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by Robert Ignatius Letellier

ISBN: 1443829870
Author: Robert Ignatius Letellier
Language: English
Publisher: Cambridge Scholars Publishing; Unabridged edition edition (August 1, 2011)
Pages: 250
Category: Music
Subcategory: Art
Rating: 4.1
Votes: 154
Size Fb2: 1472 kb
Size ePub: 1846 kb
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Robert Ignatius Letellier Music English

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Daniel-FranÃÂ§ois-Esprit Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as one of the great masters . Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period

Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period.

Daniel-François-Esprit Auber (), the most amiable French composer of the 19th century, came to his .

Daniel-François-Esprit Auber (), the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career. He has also written on the ballets of Ludwig Minkus, compiled a series of scores on the Romantic Ballet, and produced studies of the opéra-comique and Daniel-François-Esprit Auber.

Daniel-FranÃƒÂ§ois-Esprit Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as. .

Robert Ignatius Letellier (born 1953, in Durban, South Africa) is a cultural historian and . The Ballets of Ludwig Minkus, Cambridge Scholars Publishing 2008. Daniel-François-Esprit Auber: The Man and His Music, Cambridge Scholars Publishing 2010. ISBN 978-1-4438-2597-9.

Robert Ignatius Letellier (born 1953, in Durban, South Africa) is a cultural historian and a writer on the history of music, Romantic literature and the Bible.

it Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as one of the great masters of opera-comique, but also played a very important role in the development of Romantic ballet through the long danced interludes and divertissements in his grand operas La Muette de Portici, Le Dieu et la Bayadere, Gustave III, ou Le Bal. masque, Le it Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as one of the great masters of opera-comique, but also played a very important role in the development o.

Robert Ignatius Letellier. it Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as one of the great masters of opera-comique, but also played a very important role in the development of Romantic ballet through the long danced interludes and divertissements in his grand operas La Muette de Portici, Le Dieu et la Bayadere, Gustave III, ou Le Bal. Masque, Le Lac des fees, L'Enfant prodigue, Zerline, and the opera-ballet version of Le Cheval de bronze

Letellier Robert Ignatius (EN). it Auber (1782-1871), the most amiable French composer of the 19th century, came to his abilities late in life. After a stalled commercial career, he studied with Cherubini

Letellier Robert Ignatius (EN). After a stalled commercial career, he studied with Cherubini. His first works were not a success, but La Bergere Chateleine (1820), written at the age of 38, established him as an operatic composer. He then met the librettist Eugene Scribe (1791-1861), with whom he developed a working partnership, one of the most successful in musical history, that lasted until Scribe's death

Robert Ignatius Letellier. All rights for this book reserved.

Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period

Robert Ignatius Letellier has specialized in the music and literature of the Romantic Period. He has also written on the ballets of Ludwig Minkus, compiled a series of scores on the Romantic Ballet, and produced a study of the opera-comique.

Items related to The Ballets of it Auber. Home Robert Ignatius Letellier The Ballets of it Auber.

Daniel-FranÃÂ§ois-Esprit Auber (Caen 29 January 1782- Paris 12/13 May 1871) is primarily remembered as one of the great masters of opÃÂ©ra-comique, but also played a very important role in the development of Romantic ballet through the long danced interludes and divertissements in his grand operas La Muette de Portici, Le Dieu et la BayadÃÂ¨re, Gustave III, ou Le Bal masque, Le Lac des fÃÂ©es, L Enfant prodigue, Zerline, and the opÃÂ©ra-ballet version of Le Cheval de bronze. Auber also adapted music of various of his operas to create the score of the full-length ballet Marco Spada; it is quite different from his own opera on the subject. Additionally, several choreographers have used Auber s music for their ballets, among them Frederick Ashton (Les Rendezvous, 1937), Victor Gsovsky (Grand Pas Classique, 1949) and Lew Christensen (Divertissement d Auber, 1959). La Muette de Portici (1828), choreographed by Jean-Pierre Aumer, is set against the Neapolitan uprising of 1647, and was performed 500 times in Paris alone between 1828 and 1880. The opera provides one of the few serious subjects the composer tackled, and one which critics found to have a persuasive dramatic content. An unusual aspect of the work is that the main character, a mute girl, is performed by a mime or a ballerina. The role of ballet in La Muette is important in setting the local scene, using dance episodes, whether courtly, and therefore Spanish as in the guarucha and bolero in act 1, or popular, and therefore Neapolitan as in the act 3 tarantella. Dance is also innate to the dramatic situation in the extended mime sequences for the mute heroine each with its own specially crafted music and character. The music responds to, and reflects, the vivid and imposing scenic effects (based on historical and pictorial research by the great stage designers and painters CicÃÂ©ri and Daguerre). Le Dieu et la BayadÃÂ¨re (1830), set in India, was choreographed by Filippo Taglioni. EugÃÂ¨ne Scribe, not only one of the most influential of opera librettists, but also a leading figure in the history of ballet, wrote the scenario for the danced part, which was fairly long and of artistic merit. In the ballet scenes of the opera, the choreographer, one of the most important exponents of dance in the Romantic period, was already experimenting with the ideas and style that were to characterize the creations of his prime, and of the Romantic ballet as a whole: an exotic fairy tale subject (often pseudo-Medieval or pastoral), and strange love affairs with supernatural beings, in the theatrical, musical and literary taste of the period. Above all, the Romantic ballet focused on the idealization of the ballerina, floating on the tips of her toes, a figure of ethereal lyricism. All the ballets by Filippo Taglioni were designed to display his daughter Marie s luminous artistic personality. The heavily mime-oriented role of the bayadÃÂ¨re ZoloÃÂ© was one of Marie Taglioni s createst triumphs.