Rosine Laborde Video
cantante lirico, insegnante di musica
Commemorazioni 2024 (Nascita: Rosine Laborde)
- soprano
- Francia
Ultimo aggiornamento
2024-04-24
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Jane Mérey Rosine Laborde Carlotta Patti Montgomery Xavier Leroux Lalla Miranda Opéra Royal Château Versailles Opéra Comique Château Versailles Théâtre Monnaie 1872 1892 1893 1894 1895 1897 1898 1899 1903 1904 1906 1908 1924 1937 1939 2004 2015
Jane Merey - Philémon et Baucis - O riante nature - Pathé saphir 2004 enregistré en 1903-1904 Jane Mérey (Soprano) (Ghent, Belgium 12. 10 1872 – ?) In 1892 she studied singing under Rosine Laborde in Paris. She made her debut in 1893 at the Opéra Royal de Versailles in ‘’Lakme’’. Since 1906 she taught singing in Paris. Still in 1937 she lived in Bordeaux. Source : (http•••) Marie Jeanne La Tour dite Jane Mérey, née le 12 octobre 1872 à Gand est une artiste lyrique et professeure de chant belge, cantatrice du théâtre royal de la Monnaie et de l'Opéra-Comique. Elle étudie le chant avec Carlotta Patti et Rosine Laborde à Paris. Elle débute à l'Opéra royal du château de Versailles en novembre 1893 dans le rôle titre de Lakmé. En mai 1894, elle participe à la création d'Aréthuse de Lucy de Montgomery à Monte-Carlonote 1. Elle est engagée à la Monnaie de Bruxelles où elle débute en 1894 dans le rôle titre de Mireille. Le 28 décembre 1895, elle y créé le rôle titre d'Evangéline de Xavier Leroux. Le 10 décembre 1897, elle débute à l'Opéra-Comique dans le rôle de Mireille. Durant la saison 1898-1899, elle chante à l'Opéra national de Bordeaux1. En 1897, elle épouse un jeune industriel, Armand Ledocte, à qui elle promet de renoncer au théâtre, mais elle ne tient pas cet engagement ; alors son mari intente des procès aux directeurs de théâtre qui l'engagent2. Finalement Jane Merey plaide en divorce et obtient gain de cause, le 26 juillet 19023,4. En 1903, alors qu'elle vient d'être engagée au théâtre de la Monnaie de Bruxelles, elle est l'objet d'une tentative d'assassinat de la part de son ex-mari armé d'un revolver. Elle a la main traversée par une balle. La blessure est assez sérieuse et elle doit être remplacée par Lalla Miranda5. En 1903 et 1904, elle tourne en province à Bordeaux et Marseille6. A partir de 1906, elle enseigne le chant à Paris, rue Henri-Heine7, puis 82 rue Mozart en 1908 et 7, cité du Retiro en 1924. Elle chante dans des représentations privés et des galas8. Remariée en 1908 à l'avocat Arthur Valabrègue4, elle enseigne par la suite à Menton, où elle exerce toujours en 1939. Source : Wikipedia
Jeanne Gerville Réache Verdi Schumann Rosine Laborde Pauline Viardot Opera Comique Covent Garden 1882 1899 1901 1902 1905 1907 1910 1911 1915 1969
For "zarahleander85" / French contralto Jeanne Gerville-Réache +••.••(...)) / Ich grolle nicht / Il trovatore (Verdi) / H. Heine; R. schumann) Recorded: May 5, 1911-- French contralto Jeanne Gerville-Réach (born March 26, 1882, Orthez, France - died January 15, 1915, New York). Her father was governor of Martinique and Guadaloupe and she came to Paris when she was 15 to study singing with Rosine Laborde. Through the intercession of Emma Calve, he was able to finish her studies with Pauline Viardot-Garcia. In 1899 she had a successful debut at the Opera-Comique in the title role of Orphee et Eurydice, and on April 30, 1902 she created the role of Genevieve in Pelleas et Melisande there. In 1901 she made guest appearances at the Brussels Opera and in 1905 at Covent Garden. In 1907 she came to the Manhattan Opera. Thereafter she was uncommonly successful in the United States. She also sang in Boston and Philadelphia, Chicago and Montreal. In 1910 she married the director of the Pasteur Institute in New York, Georges Ribier Rambaud. She had a sumptuous, warm-timbered contralto voice of great dynamic quality. She died at the early age of 32 from food poisoning in New York City, leaving behind her husband and two sons. She has a great-great grandson and granddaughter living in America. (Sources: Kutsch & Riemens Concise Biographical Dictionary of Singers / Chilton Book Company / 1969; wikipedia)/
Jane Mérey Rosine Laborde Opéra Royal Versailles 1872 1892 1893 1903 1904 1906 1937 1994 2015
Jane Merey -Lakmé - Tu m'as donné le plus doux rêve - Pathé saphir 1994 enregistré en 1903-1904 Jane Mérey (Soprano) (Ghent, Belgium 12. 10 1872 – ?) In 1892 she studied singing under Rosine Laborde in Paris. She made her debut in 1893 at the Opéra Royal de Versailles in ‘’Lakme’’. Since 1906 she taught singing in Paris. Still in 1937 she lived in Bordeaux. Source : (http•••)
Frédéric Chopin Laborde Delacroix Cumberland Santa Maria Stockhausen Mendelssohn Liszt Fauré Tomaszewski Sir Charles Hallé Maurice Ravel Hugo Leichtentritt 1697 1722 1726 1738 1743 1768 1780 1798 1810 1819 1838 1845 1846 1848 1849 1863 1874 1895 1951 2019
