Don Quichotte [SEP] based on
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Don Quichotte chez la Duchesse


Don Quichotte chez la Duchesse ("Don Quixote at the Duchess") is a "comic ballet" ("comédie lyrique") by the French baroque composer Joseph Bodin de Boismortier. Although it is described as a ballet, it is sung throughout with a libretto by Charles Simon Favart. It was first performed on 12 February 1743 at the Académie Royale de Musique et de Dance in Paris. The opera is based upon an episode in the Cervantes novel "Don Quixote", in which a Duke and Duchess amuse themselves
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Don Quichotte


acclaim the arrival of the eccentric knight Don Quichotte (riding on his horse Rossinante) and his comic squire Sancho Panza (on a donkey). Delighted by their attention, Don Quichotte tells a reluctant Sancho to throw them money. After the crowd disperse, Don Quichotte himself serenades Dulcinée, 'Quand apparaissent les étoiles' ('When the stars begin to shine') but he is stopped by Juan, a jealous admirer of the local beauty. A sword fight follows, interrupted by Dulcinée herself. She is charmed by
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Don Quichotte


, and against women in general. 'Comment peut-on penser du bien de ces coquines' ('How can anyone think anything good of those hussies'). The mists disperse revealing a line of windmills that Don Quichotte takes for a group of giants. To Sancho's horror, Don Quichotte attacks the first one, only to be caught up in one of the sails and hoisted up in the air. "In the mountains" Dusk, Don Quichotte believes they are getting close to the bandits. Sancho goes
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Don Quichotte


to sleep while Don Quichotte stands guard. The bandits suddenly appear and after a brief fight take the knight prisoner. Sancho escapes. Surprised by the defiance of the old man, the bandits give him a beating and intend to kill him, however Don Quichotte's prayer 'Seigneur, reçois mon âme, elle n'est pas méchante' ('Lord receive my soul, it is not evil') moves Ténébrun, the bandit chief, to mercy. Don Quichotte explains his mission 'Je suis le chevalier errant' ('
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Don Quichotte à Dulcinée


Don Quichotte à Dulcinée is a song cycle by Maurice Ravel based on the story of "Don Quixote". It was first composed for voice and piano but later orchestrated. The songs are traditionally performed by a baritone or bass(-baritone). The cycle is made up of three independent pieces: "Chanson Romanesque, Chanson épique," and "Chanson à boire." The text was written by the librettist Paul Morand. It was composed between the years of 1932 and 1933. This was the last of Maurice Ravel's compositions
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Don Quichotte


Don Quichotte's antique attentions, chides Juan for his jealousy and sends him away. The old man offers her his devotion and a castle. She suggests instead that he might retrieve a pearl necklace of hers stolen by Ténébrun, the bandit chief. He undertakes to do so, and Dulcinée quickly rejoins her men friends. "In the countryside" A misty morning, Don Quichotte and Sancho enter with Rossinante and the donkey. Don Quichotte is composing a love poem. Sancho delivers a grand tirade against their expedition, against Dulcinée
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Don Quichotte et Sancho Pança


Don Quichotte et Sancho Pança is a one-act 'tableau grotesque' or 'grotesque scene' with music by Hervé after Cervantes, first produced in 1847, which has been dubbed ‘the first French operetta’, and a precursor of the opéra bouffe. "Don Quichotte et Sancho Pança" was conceived as a vehicle for Desiré, a friend of Hervé, who had requested a piece for a benefit performance. Desiré, short and plump as Sancho, was pitted against the tall and thin Quichotte of Hervé. The
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Don Quichotte


in 1904. In this version of the story, the simple farm girl Aldonza (Dulcinea) of the original novel becomes the more sophisticated Dulcinée, a flirtatious local beauty inspiring the infatuated old man's exploits. Conceiving originally "Don Quichotte" to be a three-act opera, Massenet started to compose it in 1909 at a time when, suffering from acute rheumatic pains, he spent more of his time in bed than out of it, and composition of "Don Quichotte" became, in his words, a sort
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Magazine 60


