“Juana de Arco” – Jules Bastien-Lepage – 1879 - Metropolitan Museum of Art, New York
“Orleanskaya Deva” (La Doncella de Orleans) es una ópera en 4 actos compuesta a lo largo de seis meses, entre 1878 y 1879, por Pyotr Ilyich Tchaikovsky (1840-1893). Fue la quinta ópera escrita por el compositor ruso y la primera que fue representada fuera de su país, en concreto en Praga en 1882, a lo cual sin duda contribuyó el hecho de que, por primera vez en sus óperas, la temática no era rusa.
El estreno oficial tuvo lugar el 25 de febrero de 1881 en el Teatro Mariinsky de San Petersburgo, bajo la dirección musical
of Eduard Napravnik , obtaining a very enthusiastic audience reaction, or at least I had the composer himself, who boasted that he had to leave to greet 28 times. However, the criticism was nothing benevolent. In addition, two weeks after the premiere, the Tsar Alexander II was assassinated in St. Petersburg, so that the opera season was canceled and that ultimately auctioning off the limited success of the work. In fact, never again represent Russia at Tchaikovsky life and says that even 50 years of the twentieth century represented not more than ten times.
Opera is based on the life of Joan of Arc , the teenager who was only 17
led the French army troops leading the battle of the siege of Orleans, after that hearing God's voice assuring him that she would release the city , and died at the stake for sorcery and witchcraft condemned in 1431, being canonized in 1920 and being converted into a symbol of French unity.
The script was built by Tchaikovsky himself taking elements of the tragedy of Schiller "Die Jungfrau von Orleans" of Auguste Mermet libretto for his opera "Jeanne d'Arc" (1876), the "Jeanne d'Arc" of Jules Barbier and a biography of French heroine written by Henri Wallon .
There is agreement in perhaps not the most inspired work of genius composer, but opera is another undeniable sign of his mastery of orchestration and has some moments of great intensity and beauty. Among these, the most popular is the aria she sings Jeanne in Act I, "Da, chas Nastala! Prastite vy ..." (Yes, the time has come ... Goodbye hills) , better known its French version "Adieu Forêts .
In this excerpt, the young Jeanne available from his hometown to meet
vocation that has been revealed and says goodbye with sadness of their land forever, while also assails him fear of the future that you would expect, torn between the fear and the fulfillment of the divine.
In some respects it is an aria that I have always felt quite akin to the "Kuda, Kuda" singing Lensky in "Yevgeny Onegin" , opera composed by Tchaikovsky immediately before this "Maid of Orleans" .
The role of Jeanne was originally written by Tchaikovsky
for a dramatic soprano, but shortly before the premiere the music was adapted for mezzo-soprano voice, as the composer meant that there was at that time a soprano that could assume the character with guarantees, with the mezzo Mary Kamenskaya the singer who could best deal with the paper. Since then the character of Jeanne scene has been interpreted either by sopranos and mezzos , being part of the standard concert repertoire and recitals.
There are many recordings of this aria, well within the entire opera arias or selections, both in its original version in Russian, as in the French and even English. Today I've wanted to bring the blog four different versions.
confess that the first version is my favorite. The interpreter is
Russian mezzo-soprano Irina Arkhipova , born in 1925 and died last year ( "annus horribilis" to the world of opera). Arkhipova was the mezzo reference to Russia during the decades of 60 and 70 of the last century, and the few who obtained permission to sing outside their country, being the Jeanne one of his most famous roles. The recording is from 1973 and has the direction of Gennady Rozhdestvensky head of the Moscow Radio Symphony Orchestra :
video
Homoclassicus
The next version is performed by a soprano, also Russian and contemporary Arkhipova. This is the great Galina Vishnevskaya , one of the most important figures of Russian poetry, which also gives us an extraordinary interpretation which can be made within reproaches
video
ManricoV
We now have a version of the aria Jeanne French. It is recorded that in 1957 I admired Eileen Farrell, accompanied by the Philharmonia Orchestra led by Thomas Schippers , in a possibly unique interpretation, but full of strength and with all the vocal beauty and musicality displayed the American soprano every time he sang
video
Onegin65
end this entry today with the legendary Italian soprano Mirella Freni , who in 2003, at 68 years old, faced with an enviable stage energy and charisma, the role of Jeanne teen live at the Teatro Massimo in Palermo. And two years later do it again, this time at the Washington Opera, which would be his last performance of an opera on stage:
video
opcel1
El estreno oficial tuvo lugar el 25 de febrero de 1881 en el Teatro Mariinsky de San Petersburgo, bajo la dirección musical
of Eduard Napravnik , obtaining a very enthusiastic audience reaction, or at least I had the composer himself, who boasted that he had to leave to greet 28 times. However, the criticism was nothing benevolent. In addition, two weeks after the premiere, the Tsar Alexander II was assassinated in St. Petersburg, so that the opera season was canceled and that ultimately auctioning off the limited success of the work. In fact, never again represent Russia at Tchaikovsky life and says that even 50 years of the twentieth century represented not more than ten times. Opera is based on the life of Joan of Arc , the teenager who was only 17
led the French army troops leading the battle of the siege of Orleans, after that hearing God's voice assuring him that she would release the city , and died at the stake for sorcery and witchcraft condemned in 1431, being canonized in 1920 and being converted into a symbol of French unity. The script was built by Tchaikovsky himself taking elements of the tragedy of Schiller "Die Jungfrau von Orleans" of Auguste Mermet libretto for his opera "Jeanne d'Arc" (1876), the "Jeanne d'Arc" of Jules Barbier and a biography of French heroine written by Henri Wallon .
