Le songe d'une nuit d'été [SEP] based on
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Le songe d'une nuit d'été


Le songe d'une nuit d'été ("A Midsummer Night's Dream") is an opéra-comique in three acts composed by Ambroise Thomas to a French libretto by Joseph-Bernard Rosier and Adolphe de Leuven. Although it shares the French title for Shakespeare's play, "A Midsummer Night's Dream", its plot is not based on the play. Shakespeare himself is a character in the opera as are Elizabeth I and Falstaff. The opera was premiered on 20 April 1850 by the Opéra-Comique at the second Salle
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Cinq grimaces pour Le songe d'une nuit d'été


The Cinq grimaces pour Le songe d'une nuit d'été ("Five Grimaces for A Midsummer Night's Dream") is a set of incidental music pieces for orchestra by Erik Satie. Composed in 1915 for a planned circus-style staging of Shakespeare's play "A Midsummer Night's Dream", it marked the composer's first collaboration with author Jean Cocteau. The production failed to materialize and Satie's music went unperformed in his lifetime. His score was published posthumously in 1929. In early 1915, composer Edgard Varèse proposed an
21996707
Ludwig Minkus


Offenbach's "Le Papillon" in 1874, "Les Brigands" (The Bandits) in 1875, "Les Aventures de Pélée" ("The Adventures of Peleus"), "Le Songe d'une nuit d'été" ("A Midsummer Night's Dream", based on Felix Mendelssohn's incidental music) in 1876, and finally "La Bayadère" in 1877, which would go on to be the most enduring and well preserved work for which Minkus composed the music. During this time, Minkus continued playing violin in
11473703
A Midsummer Night's Dream (1969 film)


"Le Songe d'une nuit d'été" (A Midsummer Night's Dream) is a French TV film from 1969. It is based on "A Midsummer Night's Dream" by William Shakespeare, and was directed by Jean-Christophe Averty. The four lovers Hermia (Christine Delaroche), Helena (Claude Jade), Lysander (Michel Ruhl), and Demetrius (Dominique Serina) have fled to a forest near Athens to escape from their parents' marriage plans. The situation is a bad one, because Helena's beloved
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Les nuits d'été


variations "add to the sense of the natural variety and freshness of spring". poem lang="fr" style="margin-left:1em; float:left;"Soulève ta paupière close Qu'effleure un songe virginal; Je suis le spectre d'une rose Que tu portais hier au bal. Tu me pris, encore emperlée Des pleurs d'argent, de l'arrosoir, Et parmi la fête étoilée Tu me promenas tout le soir. Ô toi qui de ma mort fus cause, Sans que tu puisses le chasser, Toutes les nuits mon spectre rose À ton chevet viendra danser.
290100
Caroline Lefebvre


L'Étoile du Nord" by Giacomo Meyerbeer and then Massé's "Miss Fauvette", Grisar's "Le Chien du jardinier," and Rosette in Adam's "Le Housard de Berchini" in 1855. She created three roles in operas by Ambroise Thomas: "Le Songe d'une nuit d'été" in 1850, Stella in "Raymond ou le Secret de la reine" in 1851, and "Psyché" in 1857. Lefebvre was described as having "remarkable intelligence." She had one son with Faure, Maurice, born
928276
Mademoiselle Monrose


Opéra-Comique was on 24 September 1859 in Ambroise Thomas's "Le songe d'une nuit d'été" (with Giacomo Meyerbeer in the audience), and she created the role of La Marquise de Villa-Bianca in Thomas's "Le roman d'Elvire", premiered on 4 February 1860 by the Opéra-Comique at the second Salle Favart in Paris. She also sang Dinorah in a revival of Giacomo Meyerbeer's "Le pardon de Ploërmel", "entirely to the satisfaction of the maestro Meyerbeer. That's all there is
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Cinq grimaces pour Le songe d'une nuit d'été


, Maurice Ravel, himself, and - not quite in keeping with the theme - Igor Stravinsky. It would be staged as a benefit for the war wounded. Astruc agreed to serve as producer with Firmin Gémier directing. The literary adaptation was entrusted to the ambitious young Right Bank author Jean Cocteau, venturing into the bohemian Left Bank scene of Paris for the first time. He brashly called his condensed version of Shakespeare "word for word with extensive cuts," even though he did not know English and based his work on
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Cinq grimaces pour Le songe d'une nuit d'été


of the complete set lasts under 4 minutes. The music has many of the hallmarks of Satie's "humoristic" phase of the 1910s, featuring bitonal harmonies, acrid dissonances, and cheeky allusions to popular material. His borrowings include snippets of the French hunting signal "Le Réveil", the military bugle call "Retreat", and Offenbach's can-can "Le rondeau du brésilien", which he incongruously managed to turn into a polka. "The scoring and the continual oom-pah capture the ambiance of a
21996715
Jean Desailly


"Bérénice" and "Le Songe d'une nuit d'été". With the Renaud-Barrault at the Odéon-Théâtre de France he played both leading roles in "le Mariage de Figaro": Figaro on tour in the provinces and Count Almaviva in Paris. Desailly's second wife was the French actress Simone Valère, with whom he formed a theatre company which they directed successively at the Théâtre Hébertot and the Théâtre de la Madeleine. A wide repertoire was played at the two theatres from 1972 to 2002. In music he was
21836997
Claude Jade


A Midsummer Night's Dream" by Jean-Christophe Averty, "Le Songe d'une nuit d'été" . In 1970 she reprised her part as Christine from "Stolen Kisses" in Truffaut's "Bed and Board" as a married woman. The Truffaut films influenced her type as lovingly gentle modern young woman in contemporary cinema, which she contrasted in ambivalent figures: Critic Vincent Canby praised her in work in Gérard Brach's "The Boat on the Grass" ("Le bateau sur l'herbe", 1971), in which
9403006
Mechanical (character)


repair. In Jean-Louis and Jules Supervielle's french adaptation, "Le Songe d'une nuit d'été" (1959), Flute is renamed to , where Georges Neveux's 1945 adaptation used the English names. On the Elizabethan stage, the role of Flute and the other Mechanicals was intended to be doubled with Titania's four fairy escorts: Moth (also spelled Mote), Mustardseed, Cobweb, and Peaseblossom. Tom Snout is a tinker, and one of the Mechanicals of Athens. In the play-within-a
10457193
Yakushiji Ryōko no Kaiki Jikenbo