Frédéric Chopin (1810–1849) Barcarolle in F sharp major, Op. 60 Allegretto Gabrielle de Laborde Gahres, piano Recital live recording. New York City, United States (September 2019) All rights reserved Gabrielle de Laborde Gahres Cover: Portrait of Frédéric Chopin, 1838 painting by Eugène Delacroix (French painter, muralist and lithographer, 1798–1863). Musée du Louvre, Paris, France. Artworks, score: – Autograph score (first page) of Chopin's Barcarolle. This manuscript was used in preparation of the first edition. The British Library, Music Collections, London. – San Geremia and the Entrance to the Cannaregio, c.1726–27, by Canaletto (Giovanni Antonio Canal, Italian painter, 1697–1768). Royal Collection, Cumberland Art Gallery, Hampton Court Palace, London. – The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola, about 1738, by Canaletto. The J. Paul Getty Museum, Los Angeles, United States. – View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo, about 1743, by Bernardo Bellotto (Italian painter, nephew of Canaletto, 1722–1780). The J. Paul Getty Museum, Los Angeles, United States. The Barcarolle, Op. 60 is a grand, expansive work from the late period in the oeuvre of Frédéric Chopin. Written in the years 1845–46, dedicated to Madame la Baronne de Stockhausen, it was published in 1846. Chopin refers in this work to the convention of the barcarola – a song of the Venetian gondoliers which inspired many outstanding composers of the nineteenth century, including Mendelssohn, Liszt and Fauré. Yet it is hard to find a barcarolle that would compare with Chopin's work for beauty and compositional artistry. Attention is quite often drawn to the Barcarolle's affinity with the Nocturnes, and also with the Berceuse Op. 57, which may be interpreted as "music of the evening and the night" (Mieczysław Tomaszewski). But one should not overstate this affinity, since the Barcarolle is considerably longer than most of the Nocturnes and appears to reach deeper. Venice, which it evokes, can also be pictured in sunshine, not only "to moonlight," and the Barcarolle is also quite different to lullabies and dreams-it spins a tale that is hot and intense. It is perhaps less a "song of the night" than a "song of love." It is certainly close to the Nocturnes and the Berceuse, meanwhile, in the particular richness and refinement of its ornamentation. The Barcarolle proceeds in a moderate tempo, in 12/8 time. The basis for its development is the tuneful melodic line, reminiscent in style of Italian bel canto. The melody is accompanied by a repeated accompaniment figure in the bass (on the principle of ostinato), whilst the melody itself is led in characteristic doublings-primarily in thirds and sixths. The ornamentation of the melody encompasses a variety of means, including double trills (in thirds), contributing to an exceptional expressive and coloristic richness. The form of the work can be generally defined as tripartite, A B A1 (reprise), with an inner, tonally contrasting, section in A major. One can also distinguish a short, intriguing introduction and an exquisite coda. Many commentators draw attention to the aura of eroticism that is strongly present in this exceptionally beautiful composition. Also stressed is the work's Italian, southern atmosphere, and particularly its links with Venice, although the Italian tone would appear to be restricted here to the function of picturesque decoration, serving to brilliantly convey a truly universal message. The Barcarolle is generally considered a masterpiece, and Chopin must have been its ideal interpreter. At his very last Paris recital, in 1848, Sir Charles Hallé (Anglo-German pianist and conductor, 1819–1895) heard the frail master, who now "played it from the point when it demands the utmost energy, in the opposite way, pianissimo, but with such wonderful nuances that one remained in doubt if this new rendering were not preferable to the accustomed one." The work displays Frédéric Chopin's ornamental genius in full bloom. Maurice Ravel wrote, "Chopin was not content merely to revolutionize piano technique. His figurations are inspired. Through his brilliant passages one perceives profound, enchanting harmonies. Always there is the hidden meaning which is translated into poetry of intense despair. The Barcarolle is the synthesis of the expressive and sumptuous art of this great Slav." Hugo Leichtentritt (German-Jewish musicologist and composer, 1874–1951) expressed his perception, interpretation and experiencing of this work with the following words: "A work of bewildering beauty."
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