L’Étoile du sud. (Annoté) (French Edition)
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Jules Verne died on March 24, It is therefore quite fitting that SFS celebrate his memory with this March special issue. In the past odd years, the anglophone sf field has witnessed a Jules Verne renaissance. Today, a host of new and accurate Verne translations—with informed critical materials—are available from university presses such as Oxford, Wesleyan, and Nebraska, as well as from commercial publishers such as Random House, Prometheus Books, and others. Teri J. I welcome you to this special issue of SFS and wish you bon voyage in your re discovery of Jules Verne. Let the feast begin.
CD 1 (78:29)
Mistichelli, John A. Van Eerde, eds. Boston: G. The opera helped to establish the vogue for Orientalism, which itself was a byproduct of resurgent European colonialism during the mid-nineteenth century. They enter into a wonderful but frightening world of novelty in the India of Acts 4 and 5. This new world is fragrant and exciting, but uncertain and potentially deadly in its many hidden dangers and poisons.
Vasco is entranced but also mindful to make it his own in the spirit of swashbuckling colonial enterprise. He will become a victim of this dangerous engulfing new world unless he is saved from it. Meyerbeer wrote some of his most beautiful music for this last work, a work of farewell, characterized by radiant lyricism and melodic richness. The sustained contrast between the old world of Portugal and the exotic new world of the east, the flowing melos of the musical texture, the homogeneity of melodic inspiration and instrumentation, give the work a unique quality. The roles of all four main characters are written in the refulgence of the bel canto tradition in which Meyerbeer had for so long been schooled.
When coupled with the heroic traditions of grand opera , the singing makes for an intensity of lyric expression. The battle lines between these schools of tenor technique had been famously drawn by the legendary Adolphe Nourrit and Louis-Gilbert Dupez respectively. This type has best been realized in our days by Nicolai Gedda and Alfredo Kraus. Of particularly unprepossessing appearance and not much of an actor, Affre finally succeeded in making a career, both on stage and before the recording horn, out of sheer reliability.
In this later part of his career he also sang at the Kursaal in Oostende, in London, Havana, San Francisco, Mexico, and New Orleans, where he was director of the company for the season. In he began giving singing lessons in Paris, while still appearing in concert until Here his fine baritone voice was soon discovered by the director of the Dutch Opera who immediately engaged him for his new opera company.
In Albers became the first baritone of the opera in Antwerp. There, Jules Massenet heard him sing and was so impressed that he advised Albers to go to Paris for further study with the great baritone Jean-Baptiste Faure. In Albers was engaged at Bordeaux, and also made his debut at Covent Garden. Albers died of food poisoning. He had one of the most beautiful baritone voices of his time, heroic in timbre, and great facility in coloratura. He recorded extracts from his own wide-ranging stage repertoire, in both French and Dutch, and also a large number of song titles, ranging from the popular to the patriotic, passing through Schumann and Tchaikovsky in French on the way.
His love of music, however, led to amateur study and performance. His official training began in Milan in with Giuseppe Cima. He was to have created Silvio in Pagliacci in , but he withdrew from the cast shortly before the premiere. He later took on the role of Tonio in various first performances of the opera, including Covent Garden and the Metropolitan, two houses in which he was frequently heard during the s.
He was also successful in Warsaw, Paris, and throughout Italy. His final operatic season was with the Chicago Opera, — His final recordings were made in the U. He first studied singing in Madrid with the famous Spanish pedagogue Antonio Cordero, and continued his studies in Italy. During the season, he appeared at the Liceo in Barcelona singing Manrico in Il trovatore. For the next twenty years he continued to sing principally in Italy and Spain. Aramburo was married to American soprano Ada Adini, but this only lasted for a few years. Egotistical and temperamental, Aramburo was notorious for cancelling performances at the last minute for no reason.
In the late s he moved to Montevideo where he established a singing school and became popular as a teacher. In , he founded his own recording company, making a group of cylinder recordings, which were sold locally. Few of these cylinders have ever surfaced, and then only in one or two copies each. He died in Montevideo on 17 November For more information on this largely undocumented tenor, see The Record Collector Vol.
He then studied with tenor Gabriel Gandubert in Paris. The same year, an engagement in Lille, again as a contralto, came to nothing when the theater closed after a few weeks of activity, and she settled for a concert career, singing with Lamoureux, Colonne, and about every concert society in Paris. She appeared in most French cities as well as abroad Colonne notably took her to Saint Petersburg and Moscow in until her retirement in A perfect master of a very long tessitura encompassing both the soprano and contralto ranges, she had an extensive repertoire of oratorios, songs, Lieder, and opera arias, which her nearly fifty sides for French Gramophone nicely document.