, Sun TV, Tokyo MX, TV Aichi, Television Saitama and TVK television stations. The opening theme is "Thème principal" by KATSU (angela). The ending themes are various through series: "À demain sur la lune" (#1,3), "Ryoko 2" (#2,6), "Songe d'une nuit d'été" (#4,7,9,10,12), "La Vie en rose" (#5), "Le combat" (#8,11) by KATSU (angela), and "Thème principal
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Mechanical (character)


end, the lion's part is revised to explain that he is in fact not a lion and means the audience no harm. Snug is often played as a stupid man, a manner describing almost all of the Mechanicals. Snug is the only Mechanical to whom the playwright did not assign a first name. In Jean-Louis and Jules Supervielle's french adaptation, "Le Songe d'une nuit d'été" (1959), Snug is renamed to , where Georges Neveux's 1945 adaptation used the English names. On the Elizabethan
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Le songe d'une nuit d'été


written for a bass." Internationally, the opera was first performed in Liège on 24 March 1851, Brussels on 27 September 1851, New Orleans in 1851, and Frankfurt (in German) on 22 April 1852. In New York it was presented by the New Orleans company in French on 21 June 1852 at Niblo's Garden. It was not well received by the critic of the "Spirit of the Times" (26 June 1852), who wrote: "Queen Elizabeth, Falstaff, and Shakespeare are introduced under
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Plutus (opera)


' "Le songe d'une nuit d'été". Lecocq wrote no more works for the Opéra-Comique. The opera is set in the ancient Greek world. The hero is Xinthias, son of a poor labourer, Chrémyle. He is attended by a slave, Carion, who is more clear-thinking than his master. Both master and slave are preoccupied with affairs of the heart: Xinthias loves and is loved by Myrrha; Carion does not love but is loved by Praxagora, a rich widow, whom he is anxious
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Cinq grimaces pour Le songe d'une nuit d'été


songs. American critic Carl Van Vechten reported that the character Oberon, King of the Fairies, was to have made his grand entrance to the tune of "It's a Long Way to Tipperary". Wartime conditions ultimately doomed the undertaking. In November Varèse and Gleizes left France for the United States, and the following month Cocteau was called up to serve in a French Army ambulance unit. The rehearsals for "A Midsummer Night's Dream", which Astruc thought showed great promise, were terminated soon after. Only Satie
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Le songe d'une nuit d'été


by the homogeneous quality and range of her registers. From the beginning to the end, even in the taxation of the cadenze of the second act, her full, rich tones were as sure, as melodious, as velvety, and as flexible as if she were not accomplishing almost impossible feats of execution." The cast also included Victor Maurel as Shakespeare and the baritone Émile-Alexandre Taskin as "the stout, ponderous … Falstaff, and the extension of his voice permits him to give full value to the part originally
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Le songe d'une nuit d'été


they take refuge in a tavern, where they find William Shakespeare, surrounded by his comrades, occupied in drinking. The Queen, who is masked, tries in vain to recall to the mind of the poet a sense of better things. He mocks at her preaching, and goes on drinking. Presently he rolls under the table, and presents a shocking spectacle of intoxication. Elizabeth orders Sir John Falstaff, governor of Richmond Palace, to transport Shakespeare to the park surrounding that palace. "The park of Richmond Palace"
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Le songe d'une nuit d'été


, takes flight and throws himself into the river. He is fished out in a faint and carried to his lodgings. "Whitehall Palace" The Queen orders Sir John and the other actors in this nocturnal comedy to forget everything that they have seen, and then sends for Shakespeare. The poet immediately imagines that the Queen is in love with him. He arrives transported with rapture and finds himself received and mocked as a dreamer. Elizabeth alone has pity upon his despair, and says to the poet: "But for you
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List of Yakushiji Ryōko no Kaiki Jikenbo episodes


Kyoto, Sun TV, Tokyo MX, TV Aichi, Television Saitama and TVK. Titles of the opening and ending themes are rendered in French. The opening theme "Thème Principal" and ending themes "À demain sur la lune" (#1,3), "Ryoko 2" (#2,6), "Songe d'une nuit d'été" (#4,7,9,10,12), "La Vie en rose" (#5), "Le combat" (#8,11) and "Theme principal La chanson d'atsuko" (#13
18043093
Ambroise Thomas


Algeri""; it remained in the French operatic repertoire throughout the nineteenth century, and achieved more than four hundred performances over the next fifty years. Thomas' next work for the Opéra-Comique, "Le songe d'une nuit d'été" (The Summer Night's Dream, 1850), was also a popular success. The text, by Joseph-Bernard Rosier and Adolphe de Leuven, owes nothing to "A Midsummer Night's Dream": Shakespeare appears as one of the characters, along with Queen Elizabeth I and
3766407
Johann Nepomuk Beck


Zauberflöte" at the Hofoper in 1851. He spent the next two years in short commitments at the opera houses in Hamburg, Bremen, Cologne, Düsseldorf, Mainz, Würzburg and Wiesbaden. He also sang in several operas in Frankfurt including Friedrich of Telramund in "Lohengrin" (1852) and in the German premiere of Ambroise Thomas's "Le songe d'une nuit d'été" (1853). In 1853, Beck was hired as a member of the company at the Hofoper where he sang roles for more than the next three
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Le songe d'une nuit d'été


Favart in Paris. The role of Elizabeth was intended for Delphine Ugalde, who was too ill to sing at the premiere but later took over the part. English commentators often find certain aspects of the plot in questionable taste. However, the opera was very successful in France. It was revived at the Opéra-Comique on 22 September 1859 and again during the International Exposition of 1867 with Marie Cabel, Victor Capoul, Léon Achard, and Pierre Gailhard in the cast. A revised version was mounted on 17 April 1886 with
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Le songe d'une nuit d'été