June 2013, the music of Don Quichotte tube (No están aquí) starring Dominique and Pierre resumed, this time in an advertising Sosh the mobile brand. A single entitled Don Quichotte - Edit TV comes in the wake still under the name Magazine 60. The title is also on the compilation Hit 2013 - Special September. Pierre ex member of Magazine 60, began a solo career, taking his original titles Don Quichotte, Costa Del Sol, Pancho Villa and his creations in Mexico Come On, Dont Play Love,
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Don Quichotte


). All retire to dinner. Sancho and Don Quichotte arrive. While waiting for Dulcinée, Sancho asks for his reward to which Don Quichotte responds with vague promises of an island, a castle, riches. Dulcinée and her party greet the knight and he returns the necklace to universal acclaim. However, when he asks her to marry him he is greeted with hysterical laughter. Taking pity, Dulcinée tells the others to leave, apologizes 'Oui, je souffre votre tristesse, et j'ai vraiment chagrin à vous désemparer' (
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Quichotte (novel)


Quichotte is an upcoming 2019 novel by Salman Rushdie. This is his fourteenth novel and is inspired by Cervantes' classic novel Don Quixote. It has been longlisted for the 2019 Booker Prize. The protagonist Sam DuChamp is a writer of spy thrillers, and creates the character of Quichotte who falls in love with a TV star. Quichotte begins a quest for her across America, together with his imaginary son Sancho. The lives of the writer DuChamp and the character Quichotte intertwine as the story progresses. Kirkus Reviews has called the novel
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Don Quichotte


Don Quichotte ("Don Quixote") is an opera in five acts by Jules Massenet to a French libretto by Henri Caïn. It was first performed on 19 February 1910 at the Opéra de Monte-Carlo. Massenet's "comédie-héroïque", like so many other dramatized versions of the story of Don Quixote, relates only indirectly to the great novel "Don Quixote" by Miguel de Cervantes. The immediate inspiration was "Le chevalier de la longue figure", a play by the poet first performed in Paris
2055459
Miroslav Čangalović


he is regarded as the greatest ever Boris Godunov, right after Feodor Chaliapin. His other roles include those of Don Quichotte (Massenet's "Don Quichotte"), Galitsky and Konchak (Borodin's "Prince Igor"), Mephistopheles (Gounod's "Faust"), Phillip The Second (Verdi's "Don Carlos"), Figaro (Mozart's "The Marriage of Figaro"), Kuchobey (Tschaikovsky's "Mazeppa"), Ivan The Terrible (Rimsky-Korsakov's "The Maid of Pskov"
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Susanne Marsee


, with Samuel Ramey; and "Anna Bolena"), Caracas ("Così fan tutte"), the Cervantes Festival ("Don Quichotte", and Orfeo in "Orfeo ed Euridice"), Mexico City ("Don Quichotte" and "Orfeo ed Euridice"), Montreal (Rosina in "Il barbiere di Siviglia"), and the Taiwanese Opera Festival. In 1972, she made her only commercial recording, for Westminster, as Nicklausse in "Les contes d'Hoffmann", opposite Sills and Treigle,
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Ferruccio Furlanetto


Il barbiere di Siviglia" (2006), and his only US appearances in the title roles in "Boris Godunov" (2007) and "Don Quichotte" in 2009 and 2014. He reprised his performance in "Don Quichotte" in Palermo and in Mariinsky Theater (St.Petersburg) in 2010, and his first US performances as Thomas Becket in Pizzetti's "Assassinio nella cattedrale" was in 2013. He is also widely in demand as a concert singer. He sang in Mozart's Coronation Mass under the baton
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Magazine 60


and "Rendez-vous sur la Costa del Sol," both of which appeared on the 1985 album that followed, "Costa del Sol". "Don Quichotte" became the band's most successful hit in the U.S. However, the "Costa del Sol" album would not be released in America until 1987, by which point, the group had lost momentum there. In 2007, the singer of The Black Eyed Peas, Will.i.am, sample resumes Don Quichotte in his song I Got it from My Mama. By
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Don Quichotte


of "soothing balm." In order to concentrate on that new work, he interrupted composition of his other opera, "Bacchus". Despite its five acts, there is under two hours of music in the opera. Massenet identified personally with his comic-heroic protagonist, as he was in love with Lucy Arbell who sang Dulcinée at the first performance. He was then 67 and died just two years later. The role of Don Quichotte was one of the most notable achievements of the Russian bass Feodor Chaliapin, for
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Don Quichotte


whom the role was specifically conceived. The opera was one of six commissioned from Massenet by Raoul Gunsbourg for the Opéra de Monte-Carlo. "Don Quichotte" was premiered in Monte Carlo on 19 February 1910, followed by stagings in Brussels, Marseille and Paris, all in 1910. In 1912 it was presented at the French Opera House in New Orleans (27 January), and the London Opera House (17 May). On 15 November 1913 the work was presented in Philadelphia. The Chicago premiere of the work
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Don Quichotte


