Roger Bourdin Video
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Thomas Beecham Charles Gounod Géori Boué Roger Bourdin Royal Philharmonic Orchestra 1947
Faust by Charles Gounod performed in French Conductor Thomas Beecham - 1947-48(STU) Orchestra - Royal Philharmonic Orchestra Faust - Georges Noré Méphistophélès - Roger Rico Marguerite - Géori Boué Valentin - Roger Bourdin Siébel - Huguette Saint-Arnaud Marthe - Betty Bannerman Wagner - Ernest Frank
Opéra Marseille Jules Massenet Béatrice Uria Monzon Lapointe Inva Mula Nicolas Courjal Jean Marie Delpas Berry Pichon Bourdin
Hérodiade, Opéra de Marseille : Extrait des Actes I et II Hérodiade, opéra en 4 actes de Jules Massenet, présenté à l’Opéra de Marseille, les 23, 25 28 et 30 mars, avec un plateau de haut vol … Décors, costumes, lumières, tout y est pour faire couler à flot une sensualité au cours de la musique interprétée par l’Orchestre de Marseille, placé sous la direction du jeune chef Victorien Vanoosten. Au gré d’une écriture vocale et expressive vers un monde où l’amour reste mystique, la distribution choisie s’inspire de ces voix qui résonnent dans nos têtes tant leur vibration est intense … La distribution est composée de Béatrice Uria Monzon, dans le rôle titre, aux côtés de Jean-Francois Lapointe : Hérode Inva Mula : Salomé Florian Laconi : Jean Bénédicte Roussenq : La Babylonienne Nicolas Courjal Phanuel Jean-Marie Delpas : Vitellius Antoine Garcin Le Grand Prêtre Christophe Berry La Voix du Temple Direction musicale : Victorien Vanoosten Mise en scène : Jean-Louis Pichon Décors et costumes : Jérôme Bourdin Lumières : Michel Theuil Chorégraphe : Laurence Fanon Vidéaste : Georges Flores avec les choeurs de l’Opéra de Marseille sous la direction d’Emmanuel Trenque
Opéra Marseille Jules Massenet Béatrice Uria Monzon Lapointe Inva Mula Nicolas Courjal Jean Marie Delpas Berry Pichon Bourdin
Hérodiade, Opéra de Marseille : Extrait des Actes I et II Hérodiade, opéra en 4 actes de Jules Massenet, présenté à l’Opéra de Marseille, les 23, 25 28 et 30 mars, avec un plateau de haut vol … Décors, costumes, lumières, tout y est pour faire couler à flot une sensualité au cours de la musique interprétée par l’Orchestre de Marseille, placé sous la direction du jeune chef Victorien Vanoosten. Au gré d’une écriture vocale et expressive vers un monde où l’amour reste mystique, la distribution choisie s’inspire de ces voix qui résonnent dans nos têtes tant leur vibration est intense … La distribution est composée de Béatrice Uria Monzon, dans le rôle titre, aux côtés de Jean-Francois Lapointe : Hérode Inva Mula : Salomé Florian Laconi : Jean Bénédicte Roussenq : La Babylonienne Nicolas Courjal Phanuel Jean-Marie Delpas : Vitellius Antoine Garcin Le Grand Prêtre Christophe Berry La Voix du Temple Direction musicale : Victorien Vanoosten Mise en scène : Jean-Louis Pichon Décors et costumes : Jérôme Bourdin Lumières : Michel Theuil Chorégraphe : Laurence Fanon Vidéaste : Georges Flores avec les choeurs de l’Opéra de Marseille sous la direction d’Emmanuel Trenque
Pierre Rue Annie Challan Roger Bourdin André Sennedat Serge Collot Darius Milhaud André Jolivet 1460 1492 1518
00:00 Requiem (Missa "Pro Defunctis"): Introitus - Kyrie - Psalmus - Offertorium - Sanctus - Agnus Dei - Communio 23:55 Missa "Dolores Gloriose Recolentes¨ (Missa de Septem Doloribus): Kyrie - Gloria - Credo - Sanctus - Benedictus - Agnus Dei Polyphonic Ensemble of Paris - Charles Ravier, conductor Jocelyne Chamonin (soprano), Joseph Sage (counter-tenor) André Meurant (tenor), Georges Abdoun (bass) Annie Challan, Marielle Nordmann (small medieval harp) Roger Bourdin (flute, bass flute in C), Huguette Ehrmann (flute in G) Michel Sanvoisin (bass recorder), Émile Mayousse (English horn) André Sennedat (bassoon), Serge Collot (viola), Max Fouchet (trombone) We shall probably never know what Pierre de La Rue looked like. Very little has been discovered about him. He was born in Tournai in 1460, and the first written record of his name is in a document dated November 17, 1492. He was attached to the Burgundian Court for some years, and died on November 20, 1518. These are the basic facts that are known of his life. But the composer of the Missa pro defunctis and the Missa Dolores — recorded here was one of the most brilliant composers of the fifteenth century, one of those whose music reaches the hidden depths within us. Like his contemporary Josquin des Pres, Pierre de La Rue was a true representative of his time, when the Middle Ages, with their musical synthesis of several centuries of invention, anguish, and aspiration, were drawing to a close in the Western world, and when the vital force that had sprung up from the ruins of the Roman Empire began to lose impetus and eventually to make way for the Renaissance. De La Rue’s known works comprise songs, motets, and 36 Masses. In these latter, de La Rue often constructs his polyphony around a ‘cantus firmus’ taken from plainchant or popular song. This melodic theme, usually presented in long note values, reappears at intervals throughout the work and acts as a kind of pivot. The Dolores Mass is an example of this. Its “cantus firmus” quotes a sequence devoted to St. Mary of the Seven Sorrows. The Requiem Missa pro defunctis reveals the qualities that distinguish Pierre de La Rue from other musicians of his time: they are the qualities of a poet in somber tones, served by a subtle architect. His calm yet intense expression answers to the anxiety inherent in life itself. In what way was the interpretation of musical polyphony organized at that time? There are few written documents to help us here. Many pictorial representations of musical performance show groups of singers together with instrumentalists of all kinds; there are prescriptions for polyphony to be played on “all the instruments you like’; and we know that at all the courts, and the Burgundian court in particular, there were large numbers of instrumentalists among the musicians. All these facts and many more prove that one of the important facets of the musical taste of the time was the interest in instrumental sonorities, either alone or mingled with voices. However, we know hardly anything about how the instruments were used. Their distribution depended on local supply and on the development of practices and customs that are unknown today. For the present version, taking account of these historical data, we have gone to the original musical text in its varying aspects. We have tried to realize the marvelous complexity of this polyphony, of which the least that can be said is that it is the work of a master of his art, and one of the great masters of Art. From the French of Charles Ravier BIBLIOGRAPHY The most convenient English-language source for Pierre de la Rue is Music in the Renaissance by Gustave Reese. A valuable section of this book is devoted to the composer (indexed under L), with specific discussion of the Requiem and several other works. THE ARTISTS Charles Ravier is himself a Burgundian. He made his debut as a violist, but an increasing preoccupation with medieval and Renaissance music led him to form his own group, the Polyphonic Ensemble of Paris. With it he has performed at festivals throughout France — the concert performance of the de La Rue Requiem recorded here was given at the Festival of Mont Saint-Michel— and his work has been rewarded by prizes from the Académie Charles Cros and the Académie du Disque Francais. Ravier is also keenly interested in contemporary music: Darius Milhaud and André Jolivet have composed works specially for the Polyphonic Ensemble of Paris.
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- cronologia: Interpreti (Europa).
- Indici (per ordine alfabetico): B...