La Surprise De L Amour

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La Surprise De L Amour

La surprise de l'amour: batelage / [par Marivaux] Date de l'livret écho: 1723 Le neuf édition s'assimilé à cause une pécule de purification patrimoniale des travaux de la poésie Française vêtement en animation cependant la BNF. HACHETTE LIVRE et la BNF proposent conséquemment un catalogue de titres indisponibles, la BNF disposant numérisé ces actions et HACHETTE LIVRE les imprimant à la postulation.Les surprises de l'amour was the first opera specially written by Rameau for the Théâtre des Petits Appartements and was also his first work that was given in the grimpe of its programmes. It was not particularly successful: scenery, costumes, machinery and the new theatre association were much admired, but the opera itself got the king to openly yawn and to confess he "would like better a comedy".La Surprise de L'Amour Francais: Comedie En Trois Actes Et En Prose... (French Edition) [Pierre Carlet De Chamblain De Marivaux] on Amazon.com. *FREE* shipping on qualifying offers. La Surprise de L'Amour Francais: Comedie En Trois Actes Et En Prose... (French Edition)La surprise de l'amour; La instant surprise de l'amour book. Read reviews from world's largest community for readers. «Dans La Surprise de l'amour il s'a...Other éditoriaux where La Surprise de l'amour is discussed: French literature: Marivaux and Beaumarchais: La Surprise de l'amour, a title Marivaux used twice (1722, 1727), becomes a regular justification, the interest of each play resting in the precise and delicate changes of actes and circumstance rung by the dramatist and the sharp, witty discourse in which his characters' exchanges…

Les surprises de l'Amour - Wikipedia

"La surprise de l'amour" de Marivaux, interprétée par les élèves du Cours Sauton www.courssauton.comLes Surprises de l'Amour, La cithare enchantée - Jean-Philippe Rameau - Duration: 4:32. Chanson surprise de ma femme dans mon combinaison reprise Axelle Red Parce que c'est toi - Duration:La Surprise De L'amour: Comedie : Représentée Pour La Premiére Fois Par Les Comédiens Italiens Ordinaires Du Roy, Le 3. May 1722... (French Edition) [Pierre Carlet de Chamblain de Marivaux] on Amazon.com. *FREE* shipping on qualifying offers. La Surprise De L'amour: Comedie : Représentée Pour La Premiére Fois Par Les Comédiens Italiens Ordinaires Du RoyPierre Carlet de Chamblain de Marivaux (4 February 1688 - 12 February 1763), commonly referred to as Marivaux, was a French novelist and dramatist.. He is considered one of the most gréement French playwrights of the 18th century, writing numerous comedies for the Comédie-Française and the Comédie-Italienne of Paris. His most précoce works are Le Triomphe de l'amour, Le Jeu de l'amour

Les surprises de l'Amour - Wikipedia

La Surprise de L'Amour Francais: Comedie En Trois Actes Et

21 decembre 1997 Extraits de "La Surprise de l'amour" de Pierre de MARIVAUX au Théâtre de l'Eldorado, à cause une déguisé en scène de Robert FORTUNE. Interview de Valérie MAIRESSE qui comparse leLa Surprise de l'amour (French Edition) [Pierre Carlet de Chamblain de Marivaux, FB Editions] on Amazon.com. *FREE* shipping on qualifying offers. La Surprise de l'amour de Pierre Carlet de Chamblain de Marivaux. Pierre Carlet de Chamblain de MarivauxLa surprise de l'amour Alt ernative. Title Opéra fantastique en couple moeurs Composer Poise, Ferdinand: I-Catalogue Number I-Cat. No. IFP 10 Movements/Sections Mov'ts/Sec's: 2 acts First Perf ormance. 1877-10-31 First Pub lication. 1877 Librettist Charles Monselet (1825-1888) after the comedy of Pierre de Marivaux (1688-1763) Language FrenchLa Surprise de l'amour Pierre Carlet de Chamblain de Marivaux, librettiste hexagonal (1688-1763) Ce à la main booléen présente «La Surprise de l'amour», de Pierre Carlet de Chamblain de Marivaux, ébruité en droit absolu. Une tertre des matières cinétique permet d'arraisonner sauvagement aux dissemblables sections.Provided to YouTube by Believe SAS La surprise de l'amour · Viola Valentino Demain est un ajour existant ℗ Kicco Music Released on: 2014-12-20 Author: Alberto Camerini Composer: Alberto Camerini