(by the Chicago Grand Opera Company) took place at the Auditorium Theatre on 27 January 1914 and featured Vanni Marcoux and Mary Garden in the lead roles. Marcoux reprised the title role in Chicago with Coe Glade during the inaugural season of the Chicago Civic Opera House in December 1929. "Don Quichotte" received its premiere in Budapest in 1917, and the Opéra-Comique in Paris presented it in 1924 with Marcoux in the title role, Arbell and Fugère; Chaliapin sang it there in 1934. The Metropolitan Opera in New
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Don Quichotte


'I share your sorrow and am truly sorry') but explains that her destiny, her way of life, is different from his. She kisses him on the forehead and leaves. But the company return to make fun of the old man. Sancho vigorously upbraids them, 'Riez, allez, riez du pauvre idéologue' ('Laugh, laugh at this poor idealist') and takes his master away. "A mountain pass in an ancient forest" A clear starry night, Don Quichotte is dying. He
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Don Quixote


" is . The original pronunciation is reflected in languages such as Asturian, Leonese, Galician, Catalan, Italian, Portuguese, and French, where it is pronounced with a "sh" or "ch" sound; the French opera "Don Quichotte" is one of the best-known modern examples of this pronunciation. Today, English speakers generally attempt something close to the modern Spanish pronunciation of "Quixote" ("Quijote"), as , although the traditional English spelling-based pronunciation with the value of the
8319750
Paul Morand


old actress Josette Day (later "Belle" in Cocteau's film "La Belle et la Bête" ), who became his mistress. Morand had been hired to collaborate with Alexandre Arnoux on a scenario for a proposed project, "Don Quichotte", to star the opera singer Feodor Chaliapin. The French version of the film "Don Quichotte" was reviewed by "The New York Times" upon its opening in New York. Herbert L. Matthews, writing for the newspaper, criticized the Morand/Arnoux script but called
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Don Quichotte auf der Hochzeit des Comacho


in 1994 by the Bremen vocal ensemble for ancient music La Stagione, conducted by Michael Schneider, with Raimund Nolte as Don Quichotte, Michael Schopper as Sancho Pansa, Silke Stapf as Pedrillo and Mechthild Bach as Grisostomo, among others. The opera was performed again on stage in Magdeburg, where Telemann's operas have been revived from 1929. It was played at the 16th Magdeburger Telemann-Festtage in March 2002, for the first time after almost 250 years. It was performed again in 2006 by the Magdeburg Opera. It was
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Orchestral song


song cycle," though others consider it the first well known progenitor of the orchestral song. Later examples in France include Ravel's second work entitled "Shéhérazade", a song cycle after three poems by Tristan Klingsor: Asie, La flûte enchantée, and L'indifférent (1903) and his cycle "Don Quichotte à Dulcinée", and Chausson's "Poème de l'amour et de la mer". Later examples include orchestral songs by Jean Cras and Jacques Ibert's "4 Chansons de Don Quichotte". Notable examples of the
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Pergamon (album)


Pergamon (1986), originally simply released as Tangerine Dream (1980) with two parts "Quichotte" - Part one and two, is the third live album and fourteenth overall by Tangerine Dream. It is a selection from the two live concerts held on 31 January 1980 at the Palast der Republik in East Berlin. The second of the two original concerts is available as "Tangerine Tree Volume 17: East Berlin 1980". The original title "Quichotte" is a reference to Don Quixote, a film version of which
8381155
Richard Van Allan


The Bacchae" (1992) with English National Opera. Also in 1992, he sang the role of Davenant in "", a television miniseries based on Heinrich Marschner's opera "Der Vampyr". In 1994 at the English National Opera, he sang the title role in Massenet's "Don Quichotte" for the first time. Also at ENO, he sang the Man Without a Conscience in Nigel Osborne's Goya opera "Terrible Mouth", and King Hildebrand in Ken Russell's much criticised production of Gilbert and Sullivan
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Incident from Don Quixote