She died in Nice in early Belhomme was known to be a fine actor and was a favorite with the public. Beyle sang his last performances at the Comique during the season, retiring because of poor health. He taught singing in Paris with his wife for a time, but died in Lyon on 17 July of complications from surgery.
These include eighteenth- and nineteenth-century repertoire, plus selections from some of the roles he created, including Aphrodite , and La fille de Roland. Other records of his, featuring operetta and popular songs, appeared under the pseudonym Stendhal, a nod to the nineteenth century novelist, whose real name was also Beyle. He left the Comique in for La Monnaie, where he remained until There, he sang more important roles, from the Wanderer in Siegfried to Gurnemanz. After making his Monte Carlo debut in , and serving in the war, he settled in Marseille, dividing his time between the opera there and guest appearances in Lyon, Nice, and Toulouse with summer appearances at Aix-les-Bains.
He recorded for Odeon, first during his days at the Comique, mostly in ensembles, and then a group of recordings for the same company during the late s. Her acting skills were not favorably compared to her contemporaries such as Bellincioni, Burzio, Storchio, and Destinn. She was contracted for a series of Columbia and Edison records. She retired from the stage in and spent the next two decades teaching singing. She later resided in the Verdi Casa di riposo in Milan. Like Lassalle and Renaud, his stay at the Paris Conservatory was brief, and he left without any prizes.
His repertory spanned music-hall and operetta to Wotan and the Dutchman, while the number of important creations in which he took a significant part is impressive. Bouvet taught at the Paris Conservatory between and when he resigned, putting an end to his career. Bouvet died in Therefore, it must for now be assumed that Carlyle is a pseudonym.
She seems to have covered the role of Kundry, but never actually sang the part in the house. She may have been given this small part because the composer had been the director of the Lyon Conservatory and championed Carlyle when she was a student. A car accident in further stalled her career, which never really took flight. She spent the war, like most of her colleagues, singing in patriotic concerts in France.
Although she sang occasionally until , by the s Carlyle seems to have essentially retired. No information has been found concerning her death. By the time she was eight, she was singing operatic arias and classical songs. In her father, an admiral in the Cuban navy, was asked to act as official host to General and Mrs.
Les Gémeaux / The Twins
Ulysses S. On that occasion young Rosalia sang for the recently retired American president and the cream of Cuban society. She made her professional debut as Aida in Philadelphia in , a last minute anonymous replacement for an ailing soprano.
- Legacy Libraries?
- The Narrow Road of a Grand and Curious Opportunity.
- Jimmys Imagination;
- Le Cocher / The Charioteer.
- Temptation (Timeless Series Book 3)?
- Chronological Bibliography: Jules Verne.
She was not re-engaged though she did sing with the company one more time—the title role in Aida on tour in Philadelphia in From through she appeared in the United States as well as Central and South America, both with her own company and as a guest artist. Her final performances were in Cuba in , after which she married her second husband, Pedro Ulloa. The couple lived in the Harlem section of Manhattan, where in she started a teaching studio. In addition to teaching, Chalia continued to sing regularly in a series of veladas — weekly musicales — which she began in As late as March , at one of her last veladas , Chalia at age seventy-nine gave her celebrated interpretation of Santuzza in a complete performance of Cavalleria.
In March and April , Chalia was rediscovered in her own country, where long, illustrated articles about her appeared in the Cuban papers. A bill was introduced into the Cuban senate and she was offered inducements to return to Cuba, including a small pension to make her final years more comfortable.
She and her husband arrived in Havana on 5 August , an emotion-laden occasion for everyone. Chalia is now remembered as the first great vocalist to make recordings. Her records show her extremely flexible voice, its supple timbre, and her huge range. She negotiates coloratura passages with breathtaking agility and beauty.
Between and Chalia recorded Bettini cylinders. She made nineteen sides for Victor in , and shortly thereafter she made eleven sides of Spanish songs for American Columbia. He made only a handful of appearances in and seems to have put an end to his career in the early twenties though he was still listed in the Annuaire des artistes, maybe as a teacher, until , at which date he disappears altogether from the listings. He sang at many other major French houses, as well as Monte Carlo, Cairo, Amsterdam, and Boston, where he was briefly a member of that company.
