Nadine Denize Vidéos
artiste lyrique française
- mezzo-soprano
- France
- artiste lyrique
Dernière mise à jour
2024-03-28
Actualiser
97.Bölümü İzlemek İçin; (http•••) Divandaki gücünü kaybeden Hürrem, Mihrimah ile Rüstem’in evlenmesi için çalışıyor. Süleyman ise kızının rızasını istiyor. Şehzade Mustafa’nın denize çıktığını haber alan Süleyman, oğluna haber gönderiyor. Mustafa’yla gözlerden ırak bir yerde buluşan Süleyman, ona büyük bir ders veriyor. Mimar Sinan, Hürrem’in külliyesini yapması için çağrılıyor ve Mimarbaşı oluyor. Şah Sultan ve Lütfi Paşa’nın arasını açmaya çalışan Hürrem yeni bir oyun oynuyor. Bunun farkında olmayan Şah Sultan, evliliğe mani olmak için elinden geleni yapıyor. Ancak Hürrem, kızını öyle bir gerçekle yüzleştiriyor ki Mihrimah’ın ve imparatorluğun kaderi değişiyor! Lütfi Paşa’nın vezir-i azam olmasıyla divandaki tüm gücünü kaybeden Hürrem, vakit kaybetmeden harekete geçer. Bir yandan Lütfi Paşa ile Şah Sultan’ın arasını bozmaya çalışırken, diğer yandan Mihrimah’ı Rüstem ile evliliğe ikna etmeye çabalar. Çünkü Süleyman bu evlilik için kızının rızasını şart koşmuştur. Mihrimah ise hala Malkoçoğlu’nun peşindedir. Onun Venedikli bir kadınla buluştuğunu öğrenince kıskançlıktan deliye döner. Süleyman, Şehzade Mustafa‘nın denize açıldığını duyunca onu Bursa’ya çağırır ve oğluna unutulmayacak bir ders verir. Mustafa bu buluşmada babası ile arasındaki uçurumun gittikçe büyüdüğünü fark eder. Süleyman’ın Şehzade Mehmet’e olan yakınlığı onu daha da yaralar. Şah Sultan ile kavga eden Lütfi Paşa hırsına yenilince Hürrem’e büyük bir fırsat verir. Hürrem ise Mihrimah’ın Bali Bey’den vazgeçmediğini fark eder. Kızını gerçeklerle yüzleştirmenin vakti gelmiştir. Annesinin oyunuyla darmadağın olan Mihrimah, herkesi şok edecek bir karar verir. #muhteşemyüzyıl #sultansüleyman #hürrem sultan
Nadine Denize Thomas Hampson Ben Heppner Michel Plasson Marcel Vanaud José Van Dam Jules Massenet Orchestre National Capitole Toulouse 1994
Provided to YouTube by Warner Classics Hérodiade, Act 3: "Homme, quel est ton nom ?" (Hérode, Jean, Hérodiade, Vitellius, Phanuel) · Nadine Denize - Thomas Hampson - Ben Heppner - Orchestre Du Capitole De Toulouse - Michel Plasson - Marcel Vanaud - José Van Dam · Ben Heppner · José van Dam · Marcel Vanaud · Nadine Denize · Thomas Hampson Massenet: Herodiade ℗ A Warner Classics/Erato release, ℗ 1994 Warner Music France Tenor Vocals: Ben Heppner Bass Vocals: José van Dam Baritone Vocals: Marcel Vanaud Conductor: Michel Plasson Mezzo-soprano Vocals: Nadine Denize Orchestra: Orchestre National du Capitole de Toulouse Baritone Vocals: Thomas Hampson Composer: Henri Gremont Composer: Jules Massenet Composer, Writer: Paul Milliet Auto-generated by YouTube.
