Synonyms for olimpie or Related words with olimpie
Examples of "olimpie"
is divided between her love for Cassandre and her duty to her mother. The troops of Cassandre and Antigone clash and Antigone is mortally wounded. Before dying he confesses he was responsible for the death of Alexander, not Cassandre. Cassandre and
are now free to marry.
According to the French music historian Arthur Pougin, Habeneck was initially the conductor responsible for the preparation of Spontini's "
", but at one of the general rehearsals Habeneck and Spontini had a violent quarrel, resulting in Habeneck's dismissal, and Henri Valentino was put in charge of "
reveal their true identities to one another and to Cassandre.
defends Cassandre against Statira's accusations, claiming that he once saved her life. Statira is unconvinced and is still intent on revenge with the help of Antigone and his army.
(also spelled Olympie) is an opera in three acts by Gaspare Spontini. The French libretto, by Armand-Michel Dieulafoy (1762-1823) and Charles Brifaut (1781-1857), is based on the play of the same name by Voltaire (1761). "
" was first performed on 22 December 1819 by the Paris Opéra at the Salle Montansier. When sung in Italian or German, it is usually given the title Olimpia.
" calls for huge orchestral forces (including the first use of the ophicleide). The finale of the Berlin version included spectacular effects, in which Cassandre rode in on a live elephant. Thus, like "La vestale" and "Fernand Cortez", the work prefigures later French Grand Opera.
The theater is a fitting location for operas and plays from the Baroque and classical period. Voltaire's "L'orphelin de la Chine" was premiered in 1755, his tragedy "
" was premiered in 1762, staged by Cosimo Alessandro Collini (1727–1806). Francesca Lebrun, the sister of Franz Danzi, a leading singer of the Mannheim Opera, performed, for example, the part of Parthenia in Anton Schweitzer's "Alceste" in Schwetzingen in 1775.
Under the changed political climate of the Bourbon Restoration, Spontini, closely identified with the former Empire, found his opera "
" (1819, revised 1820, 1826) met with indifference, leading him to leave Paris for Prussia, where his operas had already achieved success. There he became Kapellmeister and chief conductor at the Berlin Hofoper, and in this period he composed the Prussian National Anthem "Borussia". There he also met the young Mendelssohn, and deprecated the 17 -year old's opera "Die Hochzeit des Camacho".
Antigone, King of a part of Asia, and Cassandre, King of Macedon, have been implicated in Alexander's murder. They have also been at war with one another but are now ready to be reconciled. Nevertheless, a new obstacle to peace arises in the form of the slave girl Aménais, with whom both the kings are in love. In reality, Aménais is Alexander the Great's daughter,
, in disguise. Statira, Alexander's widow and Olimpie's mother, has also assumed the guise of the priestess Arzane. She denounces the proposed marriage between "Aménais" and Cassandre, accusing the latter of Alexander's murder.
Spontini began composing "
" in 1815. It was his third major, 3-act work for the Paris Opera. In it, he "combined the psychologically exact character-drawing of "La vestale" [of 1807] with the massive choral style of his "Fernand Cortez" [of 1809] and wrote a work stripped of spectacular effects. In its grandiose conception, it appears the musical equivalent of neoclassical architecture." The Parisian premiere received mixed reviews, and Spontini withdrew it after the seventh performance (on 12 January 1820), so he could revise the finale with a happy rather than tragic ending.
The choice of libretto was part of the vogue for setting French Classical tragedies which had begun under Louis XVI with such works as Grétry's "Andromaque" (based on Racine). The fashion continued in France until the failure of Spontini's "
", based on another tragedy by Voltaire, in 1819. Critics argued whether "Sémiramis" was a suitable subject for an opera. Some found it too more morbid: "Horror and atrocity are not conducive to melody." Others found that the tragedy's "theatrical pomp" offered ideal opportunities to a composer. In fact, Voltaire's "Sémiramis" later formed the basis of the libretto to one of Rossini's most admired tragic operas, "Semiramide" (1823). Reviewers accused Desriaux of butchering Voltaire's play. The Comédie-Française decided to stage Voltaire's original tragedy at the same time, allowing comparisons between the two.
