Orphee aux enfers natalie dessay

He is relieved when a snake bite spirits her off to the underworld, but Public Opinion forces him to pursue her.

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Partons, partons". See media help.

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In the "duo de la mouche" Jupiter's part, consisting of buzzing like a fly, is accompanied by the first and second violins playing sul ponticelloto produce a similarly buzzing sound.

Doesn't that make you want to listen to Jacques Offenbach's first successful operetta version?

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Vive Pluton! The additions do not affect the main narrative but add considerably to the length of the score. The other gods beg to come with him, he consents, and mass celebrations break out at this holiday "Gloire! Her gaoler is a dull-witted tippler by the name of John Styx. The overall 'economy' of the piece serves a deliberate musical dramaturgy. Offenbach wrote in a variety of styles — from Rococo pastoral vein, via pastiche of Italian opera, to the uproarious galop — displaying, in Faris's analysis, many of his personal hallmarks, such as melodies that "leap backwards and forwards in a remarkably acrobatic manner while still sounding not only smoothly lyrical, but spontaneous as well". Perhaps the audience that relished their frenzied waltzes and infernal sarabandes is no longer with us, frozen in the extravagant burlesque of the Second Empire. All Rights Reserved. In the "duo de la mouche" Jupiter's part, consisting of buzzing like a fly, is accompanied by the first and second violins playing sul ponticello , to produce a similarly buzzing sound. Its never-changing rhythm and melismas parody eighteenth century love ballads. Things liven up as the most famous number in the opera, the "Galop infernal", begins, and all present throw themselves into it with wild abandon "Ce bal est original". Though seemingly a shepherd he is in reality Pluton Pluto , God of the Underworld. When Orpheus complains to the gods of his stolen Eurydice, he sings a tender quote from Gluck's "J'ai perdu mon Eurydice," which Diana, Cupid, and Venus promptly mock with croaky voices. For the premiere of the revised version he engaged an orchestra of sixty players, as well as a military band of a further forty players for the procession of the gods from Olympus at the end of the second act. Faris instances three numbers from the second act version , which all are in the key of A major and use identical notes in almost the same order, "but it would be hard to imagine a more extreme difference in feeling than that between the song of the King of the Boeotians and the Galop".

Perhaps the audience that relished their frenzied waltzes and infernal sarabandes is no longer with us, frozen in the extravagant burlesque of the Second Empire. Il s'avance".

Vive Pluton! Hearing Dessay's coloratura voice buzzing like a fly is delightfully jarring. Offenbach wrote in a variety of styles — from Rococo pastoral vein, via pastiche of Italian opera, to the uproarious galop — displaying, in Faris's analysis, many of his personal hallmarks, such as melodies that "leap backwards and forwards in a remarkably acrobatic manner while still sounding not only smoothly lyrical, but spontaneous as well". This music rivals Rossini's in its sheer catchiness. When Orpheus complains to the gods of his stolen Eurydice, he sings a tender quote from Gluck's "J'ai perdu mon Eurydice," which Diana, Cupid, and Venus promptly mock with croaky voices. John Styx sings a tasty aria about once being king of Boeotia. He did not agree, and analysed the "Galop infernal", finding it to be sophisticated in many details: "For all its straightforwardness, it reveals a calculated design. The other gods beg to come with him, he consents, and mass celebrations break out at this holiday "Gloire! In the "duo de la mouche" Jupiter's part, consisting of buzzing like a fly, is accompanied by the first and second violins playing sul ponticello , to produce a similarly buzzing sound. Pluton is left furiously berating John Styx. He is relieved when a snake bite spirits her off to the underworld, but Public Opinion forces him to pursue her.

Though seemingly a shepherd he is in reality Pluton PlutoGod of the Underworld. He did not agree, and analysed the "Galop infernal", finding it to be sophisticated in many details: "For all its straightforwardness, it reveals a calculated design.

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He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing "Duo de la mouche". In such up-tempo numbers as the "Galop infernal", Offenbach makes a virtue of simplicity, often keeping to the same key through most of the number, with largely unvarying instrumentation throughout. The plot alone skewers classical themes. Il s'avance". Things liven up as the most famous number in the opera, the "Galop infernal", begins, and all present throw themselves into it with wild abandon "Ce bal est original". Doesn't that make you want to listen to Jacques Offenbach's first successful operetta version? I don't know how many times I've played the ludicrous fly duet between Eurydice Dessay and Jupiter Naouri.

Pluton tricks her into walking into the trap by showing immunity to it, and she is bitten. As much as I would love to hear these later versions, I don't think a CD release of either is immanent.

Pluton is left furiously berating John Styx. Offenbach wrote in a variety of styles — from Rococo pastoral vein, via pastiche of Italian opera, to the uproarious galop — displaying, in Faris's analysis, many of his personal hallmarks, such as melodies that "leap backwards and forwards in a remarkably acrobatic manner while still sounding not only smoothly lyrical, but spontaneous as well".

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This music rivals Rossini's in its sheer catchiness. He meets Eurydice on the other side, and sings a love duet with her where his part consists entirely of buzzing "Duo de la mouche".

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Faris instances three numbers from the second act version , which all are in the key of A major and use identical notes in almost the same order, "but it would be hard to imagine a more extreme difference in feeling than that between the song of the King of the Boeotians and the Galop". See media help. Original two-act version[ edit ] Act 1, Scene 1: The countryside near Thebes, Ancient Greece[ edit ] A spoken introduction with orchestral accompaniment Introduction and Melodrame opens the work. Pluton is left furiously berating John Styx. Pluton tricks her into walking into the trap by showing immunity to it, and she is bitten. Perhaps the audience that relished their frenzied waltzes and infernal sarabandes is no longer with us, frozen in the extravagant burlesque of the Second Empire. Though seemingly a shepherd he is in reality Pluton Pluto , God of the Underworld. In the "duo de la mouche" Jupiter's part, consisting of buzzing like a fly, is accompanied by the first and second violins playing sul ponticello , to produce a similarly buzzing sound. The "Rondo-Saltarelle" of Mercury is lively and spirited, but the "Aux Armes, dieux et demi-dieux" chorus, in which the gods and demi-gods protest their ambrosia, reveals how well Offenbach could caricature the stirring military choruses of Verdian high opera. Public Opinion explains who she is — the guardian of morality "Qui suis-je? The revised version differs from the first in having several interpolated ballet sequences, and some extra characters and musical numbers. Le menuet n'est vraiment si charmant". This music rivals Rossini's in its sheer catchiness.
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