Jean Angot Vídeos
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2024-05-09
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Victor Capoul Alphonse Révial Gounod Drury Charles Lecocq Angot Pierre Gailhard Hammerstein Meyerbeer Méhul Offenbach Godard Camondo Opéra Comique Covent Garden Metropolitan Opera Manhattan Opera Company 1810 1839 1861 1871 1877 1879 1883 1891 1892 1896 1900 1905 1906 1924
Victor Capoul +••.••(...)) was a French lyric tenor whose thirty-five-year career spanned the latter part of the 19th century. Born Joseph Victor Amédée Capoul in Toulouse, he received his musical education at the Paris Conservatory, where he studied with renowned French tenor Alphonse Révial +••.••(...)). Following his graduation, Capoul made his debut at the Opéra-Comique as Daniel in Adam’s Le Châlet in 1861. The young tenor became a popular artist with the theater and remained a regular member of the company for the next nine seasons. In 1871 he made his first appearance in London as Gounod’s Faust at Drury Lane and made his American debut later that year at the New York Academy of Music as Wilhelm Meister in Mignon. In 1877, Capoul made his Covent Garden debut as Auber’s Fra Diavolo, also singing Almaviva in Barbiere di Siviglia, Ernesto in Don Pasquale and Elvino in La Sonnambula that same season. Capoul returned to New York in 1879 to sing the role of the poet Ange-Pitou in Charles Lecocq’s La Fille de Madame Angot at Grau’s French Opera Company. The tenor’s Metropolitan Opera debut occurred during the company’s inaugural season, on October 27, 1883 as Faust. Capoul sang 25 performances of six roles during his first season with the Met…the aforementioned Faust, Wilhelm Meister, Almaviva, Alfredo in La Traviata, Edgardo in Lucia di Lammermoor and (although one wonders how he negotiated the demands of the role) Enzo in La Gioconda. Although his acting and stage deportment were praised, critics complained of the tenor’s “almost inaudible half voice” and remarked that “ his singing was often short of the enjoyable.” It is not surprising that when Capoul returned to the Met for the 1891/92 season, he was relegated to the secondary roles of Tybalt in Roméo et Juliette and Cassio in Otello. His final appearance with the company was a concert on April 24, 1896. During a Testimonial Performance to Henry E. Abbey and Maurice Grau, Capoul sang as part of the Soldiers’ Chorus from Gounod’s Faust. Considering that he had made his debut with the company in the title role of this same opera some thirteen years previously, this seems something of a sad comedown. Capoul remained in New York for several years, having been appointed opera coach and professor of voice at The National Conservatory of Music of America in 1892. His singing days now behind him, Capoul returned to Paris in January of 1900, making a bid for the position of General Director of the Opéra-Comique. When he was declined, his old friend and colleague Pierre Gailhard appointed him Director of Theatrical Studies at the Opéra de Paris. Now regarded as one of the leading stage directors for French and Italian opera, Capoul returned to New York in 1906 to direct productions for Hammerstein’s Manhattan Opera Company. Sadly, he was plagued by increasing deafness that greatly hampered his artistic activities. He retired to the south of France and lived quite comfortably until wartime investments stripped him of his fortune. To raise a bit of capital, the tenor tried to auction off some of the mementos from his career. When there were no takers, he angrily burned all of his costumes, scores and photographs. Capoul lived out his final years on his little farm near the village of Pujaudran-du-Gers, subsisting on a small pension. Penniless, bitter and forgotten, he passed away on February 18, 1924, just a week shy of his 85th birthday, a tragic end for such a great artist. Victor Capoul boasted a diverse repertoire of nearly 40 roles in opera and operetta, including Tonio in La Fille du Régiment, Georges in La Dame Blanche, The Duke in Rigoletto, des Grieux in Manon, Lionel in Martha and the title roles in Meyerbeer’s Robert le Diable and Méhul’s Joseph. He created the tenor leads in a number of works such as Gounod’s La Colombe and Offenbach’s Vert-Vert. In addition to Paris, London and New York (the cities where he spent most of his career), Capoul travelled to Monte Carlo, Brussels, Moscow, St. Petersburg, Vienna and Quebec. He also co-authored the librettos for Godard’s opera Jocelyn and Camondo’s operetta Le Clown. Although the tenor never possessed an extraordinary voice, he did cultivate a remarkable technique and built his reputation on artistry, musicality and magnetism. His recorded legacy consists of a single aria, “Oh! Ne t'éveille pas encore” from Godard’s Jocelyn. Four takes were recorded for Fonotipia in Paris in 1905, two of which are known to survive. Although Capoul’s vocal resources are greatly diminished…not to mention the fact that he was nearly stone deaf…he manages to give a fascinating performance, leaving us something of a time capsule from the world of 19th century French opera. This recording is the 4th and final take that has been in circulation for many years. It differs from take 2 in that it contains the preceding recitative.