La Toile d'araignée merveilleuse, released in the United States as Incident from Don Quixote and in Britain as Magic Armour, and also known as The Marvelous Cobweb and as Aventures de Don Quichotte, was a 1908 French short silent film directed by Georges Méliès, inspired by Miguel de Cervantes's "Don Quixote". In one of his dreams, Don Quixote is fighting monsters. Having vanquished them, he goes to put on his armor, only to be met with a succession of strange events: first the armor appears occupied by
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Ruggero Raimondi


title roles in "Boris Godunov" (including the Andrzej Żuławski film) and "Attila"; Silva; Escamillo in Bizet's "Carmen" (including the Francesco Rosi film, 1984, with Plácido Domingo and Julia Migenes); the title role in "Don Giovanni" (including the Joseph Losey film, 1979); Count Almaviva in "The Marriage of Figaro"; and Don Alfonso in "Così fan tutte"; the title role in "Don Quichotte" by Massenet; and Scarpia in a recording of
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Richard Van Allan


Sadler's Wells in the title role of "Don Giovanni", in John Gielgud's production. He later sang Leporello with English National Opera (Sadler's Wells's new name), as well as the Grand Inquisitor and later King Philip II in "Don Carlos" (Verdi), the title role in "Boris Godunov" (Mussorgsky), Baron Ochs in "Der Rosenkavalier" (Richard Strauss), the title role in "Don Quichotte" (Massenet), Count Almavivia in "The Marriage of Figaro
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Operetta


Hervé (1825–1892), a singer, composer, librettist, conductor, and scene painter. In 1842 he wrote the little opérette, "L'Ours et le pacha", based on the popular vaudeville by Eugène Scribe and X. B. Saintine. In 1848, Hervé made his first notable appearance on the Parisian stage, with "Don Quichotte et Sancho Pança" (after Cervantes), which can be considered the starting point for the new French musical theatre tradition. Hervé's most famous works are the Gounod-parody "Le
18157267
Feodor Chaliapin


Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of "Boris Godunov" (excerpts of which he recorded 1929–31 and earlier). He is remembered also for his interpretations of Ivan the Terrible in Rimsky-Korsakov's "The Maid of Pskov", Mephistopheles in Gounod's "Faust", Don Quixote in Massenet's "Don Quichotte", King Philip in Verdi's "Don Carlos" and Bertram in Meyerbeer's "Robert le Diable". Largely owing to his advocacy,
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Joseph Rouleau


". He also won considerable acclaim as "Don Quichotte", and Mephistofeles in "Faust". In 1976, he participated for the BBC, in a performance of the complete French version of "Don Carlos", singing Philippe II. He made his debut at the Metropolitan Opera on April 13, 1984, as the Grand Inquisitor in "Don Carlos", under James Levine. Since 1987 he has appeared in concerts and recitals with accompanist Pierre Brabant. Many of their recitals together have been devoted to the music
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La Nueve


to dopes"), and its half-track, "Les Cosaques" (French for "the Cossacks"). The 1st combat section called their vehicles "Don Quichotte" (French for "Don Quixote"), "Cap Serrat", "Madrid" "Guernica", and "Les Pingouins" (French for "the penguins"), after the nickname "Espingouins", given by French soldiers to the Spanish servicemen (the name "Buenaventura Durruti", proposed by the anarchists, had been
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Désiré (baritone)


1845. In 1847, he arrived at the Théâtre Montmartre in Paris where he met Hervé. He asked Hervé to provide him with a musical sketch (drawn from Cervantes' novel "Don Quixote"), in which the tall and thin Hervé as the Don was pitted against the short and plump Désiré as Sancho Pança. The sketch inspired what was later dubbed the first French operetta, Hervé's "Don Quichotte et Sancho Pança", which premiered in 1848 at Adolphe Adam's Théâtre National at the Cirque Olympique, but
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Kate Aldrich


in "Der Rosenkavalier", Cesare and Sesto in "Giulio Cesare", Isabella in "L'italiana in Algeri", Rosina in "Il barbiere di Siviglia", Angelina in "La Cenerentola", Arsace in "Semiramide", Zelmira in "Zelmira", Fenena in "Nabucco", Preziosilla in "La forza del destino", Eboli in "Don Carlos", Dalila in "Samson et Dalila", Sesto in "La clemenza di Tito", and Dulcinée in "Don Quichotte". Aldrich rose
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Sarah Caldwell