They sang there every year between and , returning in and making a charming last appearance as Annina and Valzacchi in March The pair settled in Nice, where they were still teaching in the late s.
In , Dufranne joined the Manhattan Opera Company. Dufranne remained in Chicago between and with interruptions in and He remained on the roster there until , and sang until at least , when he appeared as Golaud in Vichy. Columbia discs while at the Manhattan Opera. His final discs were French Columbias recorded between and He was a well-loved figure in the opera world whose voice will be remembered for its trumpet-like brilliance and stunning high notes. He recorded exclusively for Fonotipia.
At the age of sixteen, she made her debut at the San Carlo in Naples as Rosina in Il barbiere di Siviglia , a role she would sing throughout the operatic world. She soon was singing in Paris, Monte Carlo, and Prague, and in she made her Metropolitan debut in her favorite role of Rosina.
There she also sang Gilda in Rigoletto and Amina in La sonnambula. She returned to the Metropolitan in the season, and in toured the U. Moving to Athens in the s, de Hidalgo taught at the Athens Conservatory. In the fall of , the sixteen-year old Maria Callas enrolled there and de Hidalgo became her teacher, nurturing and encouraging her prodigious talent. De Hidalgo died in Milan at the age of eighty-eight, outliving her illustrious pupil by over two years. Her earliest recordings were made for Columbia around , followed by a group of Fonotipias in She recorded eight sides for English Columbia in , and finally a group of Spanish songs recorded by Columbia in Athens during the s.
She sang with considerable success in London, Paris, Milan, and Russia. She appeared at the New York Academy of Music for one season in She retired in and taught in Barcelona. From through she was a leading figure with the Hamburg Opera. In , Kalter was removed from the Hamburg Opera roster by the Nazis, and she quickly left Germany to settle in London. She became a noted figure at Covent Garden from until her retirement from the operatic stage in In addition to her operatic work, Kalter was also a successful concert and lieder singer.
After her retirement, she taught in London into the s. Her recordings were made for Odeon beginning in , and several of her Covent Garden appearances in the late s have been preserved. She made her debut in Strasbourg in in the role of the priestess in Aida.
She continued singing roles at local theaters and by she was employed at the Berlin Hofoper. She interpreted the role of Senta at the Bayreuth Festival in and performed at the Vienna State Opera from Her sister, Josefine Kemp, also had a successful operatic career. Kemp married opera composer and Berlin State Opera director Max von Shillings in , but continued her performing career. The first run of Mona Lisa included five performances, which were repeated the next year. Kemp also interpreted the roles of Kundry and Isolde at the Met. Kemp retired from the stage in , and afterward worked as a singing teacher and director at the Berlin State Opera, producing the operas Mona Lisa and Ingwelde.
In addition to her Paris performances, Lafargue sang in many of the major French provincial houses as well as in Brussels, Buenos Aires, and Cairo. She died at the height of her career, leaving an important, though not tremendously large, discography. As Mme Landouzy-Besville, she first taught singing at the music school of Roubaix and was active as a concert singer in the French and Belgian provinces, most notably at the casino of Blankenberge, near Oostende, and the Vauxhall in Brussels. She was signed by La Monnaie for the season, making her debut as Rosine.
She was also very active during the summer seasons, singing in Dieppe, Vichy, and Aix-les-Bains until World War One, after which she settled as a teacher in Lyon. Her recording legacy is particularly important, comprising over sides recorded for Odeon between and She also made a few rare Phrynis two-minute cylinders. In , she married composer Georges Brun. Laute-Brun had a huge repertoire, including a number of creations, primarily of smaller roles, although she occasionally sang principal parts as well in both the soprano and mezzo ranges. Laute-Brun made a number of records for the French Gramophone Company, as well as Odeon and several other smaller French labels.
She also recorded a group of cylinders for Edison around She remained there for three seasons, appearing in Linda di Chamounix and Samson et Dalila. She apparently suffered tremendously from stage fright, which may be the reason for her operatic career being so truncated. Subsequently, she had a studio in the Metropolitan Opera House where she taught. She died 17 October Her only records were a few sides for Edison, who claimed to have discovered her in and recorded her prior to her debut in opera.
During the following decade, Lequien sang in Lyon, Bordeaux, and Nice. He made ensemble recordings for French Odeon. Lestelly senior returned to his native Bordeaux from to , and then sang in Nice in and During this period, he found time for a few engagements at Covent Garden in , where he appeared as Valentin, Nevers, and Sharpless. During the war years, he continued to sing in Paris, as well as in Bordeaux. There, the grand theater was closed for renovation, and so Lestelly sang at a number of minor theaters and outdoor venues including Escamillo in an actual bull ring.
