Available languages: EnglishToday Jules Massenet is best known for the operas Manon and Werther and the solo violin Méditation, from Thaïs. During his lifetime, however, Massenet was one of the most prolific and celebrated operatic composers on earth. The public anxiously awaited his output, and Massenet became both wealthy and famous practicing his craft. His legacy endures because of his ability to create music which portrays the intimacy of human relationships and the emotions and conflicts that arise from them. His gift for melody is reflected in a variety of arias that are among the most beautiful in the French operatic repertoire. He was also a brilliant orchestrator, a skill which allowed him to capture the moods and colors of a wide variety of places and eras. In addition to opera, Massenet composed songs, oratorios, ballets and orchestral works, as well as chamber music and works for solo piano. Massenet was born in Montaud, France, to the family of a struggling metal worker. At the tender age of 10, he was admitted to the Paris Conservatory, where he studied with famed operatic composer Ambroise Thomas. In 1863, Massenet won the Prix de Rome, a prize which allowed him to travel and study in Italy. There the young man experienced the sounds and textures of the region and began to compose in earnest. While in Italy, Massenet met Liszt, who introduced him to his future wife, Mademoiselle Sainte-Marie. Massenet's first opera, a one-act entitled La Grand' Tante (The Great Aunt), was produced (with only moderate success) at the Opéra-Comique in 1867. In 1877 Massenet's exotic opera Le Roi de Lahore (The King of Lahore) had a highly successful premiere at the Paris Opera, marking the beginning of his ascendancy as France's most prolific and celebrated operatic composer. In 1878, his former teacher, Thomas, invited him to become a professor at the Paris Conservatory. Massenet achieved considerable success as a teacher, influencing an entire generation of French composers, including Gustav Charpentier and the song composer Reynaldo Hahn. A highly prolific composer, Massenet worked continuously throughout his life, completing a great deal of music in addition to his 25 published operas. His approximately 250 songs often reflect the same melodic ingenuity and expressiveness that define his operatic works. Massenet composed several song cycles, including Poéme d'Avril (April Poem), which is often identified as the first French song cycle. Among the most famous of his solo songs are "Ouvre tes yeux bleus" (Open your blue eyes) and "Si tu veux, Mignonne" (If you wish it, sweetheart). The composer's First Orchestral Suite (originally entitled Symphony in F) premiered in 1867. This was the first of seven suites by Massenet, with programmatic subjects ranging from Alsace (Scènes alsaciennes, 1882) to Hungary (Scènes hongroises, 1871), and from Shakespeare (Scénes dramatiques, 1875) to Fairyland (Scènes de féerie, 1881). The most famous of his orchestral suites, Scénes pittoresques (Picturesque Scenes), was first performed in Paris during March of 1874. Massenet also composed several ballets, including La Cigale, Espada, and Les Rosati. In addition to Marie-Magdeleine, his oratorios include Ève (1875) and La Terre promise (The promised land, 1900). He wrote a considerable amount of incidental music for plays, including Sardou's Le Crocodile (1886) and Racine's Phèdre (1900). His only piano concerto was first performed in 1903 and receives occasional modern performances.
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Klassiek - Verschenen op 19 oktober 2018 | Warner Classics
La Navarraise is far from Massenet’s most famous opera. But can we even count it as an opera, considering that the composer saw it as a “lyric episode” and that it lasts only three quarters of an hour? Either way, it is indeed a work of the utmost maturity. It premiered in Covent Garden (sung in French) in 1894, featuring Emma Calvé, Pol Plançon and Albert Alvarez, the stars of their time. After a triumphant success in England, as well as in many European countries, La Navarraise disappeared from posters and was almost never be seen again. Italian Verismo and naturalism seem to have worn off on Massenet, as this is by far his “noisiest” score. The arrangement is filled with loud stage effects such as clapping hands, beating drums, clicking castanets, loud trumpets, clanging bells and shots from canons, shotguns and pistols. His music sometimes feels more like sound accompaniment rather than a lyrical passage. The musical content closely follows the theatrical action, which is very martial and turbulent indeed. Some, including the critic Willy, saw it as a kind of "Cavalleria española", and quite rightly so. The gloomy action takes place in the Spanish Basque Country around the time of its creation, as Massenet mentions the Third Carlist War that took place just two decades earlier. It would be a bit like if a composer today were to create music based on the Yugoslav Wars… Alongside Roberto Alagna as the male lead, we find the Polish soprano Aleksandra Kurzak in the title role. This recording adds to the discography of the work which, although it is not Massenet's greatest masterpiece, is clearly an underrated gem. © SM/Qobuz
Opera - Verschenen op 1 januari 2013 | Bru Zane
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