, "Norma" (with Sills), "Les Troyens", "Don Carlos" (U.S. premiere of original French version), "Don Quichotte", "War and Peace" (U.S. stage premiere, with Arlene Saunders), "Benvenuto Cellini" (U.S. premiere, with Jon Vickers), "I Capuleti e i Montecchi", "Montezuma" (U.S. premiere), "Ruslan and Ludmila" (U.S. premiere), "Rigoletto" (with Sills, Richard Fredricks, and Susanne Marsee)
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Hervé (composer)


grotesque", a burlesque on "Don Quixote" titled "Don Quichotte et Sancho Pança". It was conceived as a vehicle for the actor Desiré, who was short and plump, accompanied by the tall and gangling Hervé, as he was now calling himself, in order to distance his two "personas". It was staged at Adolphe Adam's Opéra-National, and achieved a great success in 1848, in spite of the distracting revolution: furthermore, according to the composer Reynaldo Hahn, the farcical pot-
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Jacques Villisech


role in Massenet's "Don Quichotte", Don Basile in Rossini's "Il barbiere di Siviglia", Geronimo in Cimarosa's "Il matrimonio segreto", and Prince Gremin in Tchaikovsky's "Eugene Onegin". Villisech performed in 1965 the bass arias in the pioneering recording of Nikolaus Harnoncourt of Bach's "St John Passion", with Kurt Equiluz as the Evangelist and Max van Egmond as the vox Christi (voice of Christ). In the Harnoncourt recordings of Monteverdi's operas, he appeared as Plutone in "
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André Pernet


directed by Abel Gance and also featuring Grace Moore and Georges Thill. He was noted for singing the title parts in "Mefistofele", "Boris Godunov", "Don Giovanni" and "Don Quichotte". Among the operas in which he created roles during the premiere performances were "Le marchand de Venise" (Hahn), "Oedipe" (Enesco), "Maximilien" (Milhaud) and "Vercingétorix" (Canteloube). Pernet's smooth, elegant, well-produced voice can be heard on a
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Brujeria (band)


track with video, and some new themes, such as the collaboration with Mucho Muchacho on "Narco-Peda" and "Asesino" which featured Tony Campos of Static-X. The record, rather than being a compilation, was more like a disc of rarities and b-sides, since most of the songs were not the album versions, but the versions on the EPs and singles. The disc also included a video cover for the Magazine 60 song "Don Quichotte" named "Don Quijote Marihuana" 2002 came with
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Xavier Depraz


He also sang in Bartók's "Bluebeard's Castle", Verdi's "Rigoletto", Mozart's "Don Giovanni", Massenet's "Don Quichotte" and "Thaïs" among others. For his appearance as Méphistophélès in Monte Carlo in 1959 one reviewer commented "Xavier Depraz, immensely tall, and surprisingly thin and angular for an operatic bass, produced a suitably resonant and cavernous voice, and histrionically was satisfyingly demonic". He also appeared at the French provincial opera houses, Glyndebourne and Venice, and was appointed
11990412
Robert Savoie


contract with the Royal Opera House in London, making his debut there as Schaunard in "La Bohème", and then singing the title role in "Rigoletto". He also appeared with the Sadler's Wells and the Scottish Opera in Glasgow. He also performed throughout France, in a touring production of Massenet' s "Don Quichotte", opposite fellow countryman, Joseph Rouleau. He sang in the BBC production of Verdi's original French version of "Don Carlos" (recorded 1972, broadcast 1973) with Rouleau,
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Richard Bernstein (bass)


in Algeri") to classic French opera (Sancho Panza in "Don Quichotte") to 20th-century works such as Benjamin Britten's "Albert Herring" (Superintendent Budd). He has also sung three of the four lower-voice roles in Mozart's "Don Giovanni" – Leporello, Masetto, and the title character – including one memorable concert version performed in Bellingham, WA, where he performed both Leporello and Masetto in the same evening. The original Masetto cancelled at the last minute due to illness;
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Dulcinea del Toboso


