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

Organization

Dirigent

Débora Waldman

Sångare

Mezzo-soprano

Karine Deshayes

Delphine Haidan

Orchestra

Orchestre National Avignon-Provence

Palazzetto Bru Zane

Operatic Arias

Paris

Frankrike

Philharmonie de Paris

Grande Salle Pierre Boulez

Avignon

Opéra Grand Avignon

Grande Salle

Operatic Arias: Opera anthology Various

Public

Opera anthology

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Continuo

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 Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Broadcasting

Chefdirigent Musiktheater

Chorus Director

Dansare

Dramaturg

Exekutiv producent

Extra

Hårstylist

Illustrator

Kompositör

Koreograf

Kostym designer

Kör

Körledare

Librettist

Ljud designer

Ljus designer

Orchestra Operations

Orkester

Other

Photographer

Poet

Regissör

Repetitör

Scenograf

Skådespelare

Sminkartist

Stage Manager

Teacher

Tolk

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass

Tenor

Countertenor

Baritone

Soprano

Bass-baritone

Contralto

Alto

Child vocalist

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, ons 12 okt 2022, Från (2022/2022), Dirigent Débora Waldman, Opéra Grand Avignon, Avignon, Frankrike

Föreställningskrediter (Medverkande & produktionsteam )

Medverkande

Ensemble

Program, Om & Synopsis

Foton

Vidare läsning

Föreställningsdatum och lokaler

Spelplatser