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Mam'zelle Nitouche Hervé
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Mam'zelle Nitouche, Florimond Ronger
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Mam'zelle Nitouche by Florimond Ronger, šeš 12 spa 2019, Nuo (2019/2020), Režisierius Dominik Beneš,, Dirigentas Josef Štefan, Slezské divadlo, Opava, Czech Republic

Žiūrima aktorius ir komanda 12 spa 2019

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The opera company will present the premiere of the operetta Mamzelle Nitouche on October 13 at 7 p.m. The composer of the famous operetta is Florimond Ronger, who is known under the pseudonym Hervé. The libretto was written by Albert Millaud and Henri Meilhac. A funny comedy set in a monastery, theater and barracks had its world premiere in January 1883 at Paris Variétes. The famous operetta Mamzelle Nitouche (Czech "Miss Netýkavka") is one of Hervé's best works and achieved worldwide success. Mamzelle Nitouchewas performed in Bohemia for the first time in 1890 at the National Theater and was a success here from the beginning. In Bohemia and Moravia, it has been attracting theater visitors for many years in the translation and adaptation of Oldřich Nový, who excels in situational and verbal humor. In 1977, it was filmed as a television production with Lubomír Lipský in the lead role of Célestina (Floridora). In his most famous work, Hervé focused on light and cheerful situations that form the basis of musical farce, burlesque, musical comedy and operetta. The story begins in the U Vlaštoviček monastery, where Célestin introduces himself to us as an organist, singing teacher and also as the author of an operetta that is just about to premiere. Célestin also has other interests in the theater – he secretly loves the prima donna Corinna, who also aroused the interest of the major, the brother of the mother introduced by Vlaštoviček. Denisa, one of the hideouts, is to marry Lieutenant Fernand de Champlatreux without the two marriage adepts getting to know each other beforehand. Organist Célestin is to accompany her on the train journey home. Denisa discovers the score of a new operetta, reveals Célestino's true identity and demands to participate in the premiere. Later, Denisa meets her fiancé Fernando at the theater, to whom she introduces herself as "Mamzelle Nitouche". A spark flies between Denisa and Fernando, unaware that they are actually engaged. This is the reason for the prima donna Corinna's jealousy, who refuses to appear on stage in the evening. He saves Denisa from the premiere and experiences great success on it. After the premiere, Denisa and Célestin (Floridor) rush to catch the train, but everything gets even more complicated. A military patrol takes them to the barracks, where a merry party of officers is taking place, including Fernand de Champlatreux. Denisa is welcomed, but when the commander surprises everyone, they disguise Denisa as a cadet. From the barracks, Denisa and Célestin return to the monastery, because they have already missed all the trains. Fernand also arrives there, who fell in love with "Mamzelle Nitouche" in the evening and does not want to marry Denisa anymore. After clarifying all the facts, the young lovers can embark on a joint life journey. A military patrol takes them to the barracks, where a merry party of officers is taking place, including Fernand de Champlatreux. Denisa is welcomed, but when the commander surprises everyone, they disguise Denisa as a cadet. From the barracks, Denisa and Célestin return to the monastery, because they have already missed all the trains. Fernand also arrives there, who fell in love with "Mamzelle Nitouche" in the evening and does not want to marry Denisa anymore. After clarifying all the facts, the young lovers can embark on a joint life journey. A military patrol takes them to the barracks, where a merry party of officers is taking place, including Fernand de Champlatreux. Denisa is welcomed, but when the commander surprises everyone, they disguise Denisa as a cadet. From the barracks, Denisa and Célestin return to the monastery, because they have already missed all the trains. Fernand also arrives there, who fell in love with "Mamzelle Nitouche" in the evening and does not want to marry Denisa anymore. After clarifying all the facts, the young lovers can embark on a joint life journey. The final movements entered the history of operetta, theater and everyday life. "She is an angel," says the Mother Superior, and Denisa replies, "I am like that, mother!" Hervé (30 June 1828 – 4 November 1892 France), real name Florimond Ronger, was an actor, writer, organist and composer of Spanish-French origin. He wrote over a hundred different works, almost half of which were operettas or comic operas (opera buffa). He started his career in the choir of the Paris church of St. Rocha and later studied at the Paris Conservatoire. At the age of sixteen, he was employed as an organist in Paris in an institution for the mentally ill, where his mother also worked. He composed musical performances in which patients sometimes played. From 1845 he worked as an organist in the church of St. Eustachius. In 1848, the actor Desiré asked him to write music for his benefit performance. The one-act slapstick Don Quichette et Sancho Pancho was created . In 1854, he obtained a license for his own theater, Les Folies Nouvelles, where he performed pantomimes and musical slapstick. The license only allowed productions for two actors. He tried to enrich this limitation by using puppets, the intervention of the conductor as another role in the story and other, sometimes crazy ideas. One of his performances was entitled Le compositeur toque (The Mad Composer), which later became the composer's nickname. Hervé also staged one Offenbach production in his theater (the singing play Oyayaie or The Queen of the Islands), who then opened his own theater, the Théâtre des Bouffes-Parisiens. After opening a competing theater, Hervé fell ill, had to close the theater and left Paris for the countryside, where he literally made a living as a comedian, singer and bandleader. He returned to Paris only after 12 years and began writing full-length singing plays - parodies of the operas of his more successful colleagues, such as Le Petit Faust . Even his most famous vaudeville (predecessor of operetta) was a parody of operatic principles of creation. Mamzelle Nitouche from 1883 carries autobiographical elements in the character of the organist Célestin.
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