Ponchielli - Marion Delorme

Product Information

Amilcare Ponchielli, born on August 31, will always be remembered for one work of opera – “La Gioconda.” And some might add that not even these days the opera is as popular as to give him sufficient clout as one of opera’s legendary composers. On leaving Milan, he spent some time in America and also occupied the position of principal double-bass in the Italian opera at Havana, where he later became director. Here his first opera, Cristoforo Colombo, was produced in 1847. In 1849 he made his first appearance in England, playing double bass solos at one of the Musical Union concerts. After this he made frequent visits to England, and his extraordinary command of his unwieldy instrument gained him great popularity in London and the provinces. Adaptace [ editovat | editovat zdroj ] Francouzská herečka Marie Dorvalová jako Marion de Lorme při premiéře hry roku 1831, autor kresby Achille Devéria Hudba [ editovat | editovat zdroj ] The plot faithfully follows the external events of the failed revolt of the French nobility against Richelieu's consolidation of power ( Count de Soissons's conspiracy [ fr]), but adds a secret love affair between the Marquis of Cinq-Mars and princess Marie de Gonzague. Whereas de Vigny's character yearned to become her social equal, the opera's hero enters politics only on learning of a planned marriage between Marie and the king of Poland. After the conspiracy is discovered, she is given a chance to save him by agreeing to the match, but her sacrifice is in vain: before their escape plans can be put into effect, the hour of execution is suddenly moved forward.

Friedemann Layer presides over all with a refined ear for the keen scoring and for keeping the drama on the move. He is particularly good in the concertato (large ensemble) that closes Act 3. The recording, though a shade confined, is adequate enough for anyone to enjoy thiswelcome newcomer to the catalogue. ---Alan Blyth, gramophone.co.ukThis article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Bottesini was widely acclaimed, and his virtuosic skill in the bass paralleled that of Paganini himself on the violin. Because of the contributions of Bottesini (along with those of Sperger and Dragonetti) to bass technique, many have come to view the double bass as a diverse and versatile instrument. Most notably there are many virtuoso bass players who draw inspiration from the early renaissance of the double bass. The tenor died on Thursday, Sept. 26 in Providence, Rhode Island due to health issues. The news broke on social media with family members revealing his death. She was the daughter of Jean de Lou, sieur de l'Orme, president of the treasurers of France in Champagne, and of Marie Chastelain. She was born in a wealthy family at her father's château near Champaubert. Initiated into the philosophy of physical pleasures by the epicurean and atheist Jacques Vallée, Sieur Des Barreaux, she soon left him for Henri Coiffier de Ruzé, Marquis of Cinq-Mars, at that time at the height of his popularity, and succeeded, it is said, in marrying him in secret. She began hosting a salon, and was introduced into the life of being a courtesan.

Bottesini wrote three operas besides those previously mentioned: Il Diavolo della Notte (Milan, 1859); Vinciguerra (Paris, 1870); and Ero e Leandro (Turin, 1880), the last named to a libretto by Arrigo Boito, which was subsequently set by Luigi Mancinelli. He also wrote The Garden of Olivet, a devotional oratorio (libretto by Joseph Bennett), which was produced at the Norwich festival in 1887, eleven string quartets, a quintet for string quartet and double bass, and many works for the double bass, including two concertos for solo double bass, the Gran Duo Concertante (originally) for two double basses, Passione Amorosa for two double basses, numerous pieces for double bass and piano, and an instructional book ("Complete Method for Double Bass"). In reality, the composer’s famous work has lost its status in recent years, and by extension, the composer’s profile has dropped rapidly.Based on Alessandro Manzoni’s famous novel, which also inspired Verdi’s admiration for the author, and the subsequent Requiem, the opera premiered in 1856 and was later revised for 1872.

The Comedians. The scene is the château de Genlis. Saverny enters, incognito, who related to the judge Laffemas the story of his own death. But during the conversation, Saverny learns that the man he fought with was Didier and that it was Marion's lover who saved his life. Shortly afterwards, Laffemas receives a letter announcing the escape of Didier, probably accompanied by Marion. He goes after them. Giovanni Bottesini (22 December 1821 – 7 July 1889) was an Italian Romantic composer, conductor, and a double bass virtuoso.My late, lamented colleague, Michael Oliver, would have exulted at the prospect of reviewing this hardly-ever-heard example of verismo, a genre (like so many others) of which he made a speciality. Ponchielli’s last opera appears never to have been recorded before, and has received few performances, even in Italy, after its comparatively successful première at La Scala in 1885. Hra je založena na principu všemocnosti lásky, schopné vykoupit i ztraceného člověka. Francouzská kurtizána Marion de Lorme (1613–1650) je ve hře láskou morálně očištěna. Jejím protipólem je děsivý symbol absolutismu kardinál Richelieu, první ministr krále Ludvíka XIII.

The composer’s second opera is a mystery, never actually getting performed despite being prepped for Turin.

Look for more clues & answers

Dalibor Jenis often has guest appearances at the Hamburgische Staatsoper ( Eugene Onegin, Barbiere di Siviglia, Bohème and Pagliacci), the Wiener Staatsoper ( Barbiere di Siviglia), the Royal Opera House Covent Garden London, where he sang before the role of Guglielmo in W.A. Mozart’s Così fan tutte and Marcello in Puccini’s La Bohème and at the Opéra National de Paris, where he celebrated an enormous success with his Figaro in the new production of Rossini’s Barbiere di Siviglia last season (2003) and could be heard as Yeletzky in Tchaikovsky’s Pique Dame. In Tokyo, he sang the title-role in the first Japanese performance of Ferruccio Busoni ‘s Doktor Faust, and in Montpellier, he appeared in a concert version of Amilcare Ponchielli‘s seldom performed opera Marion Delorme, as well as in the world premiere of Offenbach’s romantic opera die Rhein-Nixen during a concert at the Festival de Radio France. He was also engaged to perform in Janacek’s opera Cunning Little Vixen at the Teatro Colon Buenos Aires and the Teatro Real Madrid.