Gaspare Spontini Nadine Denize Persuis Berlioz Roger Norrington Orchestre Radio Lyrique 1774 1807 1830 1851 1976
LA VESTALE Tragédie lyrique en 3 actes Composer: Gaspare Spontini (1774–1851) Libretto: Étienne de Jouy First performance: Salle Montansier, Académie Impériale de Musique (Paris Opéra), 15 December 1807 SETTING : Rome, 269 BC PLOT : The victorious Roman general Licinius intends to kidnap Julia, the priestess of Vesta whom he loves. Julia prays to Vesta to resist temptation, but yields to him in the temple of Vesta. The sacred flame dies out, and Licinius flees. The High Priest sentences Julia to death for licentiousness, but she refuses to name her lover. A stroke of lightning relights the sacred flame. The High Priest and Chief Vestal interpret this as an omen, and free Julia, who marries Licinius. ‘M. Spontini, je vous répète que vous obtiendrez un grand succès ; il sera mérité,’ declared Napoleon. ‘Votre opéra abonde en motifs nouveaux ; la déclamation est vraie et s'accorde avec le sentiment musical ; de beaux airs, des duos d'un effet sûr, un finale entraînant ; la marche du supplice me paraît admirable…’ [1] Without the Emperor’s command and Josephine’s wish, Spontini’s masterpiece would never have been produced. The jury of the Opéra found its style eccentric, the harmony defective, the orchestration noisy, certain phrases completely unintelligible, while the vocal line rested on the accompaniment like a fistful of hair on a bowl of soup. Spontini had to endure the editing of two mediocre musicians, Persuis and Rey, before the opera could be staged, but the work was, as Napoleon predicted, a success. The Institut de France declared it the best lyrical work of the decade; it received nearly 100 consecutive performances, and 200 performances by 1830. Wagner and Berlioz admired the opera. Spontini, Berlioz declared, was the genius of the century. ‘Il fut, avant tout et surtout, un compositeur dramatique, dont l’inspiration grandissait avec l’importance des situations, avec la chaleur des sentimens, avec la violence des passions qu’il avait à peindre. … De là enfin la prodigieuse et soudaine explosion du génie de Spontini dans la Vestale, cette pluie d’ardentes idées, ces larmes du cœur, ce ruissellement de mélodies nobles, touchantes, fières, menaçantes, ces harmonies si chaudement colorées, ces modulations inouïes, ce jeune orchestre armé à l’antique, et cette vérité, cette profondeur dans l’expression et ce luxe de grandes images musicales si naturellement, imposées avec une autorité si magistrale, étreignant la pensée du poëte avec tant de force qu’on ne conçoit pas que les paroles auxquelles elles s’adaptent ainsi jamais pu être séparées.’ [2] [1]: ‘Your opera will obtain a great success; it deserves it,’ declared Napoleon. ‘Your opera abounds in new motifs; the declamation is true and agrees with the musical emotion; beautiful arias, effective duos, a stirring finale; the marche du supplice is admirable.’ [2] : ‘He was, first and foremost, a dramatic composer, whose inspiration grew with the importance of the situations, with the warmth of the emotions, with the violence of the passions he depicted… From these Spontini’s prodigious and sudden explosion of genius in La Vestale, that torrent of ardent ideas; those heart-felt tears; that stream of melodies, noble, touching, proud, and menacing; those warmly coloured harmonies; those unheard-of modulations; that young orchestra armed in the antique manner; and that truth, that deepness in the expression and that wealth of great musical images, imposed with magisterial authority, so naturally embracing the poet’s thought with such force that one cannot conceive that they could ever be separated from the words to which they have been adapted.’ No. 4 Air : ‘L’amour est un monstre barbare’ The Grande Vestale tells Julia to beware of love. La Grande Vestale / The Chief Vestal (mezzo-soprano): Nadine Denize Conductor : Roger Norrington Orchestre Radio-Lyrique de la RTF Paris 1976
Nadine Denize Gary Lakes Michel Plasson Albéric Magnard Macleod Orchestre National Capitole Toulouse 1986
Provided to YouTube by Warner Classics Guercoeur, Op. 12, Act 2 Tableau 2 Scene 2: "Paix aux morts et joie aux amants!" (Heurtal, Giselle, Chorus) · Nadine Denize - Gary Lakes - Orchestre Du Capitole De Toulouse - Orfeon Donostiarra - Michel Plasson Magnard: Guercoeur ℗ 1986 Parlophone / Warner Music France, a Warner Music Group Company Director: Antxon Ayestaran Balance Engineer: Daniel Michel Producer: Eric Macleod Tenor Vocals: Gary Lakes Conductor: Michel Plasson Mezzo-soprano Vocals: Nadine Denize Orchestra: Orchestre National du Capitole de Toulouse Chorus: Orfeon Donostiarra Composer: Albéric Magnard Auto-generated by YouTube.
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