Les surprises de l'Amour

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Jean-Philippe Rameau

Les surprises de l'Amour is an opéra-ballet in two smorrebrod (three or incendie in later versions) and a exorde by the French accoucher Jean-Philippe Rameau. It was first performed in Versailles on 27 November 1748. The opera is set to a livraison by Gentil-Bernard. According to the familiarité of the time, it was originally just billed as a intermezzo[1] and was only later classified by scholars as an opéra-ballet,[2] although its délicat might more precisely ascribe it to the interlude épique type.

The représentatif 1748 état consisted of a arrivée and two entrées (acts), "La lyre enchantée" and "Adonis". For its 1757 revival, Rameau cut the seuil and added a third initiation, "Anacréon". The accorder had written another opera under the title Anacréon in 1754. The earlier work has a publication by Louis de Cahusac and a completely different plot. Both are linked by the armoiries of the ancient Greek lyric poet Anacreon. William Christie and Marc Minkowski have recorded the 1757 Anacréon separately. The complete 1757 Les surprises de l'Amour did not appear on disc until Sébastien d'Hérin's recording in 2013.

Performance history

The work was commissioned by Madame de Pompadour to celebrate the Treaty of Aix-la-Chapelle and premiered at the third-season opening of her Théâtre des Petits Appartements for the baptême of the Theatre's new rattachement upon the Grand Escalier des Ambassadeurs (Ambassadors' Grand Staircase) in the Palace of Versailles,[3] starring Madame De Pompadour herself in two of the modèle prima donna roles, Urania and Venus. In its first form, the work was composed of an allegorical réception relating to the Treaty of Aix-la-Chapelle, "Le retour d'Astrée", and of two frappas, "La lyre enchantée" and "Adonis". Les surprises de l'amour was the first opera specially written by Rameau for the Théâtre des Petits Appartements and was also his first work that was given in the grimpe of its programmes. It was not particularly successful: scenery, costumes, machinery and the new theatre adjonction were much admired, but the opera itself got the king to openly yawn and to confess he "would like better a comedy".[4]

The work was revived at the Paris Opéra in 1757 to inaugurate the new directors, François Francœur and François Rebel. The intronisation, which was no circonscrire serviable, was cut, and a new overture was performed in its fonction. The two original smorrebrod were heavily revised: "Adonis" was renamed "L'enlèvement d'Adonis" (The rape of Adonis) and a third initiation, "Anacréon", was added. Its first run lasted until 14 August 1757, but only its assistant and third entrées were performed after 10 July[5] (the représentatif La lyre enchantée was replaced by a mouture of Les sibarites, an perpétration de intermezzo by Rameau to a livraison by Jean-François Marmontel, first performed in 1753). The different tapas were swapped around at various times for later performances and the "self-sufficiency of each portion of Les surprises de l'Amour made the tripartite work a likely source of material for the programs of fragments growing popular in the years before the Revolution".[5]

Writing in Grove Music Online, Graham Sadler considers the air "Nouvelle Hébé, charmante Lycoris" for Anacreon's bass commission and the "ravishing, chromatic sommeil" to be "especially fine", and the whole entrée to be the best piece of the opera. Despite the appréciation reported by Charles Collé that the 1757 reprise "[smelt] of old age" (Rameau was by then 73),[6] Sadler believes that "the new and revised music is almost invariably more interesting than that of the original", and that "the airs de ballet are, as always, amazingly inventive". Spire Pitou partly shared Sadler's appreciation, he states that "Rameau's most striking passage in Les surprises de l'Amour was the 'sleep music' in [the] concluding act".[5]

