Name: Operatic Arias
Start: 2022-10-12T00:00:00.000Z
End: 2022-10-14T00:00:00.000Z
Location: Opéra Grand Avignon

Organization

Conductor

Débora Waldman

Singer

Mezzo-soprano

Karine Deshayes

Delphine Haidan

Orchestra

Orchestre National Avignon-Provence

Palazzetto Bru Zane

Operatic Arias

Paris

France

Philharmonie de Paris

Grande Salle Pierre Boulez

Avignon

Opéra Grand Avignon

Grande Salle

Operatic Arias: Opera anthology Various

Public

Opera Gala

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Tenor

Bass-baritone

Baritone

Countertenor

Bass

Soprano

Alto

Child vocalist

Continuo

Silent

Spoken

Throughout the nineteenth century, it was difficult for women composers to have access to the stage: Louise Bertin’s Fausto (Théâtre-Italien, 1831) and Clémence de Grandval’s Mazeppa (1892, Opéra de Bordeaux) are exceptions. As for Pauline Viardot, she approached the genre with a chamber opera, Le Dernier Sorcier (1867).

English

Per le compositrici, accedere alle scene è stato difficile durante tutto il XIX secolo: Fausto di Louise Bertin (Théâtre-Italien, 1831) e Mazeppa di Clémence de Grandval (1892, Opéra de Bordeaux) fanno eccezione. Per affrontare l’arte lirica, Pauline Viardot propone invece un’opera da camera (Le Dernier Sorcier, 1867).

italiano

Pour les compositrices, l’accession à la scène a été difficile durant tout le XIXe siècle : Fausto de Louise Bertin (Théâtre-Italien, 1831) et Mazeppa de Clémence de Grandval (Opéra de Bordeaux, 1892) font exception. Afin d’aborder l’art lyrique, Pauline Viardot propose, pour sa part, un opéra de salon (Le Dernier Sorcier, 1867).

français

Operatic Arias by Various, az. 12 urr. 2022, Noiztik (2022/2022), Zuzendaria Débora Waldman, Opéra Grand Avignon, Avignon, France

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