(puta). Although support for Avellaneda's view of Dulcinea is found in Part I of "Don Quixote", he has little interest in the glorious, imaginary Dulcinea. Scholars commonly say that because of this and many similar misreadings by Avellaneda, which Cervantes found offensive, he was motivated to complete his own unfinished Part II, which was published the following year. The Jules Massenet opera "Don Quichotte" depicts Dulcinée as a major character, the local queen who sends the knight on a quest to retrieve her jewels
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Henri de Montfort


several works about the political situation and the history of Poland, Finland, and the Baltic States. In his works and in the lectures he organized, Henri de Montfort presented the contribution of Baltic peoples, highlighted the French influence in these countries and warned of the German threat. In addition to his articles and scientific publications, Henri de Montfort co-authored four books with novelist Paul de Garros: L’Inexplicable Crime (The Inexplicable Crime) in 1921, Le Fils de Don Quichotte (The Son of Don Quixote) in 1924
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Jules Massenet


century critic Anne Feeney comments, "Massenet rarely repeated musical phrases, let alone used recurrent themes, so the resemblance [to Wagner] lies solely in the declamatory lyricism and enthusiastic use of the brass and percussion." Massenet enjoyed introducing comedy into his serious works, and writing some mainly comic operas. In Macdonald's view of the comic works, "Cendrillon" and "Don Quichotte" succeed, but "Don César de Bazan" and "Panurge" are less satisfying than "the more delicately tuned operas such as
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Don Quichotte auf der Hochzeit des Comacho


Miguel de Cervantes's novel "El ingenioso hidalgo Don Quijote de la Mancha", published in 1605 and 1615, is part of mainstream World literature. The scene of the hero and his squire taking part in the wedding of Camacho was chosen by the poet Daniel Schiebeler (1741–1771) when he was a student aged 18 for the libretto of a "Singspiel", entitled "Basilio und Quiteria", which he offered to the composer Georg Philipp Telemann, around 60 years his senior. Telemann was agreeable, but made substantial
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Don Quichotte à Dulcinée


, commissioned by the celebrated film director G. W. Pabst for a cinema version of "Don Quixote" starring the legendary bass Fyodor Chaliapin. The score was to include four songs (one more than the final version) along with background music for several episodes. As Ravel worked on the project in 1932, however, he suffered the increasingly disabling effects of Pick’s disease, a cerebral-neurological condition that gradually robbed him of motor skills and memory while afflicting him with periods of aphasia. How much Pabst knew about Ravel’s
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The SoLow Project


The SoLow Project is the solo album vocal bassist Barry Carl released after retiring from the a cappella group Rockapella. The album consists of 20 songs split into four sections: Seven Spirituals for Two Basses, a selection of Negro spirituals; Four Sea Chanties; Quatre Chansons de Don Quichotte, a collection of songs by French composer Jacques Ibert written for the 1933 G.W. Pabst film "Don Quixote"; and The Songs and Dances of Death, a song cycle written by Modest Mussorgsky. Barry Carl's website page on The SoLow Project
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Jules Massenet


, "Don Quichotte" (22), "Thaïs" (21), "Cendrillon" (17), "La Navarraise" (4), "Cléopâtre" (3), "Thérèse" (2), "Le Cid" (2), "Hérodiade" (2), "Esclarmonde" (2), "Chérubin" (2) and "Le mage" (1). Between 1862 and 1900 Massenet composed eight oratorios and cantatas, mostly on religious subjects. There is
3225809
Sep Smith


maker of all-time behind Graham Cross. Smith mentored former Leeds United and England manager Don Revie during his time at Leicester. Revie, who dedicated an entire chapter in his autobiography entitled "What I Owe to Sep Smith" claimed "I'm proud now to think of how much time Sep spent passing on his Soccer knowledge to me. He played a big part in my shaping my career." He also referred to Smith as "an extraordinary footballer," saying "he could place the ball within an inch
9904798
Lucy Arbell