Adèle Isaac as the Queen. According to "The New York Times" reviewer in Paris, she acted "with rare discretion and dignity, and the wide scope of the register taxed by the composer is wonderfully served by her natural voice, in which the low tones are as full and reliable as the upper notes are easy, sweet, and flutelike. Her perfect vocalization permits the wildest flights into the most elevated realm of stacatti and trill, while the many dramatic recitatives are just as well served by her sure instinct and
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Le songe d'une nuit d'été


performances include Vienna (in German) on 12 January 1854, Berlin (in German) on 2 February 1854, Geneva in March 1854, Buenos Aires on 7 October 1854, Barcelona on 1 August 1868, Lisbon on 10 April 1878, Mexico on 24 April 1879, Padua (in Italian) on 24 February 1897, and Glasgow (in English as "A Poet's Dream", translated by W. B. Kingston) on 18 February 1898. Twentieth-century performances include a revival in Paris at the Trianon-Lyrique
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Le songe d'une nuit d'été


on 12 November 1915, one in Lille as late as 13 February 1936, and another in Brussels on 27 September 1937. The opera was revived (for the inauguration of the Channel Tunnel) on 7 May 1994 at the Théâtre Impérial de Compiègne by Pierre Jourdan and was later released on DVD. "The Tavern of the Siren in Richmond, London" In some unexplained way Queen Elizabeth and Olivia, her maid of honor, were separated from the royal cortège in the park at Richmond. Having been pursued by sailors,
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Le songe d'une nuit d'été


It is night; the waters of the lake, the moonlight shining through the branches of the trees, the general effect of a deep forest, all combine to confuse the senses of Shakespeare upon his awakening. He hears harmonious sounds; presently he sees a white form, and a voice is heard. It is that of his muse, who reproaches him for his neglect and his threatened abandonment of her. The poet, instantly captivated by the apparition, soon perceives that his good genius is no other than a charming woman
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Le songe d'une nuit d'été


. He advances towards her, and Olivia, terrified by the situation in which the Queen has placed herself by impersonating the apparition, substitutes herself for her royal mistress. Latimer, an admirer of Olivia is nearby and having seen Shakespeare's responses, and despite the poet's protests, challenges him to a duel. The encounter takes place immediately, and after a few passes Latimer falls. Olivia is dismayed, and, joined by the Queen, betrays the royal incognita. Shakespeare, who believes that he has killed Lord Latimer
10750217
Trois petites pièces montées


Élysées for a week of performances, and now he needed to fill out the rest of the program. His original plan was to include Satie's yet unperformed "Cinq grimaces pour Le songe d'une nuit d'été", composed in 1915 for Cocteau's unrealized Cirque Medrano production of "A Midsummer Night's Dream". Satie wrote to Milhaud with a different idea: This proposal was accepted and Satie began composition in December 1919. How the "Three Little Marches" evolved into a Rabelais-themed suite with an overtly satirical finale
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Cinq grimaces pour Le songe d'une nuit d'été


circus processional, with pratfalls along the way", Steven Moore Whiting noted. Satie's later refusal to perform or publish the "Cinq Grimaces" - the only mature orchestral composition he suppressed - is one of the more curious episodes of his career. Satie scholar Ornella Volta observed that "Varèse later claimed to have contributed to the orchestration of this score. It was just the kind of assistance that Satie - who was often accused of 'not knowing how to orchestrate' - hardly appreciated." In February 1916, when
21996716
Marie Cabel


Friedrich von Flotow's 2-act opéra-comique "Zilda", which received 23 performances. Cabel's other appearances at the Opéra-Comique included revivals of Auber's "L'ambassadrice", Victor Massé's "Galathée", and Thomas's "Le songe d'une nuit d'été". One her most important creations was on 17 November 1866, when she sang Philine in Thomas's 3-act opera "Mignon". Philine's polonaise in the garden scene, "Je suis Titania la blonde", was written for Cabel at her request
6532973
Erik Satie


Jean Cocteau, whom he had first met in 1915, Satie started work on incidental music for a production of Shakespeare's "A Midsummer Night's Dream", resulting in the "Cinq grimaces pour Le songe d'une nuit d'été". From 1916, he and Cocteau worked on the ballet "Parade", which was premiered in 1917 by Sergei Diaghilev's Ballets Russes, with sets and costumes by Pablo Picasso, and choreography by Léonide Massine. Through Picasso, Satie also became acquainted with other cubists, such as Georges Braque
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Le songe d'une nuit d'été


the most ridiculous circumstances, and in absurd relations to each other. We could forgive our Gallic friends for scandalizing Queen Bess and rendering fat Jack ridiculous, but to profane the memory of the sweet Swan of Avon by introducing his name into such balderdash is at once an insult to all who reverence him and an evidence that the French are wholly ignorant of his glorious works. Poor fellows!" The opera was first presented in English in New York on 15 October 1877 in a translation by M. A. Cooney. Other international first
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Cinq grimaces pour Le songe d'une nuit d'été


idea for a French World War I propaganda production of Shakespeare's comedy to theatrical impresario Gabriel Astruc. Varèse had served as chorus master for director Max Reinhardt's 1913 revival of "A Midsummer Night's Dream" in Berlin, using Mendelssohn's famous incidental score; now he hoped to mount a comparable spectacle in Paris to prove that Shakespeare was an "ally" of the French and not of the Germans. He intended to replace Mendelssohn's accompaniments with a potpourri of French music composed for the occasion by Satie, Florent Schmitt
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Cinq grimaces pour Le songe d'une nuit d'été


existing French translations. As most Paris theatres were closed due to the war, it was decided to produce the play at the well-known circus the Cirque Medrano near Montmartre with a cast of primarily comic entertainers and acrobats. At Cocteau's suggestion, the roles of Bottom, Flute and Starveling were assigned to the Medrano's star clowns the Fratellini Brothers. Cocteau also enlisted Cubist painters Albert Gleizes and André Lhote to design the settings, some of which were to consist of colored "shadows" projected onto the backdrops. In
21996710
Cinq grimaces pour Le songe d'une nuit d'été


's music survives from this aborted production. Varèse greatly admired Satie, and as a tribute he commissioned his elder colleague to provide the bulk of the incidental score for "A Midsummer Night's Dream", including the opening and closing numbers. The other composers were to have contributed one piece each. According to Varèse the music would have been performed in this order: Satie-Schmitt-Satie-Ravel-Satie-Stravinsky-Satie-Varèse-Satie. Cocteau's adaptation is lost so it is impossible to determine how
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Cinq grimaces pour Le songe d'une nuit d'été