Victor Capoul Alphonse Révial Gounod Drury Charles Lecocq Angot Pierre Gailhard Hammerstein Meyerbeer Méhul Offenbach Godard Camondo Opéra Comique Covent Garden Metropolitan Opera Manhattan Opera Company 1810 1839 1861 1871 1877 1879 1883 1891 1892 1896 1900 1905 1906 1924
Victor Capoul +••.••(...)) was a French lyric tenor whose thirty-five-year career spanned the latter part of the 19th century. Born Joseph Victor Amédée Capoul in Toulouse, he received his musical education at the Paris Conservatory, where he studied with renowned French tenor Alphonse Révial +••.••(...)). Following his graduation, Capoul made his debut at the Opéra-Comique as Daniel in Adam’s Le Châlet in 1861. The young tenor became a popular artist with the theater and remained a regular member of the company for the next nine seasons. In 1871 he made his first appearance in London as Gounod’s Faust at Drury Lane and made his American debut later that year at the New York Academy of Music as Wilhelm Meister in Mignon. In 1877, Capoul made his Covent Garden debut as Auber’s Fra Diavolo, also singing Almaviva in Barbiere di Siviglia, Ernesto in Don Pasquale and Elvino in La Sonnambula that same season. Capoul returned to New York in 1879 to sing the role of the poet Ange-Pitou in Charles Lecocq’s La Fille de Madame Angot at Grau’s French Opera Company. The tenor’s Metropolitan Opera debut occurred during the company’s inaugural season, on October 27, 1883 as Faust. Capoul sang 25 performances of six roles during his first season with the Met…the aforementioned Faust, Wilhelm Meister, Almaviva, Alfredo in La Traviata, Edgardo in Lucia di Lammermoor and (although one wonders how he negotiated the demands of the role) Enzo in La Gioconda. Although his acting and stage deportment were praised, critics complained of the tenor’s “almost inaudible half voice” and remarked that “ his singing was often short of the enjoyable.” It is not surprising that when Capoul returned to the Met for the 1891/92 season, he was relegated to the secondary roles of Tybalt in Roméo et Juliette and Cassio in Otello. His final appearance with the company was a concert on April 24, 1896. During a Testimonial Performance to Henry E. Abbey and Maurice Grau, Capoul sang as part of the Soldiers’ Chorus from Gounod’s Faust. Considering that he had made his debut with the company in the title role of this same opera some thirteen years previously, this seems something of a sad comedown. Capoul remained in New York for several years, having been appointed opera coach and professor of voice at The National Conservatory of Music of America in 1892. His singing days now behind him, Capoul returned to Paris in January of 1900, making a bid for the position of General Director of the Opéra-Comique. When he was declined, his old friend and colleague Pierre Gailhard appointed him Director of Theatrical Studies at the Opéra de Paris. Now regarded as one of the leading stage directors for French and Italian opera, Capoul returned to New York in 1906 to direct productions for Hammerstein’s Manhattan Opera Company. Sadly, he was plagued by increasing deafness that greatly hampered his artistic activities. He retired to the south of France and lived quite comfortably until wartime investments stripped him of his fortune. To raise a bit of capital, the tenor tried to auction off some of the mementos from his career. When there were no takers, he angrily burned all of his costumes, scores and photographs. Capoul lived out his final years on his little farm near the village of Pujaudran-du-Gers, subsisting on a small pension. Penniless, bitter and forgotten, he passed away on February 18, 1924, just a week shy of his 85th birthday, a tragic end for such a great artist. Victor Capoul boasted a diverse repertoire of nearly 40 roles in opera and operetta, including Tonio in La Fille du Régiment, Georges in La Dame Blanche, The Duke in Rigoletto, des Grieux in Manon, Lionel in Martha and the title roles in Meyerbeer’s Robert le Diable and Méhul’s Joseph. He created the tenor leads in a number of works such as Gounod’s La Colombe and Offenbach’s Vert-Vert. In addition to Paris, London and New York (the cities where he spent most of his career), Capoul travelled to Monte Carlo, Brussels, Moscow, St. Petersburg, Vienna and Quebec. He also co-authored the librettos for Godard’s opera Jocelyn and Camondo’s operetta Le Clown. Although the tenor never possessed an extraordinary voice, he did cultivate a remarkable technique and built his reputation on artistry, musicality and magnetism. His recorded legacy consists of a single aria, “Oh! Ne t'éveille pas encore” from Godard’s Jocelyn. Four takes were recorded for Fonotipia in Paris in 1905, two of which are known to survive. Although Capoul’s vocal resources are greatly diminished…not to mention the fact that he was nearly stone deaf…he manages to give a fascinating performance, leaving us something of a time capsule from the world of 19th century French opera. This recording (take 2) was not known to exist until relatively recently. Capoul's performance here is actually superior to the issued take, demonstrating the 66 year old tenor's artistry and breath control.
