François Colin de Blamont Vídeos
compositor francés
- Francia
- compositor, coreógrafo
Última actualización
2024-05-10
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Concert Spirituel Hervé Niquet Benoit Lully Rameau Campra Marais Bertin Destouches Gervais Colin Blamont Rebel Francœur Montéclair Leclair Dauvergne 1671 2018 2019
To celebrate 30 years of the Concert Spirituel, Hervé Niquet pays homage to the French musical patrimony of the 17th and 18th centuries, to whose exploration he remains passionately devoted. In close collaboration of Benoit Dratwicki and the Centre de Musique Baroque de Versailles – which has also feted its 30th anniversary in 2018 – together they have devised an intriguingly unconventional programme idea. Following the example of Louis XIV who in 1671 asked Lully to create a Ballet of ballets consisting of extracts from the thirty or so ballets that the composer had put on at court, they have conceived An Imaginary Opera, a veritable ‘Opera of Operas’: around thirty extracts, with well-known repertoire alongside rarities – some completely unknown and unpublished – have been put together to create a plot centred around three dramatic archetypes of the period: a princess in love, a witch queen – her rival – and a courageous prince. All the themes of French baroque opera are illustrated in turn, according to the rules of the genre: battle, tempest, sorcery, love duets, religious invocations, and sleep… The virtuoso arias, dazzling ballets and imposing ceremonial choruses are by Lully and Rameau, naturally – but also by Campra, Marais, Bertin de La Doué, Destouches, Stück, Gervais, Colin de Blamont, Rebel, Francœur, Montéclair, Leclair and Dauvergne… Brilliantly brought to life by the very finest of today’s baroque lyric artists, this recording was made at the Opéra Royal de Versailles. And to illustrate the CD of this festive pastiche of a princess, a prince and a witch, what more appropriate than the famous trio from the 1970s series Bewitched, the 254-episode legendary tv classic! ALPHA442 Release date → January 2019 Stream//Download//Buy → (http•••) FACEBOOK→ www.facebook.com/alphaclassics TWITTER → www.twitter.com/alpha_classics INSTAGRAM → www.instagram.com/alpha_classics/ YOUTUBE → www.youtube.com/c/alphaclassics WEBSITE → www.outhere-music.com/alphaclassics
Original cut of the Mirror Pool Segment of the Versailles vlog. Had to remove it from the final video so that you guys don't watch ads (that get paid to some random company...) Thanks a lot for wasting half of my week [Merlin] IDOL Distribution, On behalf of: Château de Versailles Spectacles / // Music Used François Colin de Blamont: 'Te Deum', Grand Motet FCB.001 - IV. Sanctus Dominus Deus Sabaoth (http•••) MS BGM (Personal Copy, but you can find the same songs on SlipySlidy's channel) - Ellina Tree Dungeon: (http•••)
François Francoeur Marais Lalande François Rebel Rebel Marpurg Senaillé Pélissier Blamont Freed Antoine Dauvergne 1662 1698 1720 1723 1726 1727 1728 1729 1730 1735 1739 1741 1743 1744 1746 1753 1756 1757 1763 1764 1767 1770 1773 1775 1776 1787 1811
★ Follow music ► (http•••) Composer: François Francoeur +••.••(...)) Work: Simphonie (Suite) in F (1773) Performers: La symphonie du Marais Simphonie (Suite) in F (1773) 1. Ouverture 0:00 2. Air grave 3:14 3. Air des furies 5:14 4. Chaconne 7:00 Drawing: Attributed to Nicolas Marie Ozanne +••.••(...)) - Veüe Et perspective du Chateau de Chenonceaux Image in high resolution: (http•••) Further info: (http•••) Listen free: (http•••) / François Francoeur [le cadet] (Paris, 21 September 1698 - Paris, 5 August 1787) French composer and violinist, son of Joseph Francoeur (c.1662-1741). A violin pupil of his father, he began his long association with the Paris Opéra at the age of 12 as a dessus de violon in the Grand Choeur; shortly afterwards he became a member of the Musique de la Chambre du Roi. The privilege he acquired on 22 August 1720 preceded the publication of his first set of violin sonatas in the same year. Also in that year, he took part in Lalande's ballet Les folies de Cardenio. In 1723 Francoeur and François Rebel left France in the retinue of General Bonneval, travelling to Vienna and Prague. Marpurg commented on the importance of his exposure to the operatic music of those two centres to the composer’s later development: ‘The arias of his composition clearly indicate that their composer had ventured beyond the borders of France’ (Historisch-kritische Beyträge, i/3, p.237). In 1726 the professional collaboration between Francoeur and Rebel, to last about 45 years, began in earnest with the production of Pyrame et Thisbé, the first of many such joint creations. So close was their association that it is virtually impossible to differentiate the two men's contributions; it is no wonder that the public regarded them as one dual personality. They remained inseparable until Rebel's death in 1775, an event that greatly saddened Francoeur's last years. In 1727 Francoeur acquired the succession to the position of compositeur de la chambre du roi from Jean-François de la Porte, and in 1729 was admitted to the royal military orders of Our Lady of Mount Carmel and St Lazare of Jerusalem, honours rarely granted to a musician. In 1730 he replaced Senaillé in the 24 Violons du Roi, joining his father and brother. Among these successes two incidents occurred that were later to cause him problems: his ill-fated marriage to Elisabeth Adrienne le Roy (daughter of the playwright Adrienne Lecouvreur), which ended in an ugly legal struggle in 1746, and the Francoeur-Pélissier-du Lys scandal (discussed with zest by La Laurencie), which raised public resentment against Francoeur and may have accounted for the failure of Scanderberg in 1735. In February 1739 Francoeur was promoted to maître de musique at the Opéra, and on 15 August 1743 he became inspecteur général (musical director) with Rebel. On 27 February 1744 he was granted the succession to the seat of Collin de Blamont as surintendant de la musique de la chambre. A new stage in Francoeur's career began in the mid-1750s. In 1753 he retired from the Opéra on a pension and in 1756 freed himself from the duties of the Chambre du Roi. This left him free to tackle a far larger project with Rebel, the direction of the Opéra. On 13 March 1757 they were engaged with a 30-year contract, beginning 1 April 1757. From the beginning they were plagued with difficulties: a large deficit, personnel problems, lack of discipline, the controversy surrounding the Querelle des Bouffons, culminating in the destruction by fire of the Opéra on 6 April 1763. Public opinion rose against them and they were forced to resign as from 1 April 1767. But in May 1764, at the height of these problems, Louis XV raised Francoeur to the nobility in recognition of his loyal service. After leaving the Opéra in 1753 Francoeur retained his position as surintendant de la musique de la chambre until his retirement in 1776. Antoine Dauvergne, his successor, had described Francoeur in his Etat des personnes qui composent le comité de l'Opéra (1770) as ‘Homme honnête, plein d'intelligence, de zèle et d'activité’.
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