Varèse asked his permission to perform the "Cinq Grimaces" in the United States, Satie not only declined but, "almost certainly from a need for revenge", sent as a substitute a score by one of his obscure pupils which he had orchestrated himself. And when Cocteau wanted to program the "Cinq Grimaces" as part of his celebrated "Spectacle-Concert" in Paris in February 1920, Satie again refused and composed his "Trois petites pièces montées" instead. A final mystery about the "Cinq Grimaces"
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Cinq grimaces pour Le songe d'une nuit d'été


lies in the manuscript. Satie only noted completion dates on his finished scores, and his neat copy of the "Cinq Grimaces" is dated April 2, 1915. But it is incomplete - just the first six bars of the concluding "Pour sortir" are extant. Satie's friend and music executor Darius Milhaud completed this piece in November 1925, after Satie's death. Roger Désormière conducted the first performance of the "Cinq Grimaces" on May 17, 1926, during a "Hommage à Satie" concert at the
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Cinq grimaces pour Le songe d'une nuit d'été


, whom he would promote as representing the future of French music. Cocteau's varied interests in Cubism, contemporary music, and popular culture began to coalesce and would come to fruition in the revolutionary Satie-Picasso-Cocteau-Massine ballet "Parade", produced by Sergei Diaghilev's Ballets Russes in 1917. For orchestra: Maurice Abravanel and the Utah Symphony Orchestra (Vanguard, 1968), Michel Plasson and the Orchestre Du Capitole De Toulouse (EMI Classics, 1988). For solo piano: Bojan Gorišek (Audiophile Classics
21996720
Derbyite theory of Shakespeare authorship


also believed to be present in the plays. Derby's proficiency in French would explain Shakespeare's use of the language in "Henry V". Lefranc also noted that Derby's own name is strikingly similar to the name 'William Shakespeare'; Stanley's first name was William, his initials were W.S., and he was known to sign himself, 'Will'. Lefranc continued to publish arguments for his theory until shortly before his death in 1952. Subsequent publications included "La réalité dans le 'Songe d'une Nuit d'été
956027
Les nuits d'été


Les nuits d'été ("Summer Nights"), Op. 7, is a song cycle by the French composer Hector Berlioz. It is a setting of six poems by Théophile Gautier. The cycle, completed in 1841, was originally for soloist and piano accompaniment. Berlioz orchestrated one of the songs in 1843, and did the same for the other five in 1856. The cycle was neglected for many years, but during the 20th century it became, and has remained, one of the composer's most popular works.
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Cinq grimaces pour Le songe d'une nuit d'été


June 1915 Varèse introduced Cocteau to the foremost Cubist painter, Pablo Picasso. Picasso did not take part in the production, but the meeting marked the beginning of his lifelong friendship with Cocteau. Rehearsals began in the autumn of 1915. On October 18 Satie and Cocteau met for the first time at the home of artist Valentine Gross to discuss the project. Since Satie was the only composer who had come through with his part of the commission, it was evidently decided to supplement his musical numbers with popular World War I-era
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Cinq grimaces pour Le songe d'une nuit d'été


Satie's three central numbers would have corresponded to the action, though given their humorous titles and musical character, it seems he wrote them with the Fratellini clowns in mind. The score calls for a circus orchestra of 1 piccolo, 1 flute, 1 oboe, 1 cor anglais, 1 clarinet, 1 bassoon, 1 contrabassoon, 2 trumpets, 2 trombones, 1 tuba, percussion for 2 players (timpani, snare drum, cymbals, bass drum), and strings. Satie's pieces are characteristically terse and a performance
21996714
Cinq grimaces pour Le songe d'une nuit d'été


Théâtre des Champs-Élysées in Paris. In 1928 Milhaud published his solo piano reduction of the work through Universal Edition, which issued the original orchestral score the following year. Although this incarnation of "A Midsummer Night's Dream" never reached the stage, it had important repercussions, in particular for Cocteau. It allowed him to set foot in Left Bank Paris, which he called "the front line of the art war." Through it he was introduced to Picasso and began a stormy eight-year association with Satie
21996719
A Midsummer Night's Dream (1969 film)


of the lost troupe, who has been magically given a donkey's head. Oberon ends the general confusion by sending the quartet of Athenian lovers to sleep again ... "Le Songe d'une nuit d'été" is an early work of video art. Director Jean-Christophe Averty, who was at the time the most successful TV director in France, had his actors, who were mostly internationally known movie stars like Claude Jade, Christine Delaroche, Jean-Claude Drouot and Marie Versini, perform in front of a blue screen. The
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Les nuits d'été


. Gautier had no objection to his friend's setting six poems from that volume, and Berlioz began in March 1840. The title "Nuits d'été" was Berlioz's invention, and it is not clear why he chose it: the first song is specifically set in spring rather than summer. The writer Annagret Fauser suggests that Berlioz may have been influenced by the preface to a collection of short stories by his friend Joseph Méry, "Les nuits de Londres", in which the author writes of summer nights in which he
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Les nuits d'été


wrote in 1988 that the success of the piano version was impeded by the inferior quality of the piano part in the published score: it is not Berlioz's own, and Cairns described it as "a clumsy, inauthentic piece of work". In 1843 Berlioz orchestrated the fourth song, "Absence" for his lover, Marie Recio, who premiered it in Leipzig on 23 February 1843; it was not until 1856, that he returned to "Les nuits d'été", making an orchestral arrangement of "Le spectre de
290088
Les nuits d'été discography


Les nuits d'été ("Summer Nights"), Op. 7, is a song cycle by the French composer Hector Berlioz, setting six poems by Théophile Gautier. The cycle, completed in 1841, was originally for soloist and piano accompaniment. Berlioz orchestrated one of the songs in 1843, and did the same for the other five in 1856. The cycle was neglected for many years, but during the 20th century it became, and has remained, one of the composer's most popular works. Of the many recordings
6083390
Jean-Christophe Averty