Brun Angot Bracquemond Stolz Puget Louis Vierne Marcel Dupré Pierre Cochereau Charles Marie Widor Léonce Saint Martin Gaston Litaize Notre Dame Paris Schola Cantorum 1852 1886 1898 1900 1937 1938 1939 1943 1944 1945 1953 1954 1963 1973
Dedication: "pour Mme. Marthe Angot-Bracquemond +••.••(...))" Michel Estellet-Brun (organiste titulaire) plays M. Léonce Marie-Joseph de Saint-Martin-de-Paylha's Toccata de la Libération en la mineur on the great organ of the église catholique Saint-Joseph-des-Nations (III/P/46 Stolz-Gonzalez-Dargassies) in the 11th arrondissement of Paris, France. Played at a concert held in commemoration of the 60th anniversary of his death. This piece was written in 1944 and published in 1953. It commemorates the liberation of Paris on 25 August 1944, composed while the Second World War +••.••(...)) raged on. My friend Le Sheet Music Boi helped me produce this video. Subscribe to him and check him out if you want to see more score videos! (http•••) ABOUT THE COMPOSER: Monsieur le comte Léonce Marie-Joseph de Saint-Martin-de-Paylha (born 31 October, 1886, Albi, Tarn - died 10 June, 1954, Paris, Île-de-France) was a French nobleman who is primarily known as a virtuoso church and concert organist and composer. He was the temporary organist of the Moucherel-Isnard-Puget organ of the Cathedral of Saint Cecilia in Albi from 1900 to 1937 and titular organist of the Notre-Dame-de-Paris cathedral from 1938 to 1954, succeeding his friend and teacher Louis Vierne. The Saint-Martin family originated from the Ariège region of the Pyrenees and were of Spanish descent; the wealthy aristocratic family consisted of many generals and politicians who played an important role in French politics from the nineteenth century. The son of Jeanne Rouaïs (18??-1???), a pianist and housewife, and count Lucien Louis Henri de Saint-Martin-de-Paylha +••.••(...)???), he was one of three children. He had an early interest in music and began taking organ lessons at the age of nine and piano lessons under his mother at the age of four. Saint-Martin was often criticised in his lifetime and rarely ever praised due to his sudden accession to the organ loft of Notre-Dame, his lack of experience and much more, despite being a virtuoso. Though he was a substitute for some time, Vierne's will dictated that a competition would be held to find his successor which was not held. The reluctant appointment of Saint-Martin by the cathedral caused widespread protests and outrage in the organ world even though he was considered by a few parties to be a great player. He had very few friends in the organ world and was an "outcast" to the rest of Parisian society (these comments still persist today due to his obscurity). His best friend, Marcel Dupré, regularly supported him and kept his career alive while the rest of the scene scorned him. His legacy remains in many compositions which have emotional and virtuosic character and is unfortunately often underlooked, being overshadowed by his predecessor Vierne and his successor Pierre Cochereau. As a virtuoso, he was impeccable and had been the second person to play Dupré's Trois préludes et fugues op. 7, contradicting Charles-Marie Widor's comment about them being "unplayable". It must be remarked that he was self-taught, though he did have a few private lessons with Louis Vierne, and did not enter any conservatories whatsoever. A pious man, numerous themes which are very obviously influenced by his Roman Catholic faith appear in his works. An association called "Les Amis de Léonce de Saint-Martin" exists in his memory which was founded in 1963. His title of "Count" was purely ceremonial and hereditary. He did not occupy any political positions nor govern any territories, even then he was not interested in law nor politics. ABOUT THE ORGANIST: Born in Bordeaux in 1943, Michel Estellet-Brun studied the organ at the Schola Cantorum in Paris, and then undertook further study with Gaston Litaize and Cochereau. His appointments include Beauvais Cathedral, the Royaumont Abbey, and the churches of Notre Dame de la Croix, St Georges and St Joseph des Nations in Paris. His discography includes a recording of organ music by the Czech Josef Klicka, on the Alpha label: bringing the work of this unjustly neglected composer to public attention has been a substantial element in his career. His compositions include the oratorio La Passion à Menilmontant as well as much solo organ music, some of which is published by Fagus (Scotland) and also worked on a work based on the stations of the cross. Michel is a frequent visitor to England and has played at Salisbury Cathedral (where he improvised a 44-minute Symphonic Suite in four movements before an enthralled audience of young organists), Westminster Abbey, St. Paul’s Cathedral and, most recently, at Westminster Cathedral, where he played a set of improvisations during a Sunday evening Mass. He has also played in Germany and the Czech Republic, where he gave the final concert of the Organ Festival of Eastern Europe in Olomouc Basilica, as well in his native France. He received a medal from the Paris archbishop for his musical work.
Angot Charles Lecocq Spina Musikvereinssaal 1832 1835 1874 1916 1918
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- cronología: Cantantes líricos.
- Índices (por orden alfabético): A...