The story takes place in the aftermath of the death Alexander the Great, who left a vast empire, stretching from Macedonia through Persia to the Indian Ocean. His surviving generals fought for control of the empire and divided it up. Two of the historical characters in Voltaire's play and Spontini's opera, Cassander and Antigonus, were among the rivals competing for parts of the empire. Antigonus was one of Alexander's generals, while Cassander was the son of another of Alexander's generals, Antipater. Alexander's widow, Statira was supposedly killed by Alexander's first wife Roxana shortly after his death, but in Voltaire's play and Spontini's opera, she survives incognito, as a priestess of Diana in Ephesus. The title character
, daughter of Statira and Alexander, is likely entirely fictional.
The bass ophicleide was first scored for in the opera "
" by Gaspare Spontini in 1819. Other famous works which employ it include Felix Mendelssohn's "Elias" and "Overture to A Midsummer Night's Dream" (originally scored for English Bass Horn), as well as Berlioz's "Symphonie Fantastique", which was originally scored to include both an ophicleide and a serpent. The instrument was standard in French mid-19th century serious operas by Meyerbeer, Halevy, Saint-Saëns, and Auber, as well as English operas by Michael Balfe, Vincent Wallace, and others. Verdi and Wagner also composed for the ophicleide as did Sir Arthur Sullivan in his Overture Di Ballo (which, like Wagner's "Rienzi", also has an additional part for serpent). American composer William Perry (b. 1930) has written a Concerto for Ophicleide and Orchestra for the Australian virtuoso, Nick Byrne. Titled "Brass From the Past", it was premiered in 2012 and later recorded by Naxos Records with Byrne as soloist.
The Austrian currency fell sharply around 1814, and Milder-Hauptmann received offers for roles at the Berlin Court Opera. Accompanied by her sister Jeanette Antonie Bürde (b. 1799), an accomplished composer and pianist, she travelled to Berlin in May 1815 where she would stay for the next 14 years. Gaspare Spontini was music director at the Berlin Court Opera, and she sang the role of Statira in the first Berlin performance of his highly underrated opera "
" in 1821 as well as in the premieres of his operas "Nurmahal" (as Namouna) in 1822 and "Agnes von Hohenstaufen" (as Irmengard) in 1827. She again sang in operas by Gluck and Weigl in Berlin, was appointed "prima donna assoluta" and became a member of the Sing-Akademie zu Berlin in 1821. On 11 March 1829, she sang in Mendelssohn's momentous revival of Bach's "St Matthew Passion". Mendelssohn wrote the concert aria "Tutto è silenzio" in 1829 for her. Following a quarrel with Spontini, she left Berlin in 1829 and visited Russia, Sweden and Denmark. She then returned to Berlin, where she made her last public appearance in 1836.
From 1937-1941, Vaghi was a regular performer at the Teatro Colón in Buenos Aires. In 1945 he signed a contract with the Metropolitan Opera, making his debut at the house on 18 February 1946 as Colline in "La bohème" with Dorothy Kirsten as Mimì, Jan Peerce as Rodolfo, Frances Greer as Musetta, John Brownlee as Marcello, and Cesare Sodero conducting. He remained committed to that house for the next two and a half years, portraying Alvise in "La Gioconda", Don Basilio in "The Barber of Seville", Ferrando in "Il trovatore", Nilakantha in "Lakmé", Raimondo in "Lucia di Lammermoor", Ramfis in "Aida", Samuel in "Un ballo in maschera", and Sparafucile in "Rigoletto". In 1950 he appeared at the Maggio Musicale Fiorentino as Antigono in Gaspare Spontini's "
". From 1951 until his retirement in 1956 he was once again committed to the Teatro dell'Opera di Roma. In 1952 he appeared at the Royal Opera, London as Oroveso in "Norma" with Maria Callas in the title role; a performance which was recorded and released on record. He died in Rome in 1978 at the age of 76.
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