Songe d'une nuit d'été", starring Claude Jade, Christine Delaroche and Jean-Claude Drouot, and filmed entirely in bluescreen. His television creations are landmarks in their use of video as a mode of artistic expression. Averty made great use of characters filmed against a blue screen, overlaid on a drawn background. Examples are "Sapeur Camembert", based on the eponymous work of Georges Colomb, and a production of Edmond Rostand's classic play Chantecler. Averty was one of the last salaried directors of the . In 2012,
2740198
Les nuits d'été


orchestral accompaniment, those in "Les nuits d'été" are the only ones published as a set. They are not a cycle on the German model of Schubert's "Winterreise" or Schumann's "Dichterliebe", with narrative and thematic continuity, but form a unified whole by virtue of the single authorship of the words and the composer's use throughout of delicate, atmospheric musical shading. The structure of the cycle has four sombre songs framed by exuberant opening and closing ones. The critic A. E. F. Dickinson wrote in a
290093
Nuits d'été & La damoiselle élue


'Le spectre de la rose' is beautifully phrased, 'Absence' lacks the sense of pain that others have found." David Shengold wrote about the album in "Opera News" in December 2016. "[The album's version of "Nuits d'été" is] valuable for documenting von Stade's always individual and classy [take] on the material without necessarily being the best ... out there. ... "Nuits d'été" gets a likeable performance of musical and linguistic sensitivity, best in the slow, contemplative stretches
20125025
Joyce DiDonato


"Le nozze di Figaro" with Opéra Bastille. In concert, she performed Mozart's "Requiem" with the Seattle Symphony, Berlioz's "Les nuits d'été" with the Ensemble Orchestral de Paris, and made her Carnegie Hall debut in a production of Bach's "Mass in B Minor" with the Orchestra of St. Luke's under the baton of Peter Schreier. She toured Europe with Marc Minkowski and Les Musiciens du Louvre in performances of "Les nuits d'été". The San Francisco Opera was the venue during the
13864400
A Summer Song


" New York based folkie Christine Lavin included the song on her 1986 LP "Beau Woes and Other Problems of Modern Life." A French rendering of "A Summer Song" entitled "Souviens-toi des nuits d'été" was introduced in 1965 by Frank Alamo on the Rivièra label; the B-side of Alamo's single "Qu'est-ce Que Peut Bien Faire Un Garçon," "Souviens-toi des nuits d'été" was also included on a four track EP and was subsequently included on the singer's 1966
9841023
Invitation to the Dance (Weber)


, which he titled "Le Spectre de la Rose". The scenario was based on a poem by Théophile Gautier, which was also the basis of a song that Berlioz had set as part of his cycle "Les nuits d'été". The principal roles were created by Tamara Karsavina and Vaslav Nijinsky, and the designs were by Léon Bakst. It premiered at Monte Carlo on 19 April 1911. The 1946 film "Specter of the Rose", directed by Ben Hecht, is unrelated to the ballet in its plot,
8994345
Andrée Marlière


Tscharny - Royal Ballet of Flandersbr Cantus Firmus - Jeanne Brabants - Royal Ballet of Flandersbr Dialogue - Jeanne Brabants - Royal Ballet of Flandersbr Peter and the Wolf - Germinal Casado - Badische Staatsoper Karlsruhebr Carmina Burana - Germinal Casado - Badische Staatsoper Karlsruhebr Sylvia - Germinal Casado - Lodz, Polandbr The three musketeers - Germinal Casado - Toulouse, Francebr Songe d'une nuit d'été - Germinal Casado - Athens, Greecebr Whimsicalities - Nils Christe - Conservatoire de la danse, Parisbr Cantus - Jeanne Brabants - Antwerp Ballet Schoolbr Salvé Antwerpia - Jeanne Brabants - Antwerp
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Nuits d'été & La damoiselle élue


Blessed Damozel). The orchestra do justice to the masterly textures, and balance with the voice is achieved at the expense of neither." Lionel Salter discussed von Stade's "Nuits d'été" in "Gramophone" in May 1998. "Frederica von Stade seems ill at ease both with her vowels ... and with her tempos. 'Le spectre' crawls along far too slowly, and so does 'Sur les lagunes' (until it suddenly spurts ahead, unasked, at 'La colombe oubliée'); her breath
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Nuits d'été & La damoiselle élue


such as 'Absence'." The vocal critic Alan Blyth provided a detailed comparison of von Stade's "Nuits d'été" with other performances of the cycle in his book "Song on Record". In the year after its release, the album was nominated for a Grammy award for the best classical solo vocal performance of 1985. Hector Berlioz (1803 - 1869) Nuits d'été, op. 7 (texts by Théophile Gautier) Claude Debussy (1862 - 1918) On 2 November 1984, CBS Masterworks released the album
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Laurent Pelly


, script by Daniil Harms 2012 : Macbeth by William Shakespeare 2013 : Mangeront-ils ? by Victor Hugo 2014 : Songe d'une nuit d'été de William Shakespeare 1995 : Peines d'amour perdues by William Shakespeare 2011: Mille francs de récompense by Victor Hugo (winner of the 2011 French critics “best director” award, as well as “best set design”) 1997 : Des Héros et des dieux from Hymnes homériques 1998 : Vie et mort du roi Jean by William Shakespeare 2011 : L'Opéra de quat'sous by Bertolt Brecht and Kurt Weill
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Orchestral song


Prometheus". Max Reger wrote many songs but only one orchestral song, "An die Hoffnung" ("To Hope") on a poem by Hölderlin. The genre of the story-telling cantata continues alongside the orchestral song, as Poulenc's cantata "Le bal masqué" and "La voix humaine", a one-act opera for one character. Berlioz' own orchestrations of his "Les nuits d'été" song cycle (1841) into orchestral songs (1856) are often regarded as the "first orchestral
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Les nuits d'été


