “Water Lilies], which houses hundreds of works by Impressionist masters.

Lighting enhances the stunning beauty of the world’s most famous/visited museums, the Louvre, the former palace where art lovers view such objets d’art as the Mona Lisa, Winged Victory, and Venus de Milo. You might also call Paris the City of Museums. In addition to l’Orangerie and the Louvre, there’s the huge post-Modern high-tech steel and concrete Centre George Pompidou, with the largest collection of modern art in Europe; the d’Orsay; the Picasso; and prized private collections at the Jacquemart-André, Marmottan-Monet, Nissim de Camondo, and Louis Vuitton Foundation Musees to name but a few.

Passing the palatial Grand Palais and its Palais de la Découvérte science museum, and adjoining Petit Palais is a marvelous sight by night, but leaving Paris without a visit would be a huge mistake. You might even consider lunch at the reasonably-priced bistro overlooking the Palais gardens.

You will feel the majesty of Napoleon and the history of France at L’Arc de Triomphe. From there sail the well-heeled shopper’s paradise along the Champs Elysees, with a detour to the famed George V Hotel [soon to unveil its multi-billion Euro renovation]; then, pass tributes to Presidents Washington, Roosevelt, and Eisenhower, and statue of Churchill.

While only the super, super rich can afford the magnificence of the Hotel de Crillon [upward of $1,300 a night, continental or full breakfast included; where Who among the world’s Who’s Who hasn’t stayed], which has just reopened after its first major/total facelift in nearly 100 years, you can freely admire the lighted facade, even make a pit stop to admire the grandeur of its 18th Century lobbies, dine at the patio restaurant, and, by day, visit the garden. In the center of it all is the stately Palais Opera Garnier. Purchase tour/guided tour tickets to be swept away by the sweeping 1800s architecture, which includes the grand staircase, and galleries and salons which redefine the definition of regal grandeur. It’s home to the eight-ton bronze and crystal chandelier with 340 lights. Don’t miss having a photo taken in front of the box reserved for the phantom! Nearby is the ultra-modern Opéra Bastille.    

At the pinnacle of the Latin Quarter is the stunningly lit by night and worthy of a visit by day Panthéon.   

After viewing the fountains of the Gardens du Trocadéro Gardens with a magnificent view of the dazzling light show on the Eiffel Tower, cross the Pont d’Léna to the Left Bank, where you can marvel up close at Alexandre Gustave Eiffel’s 1889 Tower of steel — even elevator up to the top for dinner and a dazzling city view. Not far away is the Musee d’Orsay, the breathtaking home for more breathtaking Impressionist masterpieces.

Across the Pont Neuf or Pont Notre Dame on its very own lle da la Cité  in the Seine is lofty, medieval Notre Dame Cathedral, where kings and emperors were crowned, with its flying buttresses, gargoyles, towering bell towers [with 10 named bells of various sizes that can do notes from A to G], stained glass masterpieces that include the renowned Gothic-Rayonnant Rose Window, magnificent organ with 8.000 pipes, gigantic doors, and French Gothic interior — one of the world’s most visited tourist sites. Even gaudy, seedy Pigalle, in Paris’ 18th arrondissement, offers standout lighting: of the famed windmill atop the Moulin Rouge, on its present site at 82 Boulevard de Clichy since 1915.  Head northeast to Montmartre and one of the city’s highest points to the famed “stairway to heaven” stairway leading to the monumental Sacré-Coeur basilica [if you happen to be touring by car, your driver will know how to get you on the much closer upper roadway]. Day or night, it’s a great spot for taking photos.

Only a few miles outside the city, stay to experience the twilight radiance on Versailles, including the Petit Trianon, Grand Trianon, and gardens.

Paris is a walking city, and then some – with steep hills and stairways to climb; and labyrinth Metro stations.  So, wear very comfortable shoes.