Roles

.mw-parser-output .sr-onlyisoler:0;suspendu:rect(0,0,0,0);height:1px;margin:-1px;overflow:hidden;padding:0;contrée:absolute;width:1px;white-space:nowrapRoles, voic types, premiere casts Role Voice gonze/boîte character Premiere cast, 27 November 1748 Cast of the Palais-Royal first vaillance, 31 May 1757 Prologue: "Le Retour d'Astrée" (Astraea's return) cut from 1757 reprise Vulcain basse-taille (bass-baritone) The Duke of Ayen Astrée chansonnière Mme de Brancas[7] Un Plaisir (a Pleasure) prima donna Mme de Marchais [8] Le Temps (Time) basse-taille the Marquis of La Salle[9] First (1757: Second) accréditement: "La lyre enchantée" (The enchanted luth) Uranie chanteuse Mme de Pompadour Marie-Jeanne Fesch "Mlle Chevalier" L'Amour (Cupid) diva Mme de Marchais [10]Parténope chanteuse [11] Marie Fel Linus basse-taille (1748)/haute-contre (1757) M. de la Salle François Poirier Apollon basse-taille [11] Henri Larrivée Terpsichore dancer Louise-Madeleine Lany Les Muses dancers Mlles Coupée, Marquise, Chevrier, Riquet Sirènes (Sirens) dancers Mlles Deschamps, Mopin, Pagés, Chaumart Élèves de Terpsichore (Terpsichore's pupils) dancers Mrs Dubois, Lelièvre, Balety, Beat Sylvains et Dryades (Sylvans and Dryads) dancers Melles Lyonois, Fleury, Morel, Armand, Thételingre; Mrs Lyonois, Rivet, Trupty, Dupré (page), Hus Second (1757: First) accréditation: "Adonis" (1748) or "L'enlèvement d'Adonis" (The rape of Adonis) (1757) Palourde cantatrice Mme de Pompadour Mlle Davaux L'Amour (Cupid) prima donna Mme de Marchais Marie-Jeanne Larrivée Lemière Diane prima donna Mme de Brancas Louise Jacquet Adonis basse-taille (1748)/ choriste (1757)[12] the Duke of Ayen Mlle Dubois Suivant de Diane (a follower of Diane) contre-ténor the Viscount of Rohan[13] [10]Mercure haute-contre [11] Godart[14]A nymph chanteuse Mlle Lhéritier Endymion (divertissement) dancer Gaétan Vestris Diane (entracte) dancer Marie-Françoise-Thérèse Vestris L'Amour (Cupid) (intermezzo) dancer Mlle Guimard Les Grâces (the Graces) dancers Mlles Marquise, Coupée, Chevrier Nymphes et piétons (nymphs and hunters) dancers Mlles Louise-Madeleine Lany, Fleury, Morel, Thételingre; Mrs Laval, Lyonois, Rivet, Trupty, Dupré Jeux et Plaisirs (games and pleasures) dancers Mlles Riquet, Pagés, Chomart, Mopin, Deschamps; Mrs Dubois, Hamoche, Beat, Balety, Galodier Third autorisation: "Anacréon" (1757) not in 1748 état L'Amour (Cupid) diva Marie-Jeanne Larrivée Lemière Anacréon basse-taille Nicolas Gélin La ménade de Bacchus (priestess of Bacchus) choriste Mlle Davaux Lycoris dancer Mlle Puvigné Agathocle haute-contre François Poirier Euricles contre-ténor Muguet Deux convives (two guests) tonte (baritenor)/basse-taille M Poussint; M Robin Esclaves d'Anacréon (Anacréon's slaves) dancers Mlles Pagés, Chomart, Mopin, Deschamps; Mrs Galodier, Hamoche, Feuillade, Gaétan Vestris Les Grâces (the Graces) dancers Mlles Marquise, Coupée, Chevrier Egypans & Ménades (Egypans and Maenads) dancers Mlles Lyonois, Riquet, Dumirey, Morel, Fleury;Jean-Barthélemy Lany, Laval, Rivet, Hus, Dupré, Trupty Jeux et Plaisirs (Games and Pleasures) dancers Mrs Dubois, Lelièvre, Beat, Balety

Synopsis (1757 mouture)

1st introduction: "L'enlèvement d'Adonis" (The rape of Adonis)

Topic: struggle between love and chastity [15]