Friedrich Caspari ("Au cimetière") and ("L'île inconnue"). For the orchestral version, Berlioz transposed the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or optionally contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or
290091
Théâtre du Soleil


at Cirque de Montmartre 1968: "Le Songe d'une Nuit d'Ete (A Midsummer's Night's Dream)" "L'Arbre Sorcier, Jerome et la Tortue" 1969–70: "Les Clowns" presented at Festival d'Avignon, Piccolo Teatro de Milan 1970–1971: Le Theatre du Soleil moves to their permanent base, la Cartoucherie, a former munitions factory on the outskirts of Paris "1789" opens in La Cartoucherie. 1974: Film version of "1789" released 1975: "L'Age d'Or" 1976–77: "Don Juan" 1979–80:
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Les nuits d'été


would like to hear for ever; An air like the sigh in Heaven Of a loving angel. One might say that an awakened soul Weeps under the ground in unison With the song, And for the misfortune of being forgotten Complains, cooing Very softly. On the wings of the music One feels slowly returning A memory. A shadow, an angelic form Passes in a shimmering ray In a white veil. The belle de nuit flowers, half closed, Cast their weak and sweet scent Around you, And the ghost in
290115
Hector Berlioz


duty to do after living with her for so many years. At the end of the year the first performance of "L'Enfance du Christ" was warmly received, to his surprise. He spent much of the next year in conducting and writing prose. During Berlioz's German tour in 1856, Liszt and his companion, Carolyne zu Sayn-Wittgenstein, encouraged Berlioz's tentative conception of an opera based on the "Aeneid". Having first completed the orchestration of his 1841 song cycle "Les Nuits d'été", he began
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Les nuits d'été


, whose father, Louis-François Bertin, was editor of the "Journal des débats", for which Berlioz wrote musical criticism and other articles. Each of the six songs of the orchestral cycle was dedicated individually, to singers well known in Germany, some of whom had performed Berlioz's music there: Louise Wolf ("Villanelle"), Anna Bockholtz-Falconi ("Le spectre de la rose"), Hans von Milde ("Sur les lagunes"), Madeleine Nottès ("Absence"),
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Orchestral song


songs in the 1840s but did not publish them. Liszt also had the operetta composer August Conradi orchestrate his "Le juif errant" and "Jeanne d'Arc" around 1848, but these too were neither published nor performed. Long after Berlioz' publication of his orchestrations of "Les nuits d'été" in 1856, Liszt finally published his own orchestration of "Jeanne d'Arc au bûcher," as a dramatic scene for voice and orchestra in 1874. The form was brought to fruition by Mahler, to the extent that it is difficult
19538665
Achille-Félix Montaubry


playing Nicolas Dalayrac. His success was great (he was praised by Berlioz) and lead to further important roles in the Opéra-Comique repertoire: "Fra Diavolo", "Le songe d'une nuit d'ete", "Les mousquetaires de la reine", "Zampa", "Le postillon de Longjumeau", "Le petit chaperon rouge" and "Rose et Colas". In 1860 he sang in an official cantata 'Vive l'empereur' with music by Jules Cohen. On 2 February 1861 he appeared as Alexis in
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Les nuits d'été


au cercueil. Comme dans la nature Tout me paraît en deuil! La colombe oubliée Pleure et songe à l'absent; Mon âme pleure et sent Qu'elle est dépareillée! Que mon sort est amer! Ah! sans amour s'en aller sur la mer! Sur moi la nuit immense S'étend comme un linceul; Je chante ma romance Que le ciel entend seul. Ah! comme elle était belle Et comme je l'aimais! Je n'aimerai jamais Une femme autant qu'elle. Que mon sort est amer! Ah! sans amour s'en aller sur la
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Hector Berlioz


prolifically. His best-known work in the genre is the song cycle "Les Nuits d'été", a group of six songs, originally for voice and piano but now usually heard in its later orchestrated form. He suppressed some of his early songs, and his last publication, in 1865, was the "33 Mélodies", collecting into one volume all his songs that he chose to preserve. Some of them, such as "Hélène" and "Sara la baigneuse", exist in versions for four voices with
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Nuits d'été & La damoiselle élue


Frederica von Stade: Nuits d'été & La damoiselle élue is a 51-minute studio album of French art songs performed by von Stade, Susanne Mentzer, the Tanglewood Festival Chorus and the Boston Symphony Orchestra under the baton of Seiji Ozawa. It was released in 1984. The album was a sequel to Shéhérazade, a 1981 album on which von Stade, the Boston Symphony Orchestra, Seiji Ozawa and other musicians performed songs by Maurice Ravel: "Deux Mélodies Hébraïques", "Chansons Madécasses" and two of the "Cinq Mélodies Populaires Grecques
20125016
Cœur de verre


Ségara's next album, "Au Nom d'une femme"). The song "Une Voix dans la nuit" is based on Donna Summer's 1979 hit "On the Radio". In France, there were eight singles from the album, but only "Je vous aime adieu", "Vivo per lei" (a duet with Andrea Bocelli), "Loin du froid de décembre" and "Les Vallées d'Irlande" were released as CD singles. Except "Loin du froid de décembre" which failed to reach
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Nuits d'été & La damoiselle élue


control enables her to cope, but the effect sounds contrived; there is little sense of anguished longing in 'Absence' or of tension in 'Au cimetière'." John Warrack returned to von Stade's "Nuits d'été" in "Gramophone" in February 2004. "With ... songs that do not yield their secrets easily, there are bound to be disappointments. Frederica von Stade, an intelligent and sensitive artist, ... does not seem at ease here. 'Villanelle' sounds hasty rather then lively, and though
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Les nuits d'été


la rose" for the mezzo-soprano Anna Bockholtz-Falconi. The publisher was in the audience for the premiere, and, much impressed, prevailed on Berlioz to orchestrate the rest of the cycle. The orchestration left the existing melodic and harmonic writing generally unchanged, but for "Le spectre de la rose" the composer added an introduction for muted solo cello, flute and clarinet; the orchestration of this song, unlike the other five, includes a harp. The original piano version had a single dedicatee – Louise Bertin
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Małgorzata Walewska