There is agreement in perhaps not the most inspired work of genius composer, but opera is another undeniable sign of his mastery of orchestration and has some moments of great intensity and beauty. Among these, the most popular is the aria she sings Jeanne in Act I, "Da, chas Nastala! Prastite vy ..." (Yes, the time has come ... Goodbye hills) , better known its French version "Adieu Forêts .
In this excerpt, the young Jeanne available from his hometown to meet
vocation that has been revealed and says goodbye with sadness of their land forever, while also assails him fear of the future that you would expect, torn between the fear and the fulfillment of the divine. In some respects it is an aria that I have always felt quite akin to the "Kuda, Kuda" singing Lensky in "Yevgeny Onegin" , opera composed by Tchaikovsky immediately before this "Maid of Orleans" .
The role of Jeanne was originally written by Tchaikovsky
for a dramatic soprano, but shortly before the premiere the music was adapted for mezzo-soprano voice, as the composer meant that there was at that time a soprano that could assume the character with guarantees, with the mezzo Mary Kamenskaya the singer who could best deal with the paper. Since then the character of Jeanne scene has been interpreted either by sopranos and mezzos , being part of the standard concert repertoire and recitals. There are many recordings of this aria, well within the entire opera arias or selections, both in its original version in Russian, as in the French and even English. Today I've wanted to bring the blog four different versions.
confess that the first version is my favorite. The interpreter is
Russian mezzo-soprano Irina Arkhipova , born in 1925 and died last year ( "annus horribilis" to the world of opera). Arkhipova was the mezzo reference to Russia during the decades of 60 and 70 of the last century, and the few who obtained permission to sing outside their country, being the Jeanne one of his most famous roles. The recording is from 1973 and has the direction of Gennady Rozhdestvensky head of the Moscow Radio Symphony Orchestra : video
Homoclassicus
The next version is performed by a soprano, also Russian and contemporary Arkhipova. This is the great Galina Vishnevskaya , one of the most important figures of Russian poetry, which also gives us an extraordinary interpretation which can be made within reproaches
video
ManricoV
We now have a version of the aria Jeanne French. It is recorded that in 1957 I admired Eileen Farrell, accompanied by the Philharmonia Orchestra led by Thomas Schippers , in a possibly unique interpretation, but full of strength and with all the vocal beauty and musicality displayed the American soprano every time he sang
video
Onegin65
end this entry today with the legendary Italian soprano Mirella Freni , who in 2003, at 68 years old, faced with an enviable stage energy and charisma, the role of Jeanne teen live at the Teatro Massimo in Palermo. And two years later do it again, this time at the Washington Opera, which would be his last performance of an opera on stage:
video
opcel1
Yes, the time has come. Jeanne
has to undergo the mandate of heaven,
but the fear fills my soul.
The pain and anguish wilt my heart.
Goodbye, hills, native fields, serene valley, peaceful
shelter, goodbye.
'll not get back to see Jeanne,
that you always say bye. Prados
friends, my devoted trees, and I
floreceréis marchitaréis without me. Fresh
cave, flowing stream,
I leave never to return.
charming country, we are separated. Herds
mine, I will not be your fence, you will have
without wandering shepherdess. In another herd
I shall now turn deadly
in grasslands of the war.
The highest I have chosen vocation.
I do not moves the vain desire.
Lord my heart is open to you
And anguish and suffering.
has to undergo the mandate of heaven,
but the fear fills my soul.
The pain and anguish wilt my heart.
Goodbye, hills, native fields, serene valley, peaceful
shelter, goodbye.
'll not get back to see Jeanne,
that you always say bye. Prados
friends, my devoted trees, and I
floreceréis marchitaréis without me. Fresh
cave, flowing stream,
I leave never to return.
charming country, we are separated. Herds
mine, I will not be your fence, you will have
without wandering shepherdess. In another herd
I shall now turn deadly
in grasslands of the war.
The highest I have chosen vocation.
I do not moves the vain desire.
Lord my heart is open to you
And anguish and suffering.
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