Ponchielli - Marion Delorme

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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Dalibor Jenis starts the current season (2004) at Royal Opera House Covent Garden London with a new production of Charles Gounod’s Faust in the role of Valentin under the baton of Maurizio Benini. At the Hamburgische Staatsoper he will sing Germont in La Traviata under the baton of Niksa Bareza; in Basle he is to hear in a gala concert under Fabio Luisi. At the Opéra National de Paris he sings the title-role of Barbiere di Siviglia under Daniel Oren and Marc Piollet. In concert he will appear together with the WDR Sinfonieorchester Köln and Gerd Albrecht in Dvorak´s König und Köhler. He will finish this season with the revival of Don Carlo (Posa) at the Deutsche Staatsoper Berlin. Marion and Didier enter. They have hidden themselves among a troupe of traveling comedians and are given roles. Didier is desperate to flee with Marion, and asks her again to marry him. Marion is spotted by Savergny, who passes the information to Laffemas. He realizes that the fugitive he seeks must be among the actors. Didier discovers that the woman he loves is none other than Marion de Lorme, the courtesan. Revolted, he denounces himself to Laffemas, who arrests him. Saverny, in an attempt to save Didier, unmasks himself, but he is arrested too.

Tarantella in la minore (frequently paired with Elegia No. 1 and referred to as Elegia e Tarantella. Numerous manuscripts by Bottesini himself show that these two pieces were clearly intended to be performed together) Mathias Vidal (Cinq-Mars), Véronique Gens (Marie), Tassis Christoyannis (De Thou), Andrew Foster-Williams (Joseph); Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester, Ulf Schirmer (cond.). Palazzetto Bru Zane Ediciones Singulares (2016) [4]The first of two collaborations with librettist Francesco Guidi, this opera premiered in 1861 and was later revised in 1877. Among his signature rolees were Jew Élèazar, Mario Cavaradossi, Manrico, Arrigo both in “I Vespri Siciliani and “La Battaglia di Legnano,” Riccardo in “Un Ballo in Maschera,” Enzo Grimaldo, Didier in “Marion Delorme,” Jacopo Foscari, and Avito in “L’Amore dei Tre Re.” In total, he went onto sing 56 leading tenor roles including 22 by Giuseppe Verdi.

Wikipedia articles incorporating a citation from The American Cyclopaedia with a Wikisource reference 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. The composer’s second opera is a mystery, never actually getting performed despite being prepped for Turin. 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. The Rendezvous. The play opens in 1638, in Blois, in the bedchamber of Marion De Lorme. Marion, famous Parisian courtesan, left the capital two months prior, to the despair of her lovers and admirers, and took refuge in Blois. Pressed by Saverny, who found her, she confesses that she has an appointment with a man named Didier who does not know who she is, and she knows nothing of his identity. She urges Saverny to leave. Didier arrives and confesses his love to Marion; he pressures her to marry him, although he has no fortune and is a foundling without a family. To the despair of Didier, Marion hesitates, judging herself unworthy. But she seems ready to yield when Didier reveals what he thinks of Marion Delorme, the famous courtesan:Born on Oct. 3 in the Dominican Republic, the tenor began music lessons with his mother at the age of seven and went on to receive lessons from Enrique Estevez Pacheco. Her last years have been adorned with considerable legend (cf. Eugène de Mirecourt, Confessions de Marie Delorme, Paris, 1856). It seems established that she died in 1650. But she was believed to have lived until 1706 or even 1741, after having had the most fantastic adventures, including marriage with an English lord, and an old age spent in poverty in Paris. Her name has been popularized by various authors, especially by Alfred de Vigny in his novel Cinq Mars, by Victor Hugo in the drama Marion Delorme, and by Amilcare Ponchielli and Giovanni Bottesini in two operas of the same title, as well as Camille Saint-Saëns opera Cinq Mars.