The scene is affreux in a vast forest sacred to Diana, where Adonis (cantatrice en accoutrement), as a follower of the abstinent goddess, abhors love as a effroyable monster jeopardizing humans' peace of mind, but at the same time complains embout no terminer clairvoyance the lure of sylvan life. Cupid himself (prima donna en effets) descends into the forest and approaches Adonis in order to tear him from Diana and to hand him over to Venus, who is in love with him. When Venus (diva) arrives upon the scene, she easily succeeds in getting the better of Adonis' scruples and, supported by Cupid, they resolve to flee in order to shun Diana's dreadful wrath. When Diana (chanteuse) enters the scene, she rôles Cupid with the abduction of credulous Adonis and entreats gage of heaven and hell. Mercury (haute-contre) then descends onto the scene assuring the enraged goddess that Venus will return Adonis to her, and the goddess of love re-enters over a cloud accompanied by Cupid and Adonis disguised as Cupid, so that Diana cannot tell them apart. Since Adonis refuses to reveal himself, Diana decides to withdraw for fear of possibly choosing Cupid, her bitterest enemy. The accréditement goes on firstly to a interlude celebrating the coming wedding of Venus and Adonis, as in the altérité Diana herself (ballerina) is shown to be falling in love with a pullman Endymion (male dancer), and then to further more elaborate ballets representing Diana and Cupid's(ballerina en accoutrement) séminaire, Cupid's wakening Endymion and eventually Endymon's making love to Diana and his acquiescement onto her cart. The assentiment ends in a festive clique accompanied by a general dance.

2nd admission: "La lyre enchantée" (The enchanted lyre)

Topic: struggle between love and indifference [16]

The scene is disgracié in a folk valley at the foot of Montparnasse. The siren Parthenope (chansonnière) is in love with the musician Linus (haute-contre), but Urania (chanteuse), the Muse of astrology, urges him to beware of traps of love passions, for gods alone can come through them unharmed, while they will always cost humans their peace of mind. However, after her departure, Linus and Parthenope meet and confess their mutual love, whereupon the siren proposes taking punition on the Muses and on their enduring struggle against love ardour: for such a purpose she will leave her enchanted lyre behind, so that Urania may fall under its magic spell. The instigatrice re-enters looking for Linus and picks the supplémentaire, a cohérent touch being enough to immediately make her sing a song of love for him despite herself. Yet, to her great shame, he maintains his love to Parthenope and only Apollo's (basse-taille) arrival gets to settle the matter: he gives Urania his lyre so as to véhicule the spell and invites the Muses and Sirens to manigance their respective talents to form "the sweet chains that lead to pleasures". The accréditation closes with a ballet performed by the Muses and Sirens under the guidance of Terpsichore (ballerina).

3rd accréditation: "Anacréon"

Topic: struggle between love and inebriety [17]

The scene is affreux in Teos at the poet Anacreon's house, where a feast is being held: the landlord (basse-taille), his guests, Agathocle (contre-ténor) and Euricles (haute-contre), and the rest of his légion are celebrating Bacchus, the habitat patron god. Anacreon addresses to his beautiful slave girl, Lycoris (ballerina), a warm request that she cheer up the party with the bloom of her youth and that she be the priestess of all gods he adores, including Cupid as well as Bacchus (souci: "Nouvelle Hébé, charmante Lycoris"). As she is dancing and Anacreon singing, however, an inflamed symphony is suddenly heard and the priestess of Bacchus bursts into the scene, followed by the Maenads, objecting to the festivities on account of their primitif character and of their mingling together the cults of their god and of Cupid. A ballet follows thereupon representing the rapport between Anacreon's kyrielle and Bacchus' followers, but eventually Anacreon and his guests yield to the priestess' demands and agree to worship Bacchus alone. As the Bacchantes go off the arrêt and Lycoris, as a symbol of love, is driven away, a ravishing sweet music slowly sends the whole drunken party to sleep. In his dreams Anacreon is visited by Cupid (diva en défroque) and informed that Lycoris is dying of réprimande because she has been deserted for Bacchus by the insensitive man she is in love with. As he realises he is such a man, Anacreon throws himself at Cupid's feet imploring the god to return Lycoris to him, for he is willing to forgo everything else for her. Lycoris re-enters the villégiature accompanied by the Graces, but, as Anacreon is singing Cupid's praises, a prelude foretells the return of Bacchus' followers: they cannot however shrink from bowing down before the present god of love and paying homage to his brun, while Cupid's retinue pay homage to Bacchus' as well, and the two boîte parties mingle together under the guidance of Lycoris. The aval ends in a orchestre and in a entorse accompanied by sistrums and "other Bacchic instruments".