Opera. Małgorzata Walewska has a very rich concert repertoire. She often gives recitals with the accompaniment of piano or harp. Her program includes songs of Polish and international composers such as G. Fauré, F. Schubert, S. Moniuszko, K. Szymanowski, F. Chopin, or P. Tchaikovsky, as well as song cycles such as "Les nuits d'été" by H. Berlioz or "Wesendonck Lieder" by R. Wagner. Since 2013 she sings French song repertoire, such as for example songs of R. Hahn, to the accompaniment of a harp
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Les nuits d'été


tenor for "L'île inconnue". The cycle is nevertheless usually sung by a single soloist, most often a soprano or mezzo-soprano. When the cycle is sung by sopranos the second and third songs are usually transposed back to their original pitches; when lower voices sing the cycle some other songs are often transposed downwards; in the view of the Berlioz scholar Julian Rushton this has a particularly deleterious effect in the first song, the lighthearted "Villanelle". Although Berlioz wrote more than fifty songs, twenty of them with
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Song cycle


a song cycle "Sechs späteste Lieder" after Hölderlin's late poems in 2003. Berlioz's "Les nuits d'été" (1841) pioneered the use of the orchestra, and the French cycle reached a pinnacle in Fauré's "La bonne chanson", "La chanson d'Ève" and "L'horizon chimérique" and later in the works of Poulenc. Recent masterpieces such as "Poèmes pour Mi", " Chants de Terre et de Ciel" and "Harawi" by Messiaen. "Paroles tissées" and "Chantefleurs et
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Les nuits d'été


My soul weeps and feels That it is deserted! How bitter is my fate! Ah! Without love to sail on the sea! Over me the vast night Spreads like a shroud. I sing my song That only Heaven hears: Ah! How beautiful she was And how I loved her! I shall never love A woman as much as her... How bitter is my fate! Ah! Without love to sail on the sea!/poem "Sur les lagunes: Lamento" (On the Lagoons: Lament), with its
290107
Guy de Montlaur


Montlaur comforted the boy in his agony. The accident brought back to the fore all the unbearable experiences of the war. His paintings during August 1966 express his misery ("Du sang sur la route, Cauchemar d'une nuit d'été, A la mémoire de ma tante, tuée à Ravensbruck"). Montlaur had declared Paolo Ucello and Vassili Kandinsky to be his masters, this is how he described himself in 1971 during his exhibition at the Galerie des Editions Rolf Lutz, quai Voltaire, Paris: "He looks at the world
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Les nuits d'été


les bras: Tu reviendras? Oh! jamais plus, près de la tombe Je n'irai, quand descend le soir Au manteau noir, Écouter la pâle colombe Chanter sur la pointe de l'if Son chant plaintif!/poem poem style="margin-left:1em; float:left;"Do you know the white tomb, Where there floats with a plaintive sound The shadow of a yew tree? On the yew a pale dove Sitting sad and alone at sunset, Sings its song: An air morbidly tender At once charming and deadly, That hurts you And that one
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RSVP (1991 film)


Andrew himself shortly before his death, to play Jessye Norman's recording of "Le Spectre de la rose" from Hector Berlioz's "Les nuits d'été". As the music begins, Sid reminisces about the relationship; after it ends, he calls Andrew's sister in Winnipeg to advise her to listen to the program when it airs in her time zone. His sister, in turn, notifies other family members and each relives their own memories of Andrew as they listen to the song, creating an extended community of people
9217607
Le Chasseur maudit (Franck)


the piece recalls the macabre "Songe d'une nuit de sabbat" of Hector Berlioz's "Symphonie Fantastique" (1830). Franck completed "Le Chasseur maudit" on 31 October 1882, and had the work premiered on 31 March 1883, at the Salle Érard, in a concert of the Société Nationale de Musique conducted by Édouard Colonne. The same concert also presented the premiere of the symphonic poem "Viviane" by Franck's pupil, Ernest Chausson. Among the recordings of the piece, the 1962 RCA Victor recording by
3171036
Tatiana Troyanos


" (in Hungarian, under Georg Solti, Pierre Boulez and Rafael Kubelik in Chicago, Cleveland, New York and London between 1972 and 1981). In 1984 she sang with the Philadelphia Orchestra in the world premiere, in English, of Act I of Rachmaninoff's opera "Monna Vanna", which had been left in piano score by the composer and orchestrated by Igor Buketoff. Along with "Monna Vanna," her performances of such pieces as Berlioz's "Les nuits d'été" and Mahler's "Rückert Songs"
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Les nuits d'été


E qu'on voudrait toujours entendre; Un air comme en soupire aux cieux L'ange amoureux. On dirait que l'âme éveillée Pleure sous terre à l'unisson De la chanson, Et du malheur d'être oubliée Se plaint dans un roucoulement Bien doucement. Sur les ailes de la musique On sent lentement revenir Un souvenir; Une ombre une forme angélique Passe dans un rayon tremblant, En voile blanc. Les belles de nuit, demi-closes, Jettent leur parfum faible et doux Autour de vous, Et le fantôme aux molles poses Murmure en vous tendant
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Ida Ekman


3), orchestrated between 1903 and 1914. On 8 January 1906, she sang Hector Berlioz's "Les nuits d'été" at the Berlin Singakadamie under Ferruccio Busoni. Ida and Karl Ekman had a son, Karl Ekman Jr (1895–1962), a noted biographer of Sibelius. She died in 1942, aged 66. In 2003, the manuscripts of four Sibelius songs ("The Girl Came from A Meeting With Her Love", "Was It A Dream?", "Spring Passes So Quickly", and "
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Les nuits d'été


1969 study, "Their common theme is nominally love unrequited or lost, symbolizing, arguably, an ache for vanished or unattainable beauty. But their musical order is apparently fortuitous, and forms an acceptable, rather than a compulsive, association." Berlioz's innovative creation of an orchestral song cycle had few successors until Mahler took the genre up in the late 19th century. As far as is known, the orchestral cycle was not performed in its entirety during the composer's lifetime. The work was neglected for many years,
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Mélodie


" have led many to view them as not properly Romantic. Some of the first "mélodies" were those of Hector Berlioz. He was among the first to use the term to describe his own compositions, and his song cycle "Les nuits d'été" (1841) is still considered an example of the genre. Whatever Berlioz' chronological precedence, Charles Gounod is often viewed as the first distinct composer of "mélodies": his compositional style evolves imperceptibly and illustratively from "romance" to "mélodie". He wrote
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Les nuits d'été