In July 2017, one Euro equaled $1.15, which bodes well, especially when eating out [an advantage over the Pound].

If you have travel plans for summer and can wait until the “Magic Airfare Days” of the dog days of August when air fares begin segueing to lower Fall prices, you’ll save upwards of $100 booking August 21 on domestic air; booking August 22 international air, over $600.

Opera Garnier

It’s Charles Garnier’s monument to a bygone era. We will never see the likes of buildings like this one again. You enter into the rotunda and can’t help being astounded by the jawdropping beauty of the 98.5-foot-high tri-color marble vault and the famed Grand Staircase, where you’re greeted by two female allegories holding torches, that leads to the foyers, grand salon, theatre tiers, and private boxes [where one is permanently reserved for the phantom, a legend actually based on the deformed architect, who while helping Garnier secretly built “an underground lair” for himself adjacent to the lake.]

The view from the Grand Staircase, with light from outside and mirrors, is spectacular-plus. The Belle Époque galleries feature classic paintings of “dancing bacchantes and fauna, along with tapestries illustrating different refreshments as well as fishing and hunting.” The magnificent-beyond-description ceiling is by Clairin. The foyer vault, with a ceiling painted by Baudry and a copy of a bust of Garnier by the sculptor Carpeaux, features themes from the history of music. It’s covered with mosaics of shimmering colors on a gold background.

In the tradition of Italian theaters, the horseshoe-shaped seating is designed for the audience to see and to be seen. The majestic ceiling, painted by Chagall, hides the steel structure supporting the eight-ton bronze and crystal chandelier. The curtain, which has been duplicated twice, was created by theatrical painters Auguste Rube (1817-1899) and Philippe Chaperon (1823-1906), following Garnier’s instructions. The backstage areas are vast and flies soar up to the gods.

Once a sort of “secret place to court” and for well-heeled subscribers celebrities to mingle during intervals with Champagne and caviar, the Foyer de la Danse, adjacent to the stage which served as inspiration to painters and writers, including Degas and Balzac, is now a salon used by artists, musicians, and the corps de ballet for warm-ups.

Throughout the house, the lyre decorates the capitals of the foyers and salons, even heating grids and doorknobs. The Grand Vestibule, “watched over by the statues of Rameau, Lully, Gluck, and Handel,” leads to the exit.

For more information on the Opera Garnier, eight rue Scribe, schedules, tour/guided tour tickets, and reservations for the very expensive Opéra Restaurant under one of the vaults, visit www.operadeparis.fr.

The Panthéon

This magnificent and vast Sixth Century colonnaded orthodox cross-shaped edifice high up in the Latin Quarter, across from the Sorbonne, dates to 1744. Built in the neo-Classical style, it’s filled with huge, still vividly-colorful murals of French history. It was the brainchild of Louis XV, who when he became seriously ill and made a vow to build a monument for Saint Genevieve, patron/protector of Parisians against invasions and hunger, should he be cured. He chose the architect Soufflot [and, following his death, his colleague Rondelet] and paid for the tons of marble, soaring Corinthian columns, mosaics, and the columned porch inspired by Rome’s Pantheon of Agrippa, with a royal lottery.

At the time of the French Revolution, the church hadn’t been consecrated. In 1791, the Assembly decided to make it a Panthéon, “a lay temple destined to harbor the labors, struggles, and tombs of France’s great men.”

For more information, on the Panthéon, Rue du Panthéon at Rue Clotilde, visit http://ift.tt/2k1V5MS. Small admission charge.

Ellis Nassour is an Ole Miss alum and noted arts journalist and author who recently donated an ever-growing exhibition of performing arts history to the University of Mississippi. He is the author of the best-selling Patsy Cline biography, Honky Tonk Angel, as well as the hit musical revue, Always, Patsy Cline. He can be reached at ENassour@aol.com. 

The post Paris: Splendors of the City of Lights and Amour appeared first on HottyToddy.com.

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