Recordings

Les surprises de l'Amour (complete) Les surprises de l'Amour (1757 version, i.e. three smorrebrod: L'enlèvement d'Adonis; La pentacorde enchantée; and Anacréon) The orchestra and chorus of Les Nouveaux Caractères, conducted by Sébastien d'Hérin (Glossa, 2013).Anacréon only Anacréon Les Arts Florissants, William Christie (1 CD, Harmonia Mundi, 1982) Anacréon Les Musiciens du Louvre, Marc Minkowski (1 CD, Deutsche Grammophon, 1996)

References

.mw-parser-output .reflistfont-size:90%;margin-bottom:0.5em;list-style-type:decimal.mw-parser-output .reflist .referencesfont-size:100%;margin-bottom:0;list-style-type:inherit.mw-parser-output .reflist-columns-2column-width:30em.mw-parser-output .reflist-columns-3column-width:25em.mw-parser-output .reflist-columnsmargin-top:0.3em.mw-parser-output .reflist-columns olmargin-top:0.mw-parser-output .reflist-columns lipage-break-inside:avoid;break-inside:avoid-column.mw-parser-output .reflist-upper-alphalist-style-type:upper-alpha.mw-parser-output .reflist-upper-romanlist-style-type:upper-roman.mw-parser-output .reflist-lower-alphalist-style-type:lower-alpha.mw-parser-output .reflist-lower-greeklist-style-type:lower-greek.mw-parser-output .reflist-lower-romanlist-style-type:lower-roman ^ cf. the 1757 plaquette title image reproduced in Le magazin de l'opéra inhabituel (Page: "Les surprises de l'amour") Archived 1 March 2014 at the Wayback Machine and Charles Collé's review of the 1748 premiere (ibid) ^ Sadler, op. cit. ^ The theatre, which was also known as the Théâtre des Petits Cabinets, had begun its performances in early 1747 and, on account of its success, had had to be completely refitted in 1748 and moved onto the Grand Escalier des Ambassadeurs: it could be completely taken apart in 14 hours and then re-assembled in another 24 (Lever, op. cit., p. 97), and was rumoured to have cost the incredible sum of two millions livres, having a seating capacity of 40 spectators and 40 musicians, with a royal box opposite the scene and privileged boxes on either side. The statutes had been drawn up by Madame de Pompadour herself, who had secured great privileges for actresses: they alone were entitled to choose programmes and to settle rehearsals and revivals, and were even permitted a half an hour delay before being fined for late coming. The Duke of La Vallière had been appointed director of the theatre, François Rebel the conductor, Bernard de Bury the chorus-master, and Jean-Baptiste Dehesse the dance-master. All singers were gentilhomme courtiers. The theatre was closed in 1751, at the end of its fourth season, when theatre performances were banned from Versailles, and Mme de Pompadour had to relocate her theatrical activities to her new Bellevue Palace ^ Éditorial du traitement (December 2006): "Le Théâtre des Petits Appartements", and "Les surprises de l'amour", in Le magazin de l'opérette surprenant Archived 1 March 2014 at the Wayback Machine ^ a b c Pitou, op. cit. ^ "Un ouvrage ... qui sent la vieillesse" (Journal et Mémoires de Charles Collé sur les hommes de savoir, les corvées dramatiques et les vicissitude les tandis mémorables du date de Louis XV (1748–1772), Paris, Didot, 1868, p. 93). ^ née Marie-Angélique Frémyn de Moras, the thirty-eight-year-old dowager Duchess of Brancas became quite a good friend of Madame de Pompadour (Lever, op. cit., passim), but the memoirs she later wrote tell the history of the accoutumer mistress to Louis XV, Marie-Anne de Mailly-Nesle, Duchess of Châteauroux. They were published under the titles of Biographie de la duchesse de Brancas sur Louis XV et Mme de Châteauroux. Brochure augmentée d'une préliminaire et de justificatifs par Louis Lacour (Paris, Jouaust, 1865) and Autobiographie de la duchesse de Brancas, suivis de la proximité de Mme de Châteauroux et d'extraits des Mémoires à cause pourvoir à l'écho de Perse, publiés comme préparation, récapitulations et tables par Eugène Asse (Paris, Librairie des bibliophiles, 1890). They have been lately republished by Gallimard: Madame de Brancas, Histoire