His Paris career continued until his unexpected death in In fact, he was billed to sing Valentin on the day before his death, the cause of which is not disclosed in his obituary. Possessed of a beautiful and admirably trained voice, Lestelly could be considered a worthy heir to the great Jean Lassalle. His only recordings are twenty sides for French Gramophone.
In the late s, she returned to her native Russia, becoming a favorite in Moscow and Saint Petersburg, and eventually being made official soloist to the Czar. In , marriage to a Dr. Emmanuel Depoux brought a temporary halt to her career. But happily for her admirers, the marriage did not last, and she was back before the public at Marseille in It was around this time that Litvinne began to focus particularly on Wagnerian roles. Her first complete Ring cycle at Covent Garden was in , with additional appearances there until Litvinne retired from the stage in , but re-emerged after the War as a recitalist during the s.
The remainder of his career was spent singing primarily in the smaller Italian houses, with occasional appearances in Rome, Florence, and Naples.
Fondane - Conversations with Lev Shestov - Full version - 1
His only appearance in the U. Her career was somewhat disrupted as a result of an unhappy marriage contracted in The young singer had at first agreed to retire from the stage altogether, but of course the combined allure of art and success was too strong, and she accepted and fulfilled a number of engagements. Her husband sued the directors until a divorce was at last announced, but this did not appease the spurned spouse.
He waited for his ex-wife near the Monnaie opera house, where she had been signed again for a series of guest performances in the fall of , and shot at her, the bullet going through her hand. As early as she was teaching in Paris. She was a principal at the house until and was on stage with Gabriel Soulacroix when the famous fire started. She returned for the season and gave a last series of performances at the house in In she joined Devoyod and Scaramberg for a short season of French opera at the Korsh theater in Moscow.
By then she was spending the summer seasons in Vichy, where she seems to have given her last stage performances in In she recorded twenty-four Edison two-minute cylinders. He attended the Paris Conservatory from to He had great success there as well as in the French provinces and Monte Carlo, where he took part in the creation of Le jongleur de Notre Dame in as the painter monk. In Nivette traveled to Boston for the inaugural season with that opera company, making his debut on opening night as Alvise in La Gioconda , a role that he had sung the previous year at Monte Carlo.
His stint there ended with a Sunday night concert on 6 March All of his records display a sonorous voice, with a rich timbre and even scale. He appeared first in Rio de Janeiro, then joined the Chicago Opera Association for the season, including their New York tour. He was back in Europe in the early months of , enjoying a busy schedule of winter seasons in the main French provincial towns Toulouse, Lille, and Nice and numerous guest appearances from Bordeaux to Lausanne.
By the late twenties he had settled at his villa at Antibes, where he taught while occasionally appearing on stage at least until His birth certificate states that he died on 1 November His extensive discography includes recordings for French HMV, Aerophone, acoustic and electric Odeon, and ten four-minute Edison cylinders, mirroring a huge repertoire encompassing basse noble roles such as Brogni in La Juive , basse chantante ones such as Saint-Bris in Les Huguenots , and rather lighter fare like Figaro in Les noces de Figaro. Gaetano was the younger brother of the famous buffo baritone Antonio Pini-Corsi.
During the following decade he continued to sing both major and minor roles, but as time went on, he became renowned for his portrayal of comprimario parts, such as David in Meistersinger La Scala, and Mime in Siegfried La Scala, His two rare recordings from this opera are both presented here. Throughout his forty-year career, Pini-Corsi sang mainly in Italian houses, but also made occasional appearances outside of Italy: Montevideo, ; Warsaw, ; Buenos Aires and Montevideo, ; Buenos Aires, ; Boston, ; and Madrid, For a more extensive overview of his career, see The Record Collector, Vol.
His voice, though a true bass, had an exceptionally high range and unprecedented agility. His records all confirm his stellar reputation among his contemporaries. Then you may begin. She had a gift for music and began playing the piano at an early age. But it was her natural talent for singing that made her one of the greatest sopranos of the last one hundred years. Influenced by her older sister Carmela, a cabaret singer, Rosa began her career as a silent-movie accompanist and then joined Carmella for a successful stint in vaudeville.
She became the first American-born artist to sing a major role at the Met without the benefit of prior European training or experience, and is credited with opening the doors of the Met to the American-trained singer. She also debuted two unsuccessful premieres at the Met.