", and this possibly explains why in this song alone Berlioz cut and rearranged Gautier's verses. This song, and "Au cimetière", which follows, are strophic, with the form A–B–A. poem lang="fr" style="margin-left:1em; float:left;"Connaissez-vous la blanche tombe Où flotte avec un son plaintif L'ombre d'un if? Sur l'if une pâle colombe Triste et seule au soleil couchant, Chante son chant; Un air maladivement tendre, À la fois charmant et fatal, Qui vous fait mal,
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Les nuits d'été


a fate that kings might envy. The setting is through-composed. Holoman describes the song as "among the most perfect expressions of French Romanticism". poem lang="fr" style="margin-left:1em; float:left;"Ma belle amie est morte: Je pleurerai toujours Sous la tombe elle emporte Mon âme et mes amours. Dans le ciel, sans m'attendre, Elle s'en retourna; L'ange qui l'emmena Ne voulut pas me prendre. Que mon sort est amer! Ah! sans amour s'en aller sur la mer! La blanche créature Est couchée
290104
June Anderson


from the United Kingdom, members of the London Symphony Orchestra; from the USA, members of the New York Philharmonic, and from France, members of the Orchestre de Paris. In the next decade, Anderson continued to pursue traditional "bel canto" roles, but also expanded her repertoire. Anderson began with a January 1990 performance of the Berlioz song cycle "Les nuits d'été" at Carnegie Hall, with Giuseppe Sinopoli conducting London's Philharmonia Orchestra. Later that year, she appeared at the Metropolitan Opera in an opulent production
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Les nuits d'été


a gentle pose Murmurs, stretching its arms to you: Will you return? Oh! Never again by the grave Will I go, when evening falls In a black cloak, To hear the pale dove Singing at the top of the yew Its plaintive song./poem "Au cimetière: Clair de lune" (At the Cemetery: Moonlight), is a further lament, with the bereaved lover now more distant from the memory of his beloved, and perturbed by a ghostly vision of her. poem lang="fr" style="margin-left:1em;
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Les nuits d'été


, me, tell me, young beauty, tell me, where do you want to go? Take me, says the beautiful one, To the faithful shore Where one loves for ever! That shore, my dear, Is almost unknown In the land of love. Where do you want to go? The breeze begins to blow./poem "L'île inconnue" (The Unknown Island) hints at the unattainable – a place where love can be eternal. Rushton describes the song as "cheerfully ironic", set by Berlioz "
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Les nuits d'été


with a Venetian swing". This closing song is strophic with the form A–B–A–C–A′–D–A″. The growing popularity of the work was reflected in the number of complete recordings issued in the LP era. Among those are versions sung by Suzanne Danco, Eleanor Steber and Victoria de los Ángeles in mono recordings and Régine Crespin, Leontyne Price and Janet Baker in stereo. More recent recordings have featured Véronique Gens, Anne Sofie von Otter, Bernarda Fink and Lorraine Hunt Lieberson. Recordings by male singers
290121
Toby Spence


was one Spence was keen to play from the start of his career, and he has sung it in several productions around the world. Although he sang in some recitals at the beginning of his professional career, he was dissatisfied with the result and set song to one side for several years. When he resumed recitals his repertoire included Poulenc, Brahms and Britten, as well as the original version of "Les nuits d'été" with piano. In an interview for the Paris Opera in 2008, Spence named Arsène Wenger as his
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Hector Berlioz


the composer in July 1840. The following year the Opéra commissioned Berlioz to adapt Weber's "Der Freischütz" to meet the house's rigid requirements: he wrote recitatives to replace the spoken dialogue and orchestrated Weber's "Invitation to the Dance" to provide the obligatory ballet music. In the same year he completed settings of six poems by his friend Théophile Gautier, which formed the song cycle "Les Nuits d'été" (with piano accompaniment, later orchestrated). He also worked on a projected opera, "La Nonne
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La Femme d'une nuit


La Femme d'une nuit ("The woman of one night") is a 1931 French drama film directed by Marcel L'Herbier. It was made simultaneously with Italian and German versions of the same story, which were however not only in different languages but in different genres. In 1930 Marcel L'Herbier was asked by the producer Mario Nalpas to go to Berlin to make a film based on a novel by Alfred Machard. In common with many other early sound films, the proposal was that three versions would be made simultaneously in different languages
15635170
Charles Derennes


"Le Peuple du pôle", he published "Parisian" before the war and novels that originally appeared in the weekly "La Vie Parisienne": "Les Caprices de Nouche", "Le Béguin des Muses", "Le Miroir des pécheresses", "Nique et ses cousines". Subsequently, he published other novels, among which are "La Nuit d'été", "Cassinou va-t-en guerre", "La Petite Faunesse", "Le Renard bleu", "Mon Gosse..."
6766316
Vina Bovy


Carmen", Sophie in "Werther", Parassia in "Sorochintsy Fair", and Princesse Aurore in "Le songe d'une nuit d'hiver". After establishing herself at the Monnaie, she undertook engagements around France and Belgium, leading to her debut at the Opéra-Comique on 9 March 1925 (Manon). She quickly became one of the leading sopranos in the French capital, singing Lakmé, Mimi in "La bohème", Mireille, Rosina in "The Barber of Seville", the three soprano roles in "
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Les nuits d'été


sombre harmonies and orchestration is imbued with melancholy; the undulating accompaniment suggests the movement of the waves. The poem is the lament of a Venetian boatman at the loss of his beloved, and the pain of sailing out to sea unloved. This is the second of the two through-composed songs in the cycle. poem lang="fr" style="margin-left:1em; float:left;"Reviens, reviens, ma bien-aimée! Comme une fleur loin du soleil, La fleur de ma vie est fermée Loin de ton sourire vermeil. Entre nos
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Les nuits d'été


your bright red smile! Between here and there what fields, What towns and hamlets, What valleys and mountains, To tire the hoofs of the horses. Come back, come back, my beautiful beloved! Like a flower far from the sun, The flower of my life is closed Far from your bright red smile!/poem The rhetorical "Absence" pleads for the return of the beloved. Rushton suggests that unlike the other five songs, this one may make use of existing music, written for an abandoned cantata, "Erigone
290111
Hector Berlioz


Les Nuits d'été", four each of "Béatrice et Bénédict", the "Symphonie fantastique" and "Roméo et Juliette", and three of "Harold in Italy", "Les Troyens", and "La Damnation de Faust". In addition to Davis's versions, "Les Troyens" has received studio recordings under Charles Dutoit and John Nelson; Nelson and Daniel Barenboim have recorded versions of "Béatrice et Bénédict", and Nelson and Roger Norrington have conducted "Benvenuto Cellini" for CD. Singers who
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