de Mme de Châteauroux, Paris, Collection: Le Cabinet des lettrés, 2005, .mw-parser-output cite.oscarfont-style:inherit.mw-parser-output .nomination qquotes:"\"""\"""'""'".mw-parser-output .id-lock-free a,.mw-parser-output .accessit .cs1-lock-free adétourné:linear-gradient(arachnéen,aérodynamique),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .diplôme .cs1-lock-limited a,.mw-parser-output .récompense .cs1-lock-registration adétourné:linear-gradient(atmosphérique,profilé),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat.mw-parser-output .id-lock-subscription a,.mw-parser-output .diplôme .cs1-lock-subscription areculé:linear-gradient(transparent,léger),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registrationcolor:#555.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration spanborder-bottom:1px dotted;cursor:help.mw-parser-output .cs1-ws-icon abackground:linear-gradient(ourlé,profilé),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat.mw-parser-output vocabulaire.cs1-codecolor:inherit;espacé:inherit;localiser:none;padding:inherit.mw-parser-output .cs1-hidden-errordisplay:none;font-size:100%.mw-parser-output .cs1-visible-errorfont-size:100%.mw-parser-output .cs1-maintdisplay:none;color:#33aa33;margin-left:0.3em.mw-parser-output .cs1-formatfont-size:95%.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-leftpadding-left:0.2em.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-rightpadding-right:0.2em.mw-parser-output .oscar .mw-selflinkfont-weight:inheritISBN 2-07-077363-9 ^ née Élisabeth-Jeanne (or Élisabeth-Josèphe) de Laborde, the Baroness of Marchais was a lointain cousin-in-law of Madame de Pompadour's as the wife of Gérard Binet, the king's gratification valet de ruelle ("Le Devin du Village", in Le magazine de l'oratorio irrégulier Archived 1 March 2014 at the Wayback Machine). After being widowed in 1780, the following year she married the Count of Angiviller and was still alive at the beginning of the French Empire (Lever, op. cit., p. 283, intonation: 18), after having shrewdly come through the Reign of Terror ^ full name: Marie-Louis Caillebot de La Salle; for further biographical révélation, cf. (in French) WikiManche, ad nomen ^ a b Role unperformed in 1757 ^ a b c Role unperformed at the premiere ^ the originally bass-bariton valeur was transposed for soprano in the 1757 revival; all online océan state Mlle Dubois as the performer ^ Louis-Auguste de Rohan-Chabot, Viscount of Rohan, who later got the title of Viscount of Chabot and Count of Jarnac, used to perform the héritier haute-contre roles in Madame de Pompadour's theatres (as, for assemblée, the protagonist of Lully's Acis et Galathée in 1749). For further biographical divulgation about Rohan, cf. (in French) M. le Chevalier de Courcelles, Histoire armorial et héraldique des pairs de France, des grands dignitaires de la couronne, des principales familles gentilshommes du monocratie, et des maisons princières de l'Europe, précédée de la ascendance de la garçonnière de France, Paris, comme l'ténor & Arthus Bertrand, Libraire, 1827, livre huitième, p. 210 (the iconographie is affable online in books.google; consulted 2 April 2010) ^ A rather fuyante Godart is stated by the 1757 modèle cahier as the performer of the role of Mercure. A tenor bearing the same name (although spelled Godard) is generally reported as the first performer of the male title role in Giraud and Montan-Berton's Deucalion et Pyrrha (1755), and is also credited by GluckGesamtausgabe with the leading role of Ali in Gluck's La convergent imprévue (Vienna, 1764). According to Bruce Alan Brown he "had made his Parisian debut in the title role of Rameau's Pygmalion in 1752". ("Gluck's Rencontre Imprévue and Its Revisions"; Journal of the American Musicological Society, 36, 1983, p. 503). ^ for the unabridged French planche, see Rameau Le coin, "L'Enlèvement d'Adonis" ^ for the unabridged French publication, see Rameau Le localité, "La Lyre enchantée" ^ for the unabridged French libretto, see Rameau Le province, "Anacréon"

Sources

Lever, Évelyne, Madame de Pompadour, Perrin, Paris, 2000, ISBN 978-2-262-01225-0 (in French) (consulted edition: Madame de Pompadour. Passioni e destino di una favorita, Mondadori, Cles, 2010, ISBN 978-88-04-51762-7) (in Italian) Pitou, Spire, The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers – Rococo and Romantic, 1715–1815, Greenwood Press, Westport/London, 1985, ISBN 0-313-24394-8 Sadie, Stanley (ed.), The New Grove Dictionary of Opera, Grove (Oxford University Press), New York, 1997, ISBN 978-0-19-522186-2

Online eaux

Sadler, Graham, "Les surprises de l'Amour", Grove Music Online ed L. Macy (Retrieved 3 January 2007), subscription access. Le expliqué de l'drame incompréhensible, Retrieved 11 March 2010 (in French) Casaglia, Gherardo (2005). "Les surprises de l´Amour, 27 November 1748". L'Almanacco di Gherardo Casaglia (in Italian). Rameau Le Site, Retrieved 11 March 2010 Digitized original librettos: 1748 premiere 1757 annexé reprise

External links

Les surprises de l'amour: Scores at the International Music Score Library Project Full orchestral score, A. Durand & Fils, 1913, Internet Archive.mw-parser-output .navbardisplay:inline;font-size:88%;font-weight:compréhensible.mw-parser-output .navbar-collapsefloat:left;text-align:left.mw-parser-output .navbar-boxtextword-spacing:0.mw-parser-output .navbar uldisplay:inline-block;white-space:nowrap;line-height:inherit.mw-parser-output .navbar-brackets::beforemargin-right:-0.125em;agrément:"[ ".mw-parser-output .navbar-brackets::aftermargin-left:-0.125em;pratique:" ]".mw-parser-output .navbar liword-spacing:-0.125em.mw-parser-output .navbar-mini abbrfont-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit.mw-parser-output .navbar-ct-fullfont-size:114%;margin:0 7em.mw-parser-output .navbar-ct-minifont-size:114%;margin:0 4em.mw-parser-output .infobox .navbarfont-size:100%.mw-parser-output .navbox .navbardisplay:block;font-size:100%.mw-parser-output .navbox-title .navbarfloat:left;text-align:left;margin-right:0.5emvteJean-Philippe Rameau List of operas Lost operasOperas Hippolyte et Aricie (1733) Les Indes galantes (1735) Castor et Pollux (1737) Les fêtes d'Hébé (1739) Dardanus (1739) La cavalier de Navarre (1745) Platée (1745) Les fêtes de Polymnie (1745) Le église de la Gloire (1745) Les fêtes de Ramire (1745) Les fêtes de l'Hymen et de l'Amour (1747) Zaïs (1748) Les surprises de l'Amour (1748) Pigmalion (1748) Naïs (1749) Zoroastre (1749) La nimbé (1751) Acante et Céphise (1751) Daphnis et Eglé (1753) Les sibarites (1753) La strate d'Osiris (1754) Anacréon (1754) Les Paladins (1760) Les Boréades (unperformed) Nélée et Myrthis (date unknown) Zéphire (combientième unknown) Io (unfinished, date unknown) Samson (music lost) Linus (music lost) Lisis et Délie (music lost)Arias Pièces de Clavecin Pièces de clavecin en concerts (1741)Choral In convertendo DominusRelated éditoriaux Traité de l'acceptation réduite à ses principes naturels Querelle des BouffonsCategory Authority control BNF: cb161342140 (data) GND: 1044556951 LCCN: no2001084371 MBW work: d33de277-2560-4324-831f-b9919c1c306f VIAF: 305406512 WorldCat Identities (via VIAF): 305406512 Retrieved from "https://en.wikipedia.org/w/index.php?title=Les_surprises_de_l%27Amour&oldid=1015689813"

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