"Rigoletto", Uta in "Sigurd", Fricka in "Die Walküre" and "Thérèse". She had a close relationship with the late operas of Massenet, creating roles in "Ariane" (Perséphone), "Thérèse" (title role), "Bacchus" (Queen Amahelli), "Don Quichotte" (Dulcinée) in Monte-Carlo and Paris, "Roma" (Postumia), and "Panurge" (Colombe). At the Opéra-Comique she sang Charlotte ("Werther"
18046447
David Wickham


music director for productions of "Giulio Cesare", "Don Quichotte", "Carmen", "Così fan tutte", "Rodelinda", "Manon", "Bastien und Bastienne" and "Trouble in Tahiti", as well as "Elijah" and four cabarets. At the Western Australian Academy of Performing Arts he has conducted "Candide", "A Midsummer Night's Dream", Malcolm Williamson's "English Eccentrics", "Trial by Jury", and Poulenc's "Dialogues of the Carmelites
6340503
Albert Rosen


as Smetana's "The Two Widows" and "The Kiss", Dvořák's "Rusalka", "The Devil and Kate" and "The Jacobin", Janáček's "Jenůfa", Prokofiev's "The Gambler", Massenet's "Don Quichotte", Peter Cornelius's "Der Barbier von Bagdad", Britten's "The Turn of the Screw", Franco Alfano's "La leggenda di Sakùntala", Heinrich Marschner's "Hans Heiling" and "Der Templer und die Jüdin", Engelbert Humperdinck
7001054
Bernard Deletré


) on tour in the Netherlands, Massenet's "Don Quichotte" (title role) and Gounod's "Roméo et Juliette" (Frère Laurent) in Limoges, Stravinsky's "Pulcinella" with the Orchestre national de Lille, a revival of "The Tales of Hoffmann" in Geneva, "La Veuve et le Grillon", a work by Daniel Soulier, "The Love for Three Oranges" in Dijon and Limoges, Mozart's "The Marriage of Figaro" in Tourcoing and the Théâtre des Champs-Elysées,
12048908
Susanne Marsee


"Cendrillon", Mallika in "Lakmé", Bellino in "Casanova's Homecoming", Adalgisa in "Norma", Dulcinée in "Don Quichotte", Charlotte in "Werther" (with Jon Garrison), Valencienne in "Die lustige Witwe", Marcellina in "Le nozze di Figaro" (with Herbert Perry as Figaro), Suzuki in "Madama Butterfly", La chatte in "L'enfant et les sortilèges", Berta in "Il barbiere di Siviglia", Rose in the world premiere of "Marilyn
19541048
Don Quichotte à Dulcinée


"jota" that dominates the "Chanson à boire", a tipsy Don Quixote revels in flamenco vocalizing and unleashes peals of laughter as keyboard flourishes suggest the bubbling and sparkling of wine. Chanson Romanesque Si vous me disiez que la Terre A tant tourner vous offensa, Je lui dépêcherais Pança: Vous la verriez fixe et se taire. Si vous me disiez que l'ennui Vous vient du ciel trop fleuri d'astres, Déchirant les divins cadastres, Je faucherais d'un coup la nuit. Si vous me disiez que l'espace Ainsi vidé ne vous
14416780
Mezzo-soprano


French-language operas give the leading female role to mezzos, including "Béatrice et Bénédict", "La damnation de Faust", "Don Quichotte", "La favorite", "Dom Sébastien", "Charles VI", "Mignon", "Samson et Dalila", "Les Troyens", and "Werther", as well as "Carmen". Typical roles for mezzo-sopranos include the stereotypical triad associated with contraltos of "witches, bitches, and britches": witches, nurses,
12538764
Ion Caraion


my wife, my child and two suitcases". He settled in Lausanne, where he edited " 2 plus 2" magazine in 1983 and "Don Quichotte și Correspondances" (a poetry and essay collection in six languages, reminiscent of "Agora" magazine). He also worked for the BBC and wrote for the publications "Limite", "Le Figaro", "PEN Internationale" and "Repères" (Paris); "Dialog" (Dietzenbach); "Săptămâna müncheneză", "Contrapunct" and "
12609711
Michel Trempont


Le Comte Ory"), Sulpice ("La fille du régiment"), Fieramosca ("Benvenuto Cellini"), Taddeo ("L'Italiana in Algeri"), Sancho ("Don Quichotte"), and the king in Prokofiev's "L'Amour des trois oranges". At Grand Théâtre de Genève his roles have included: the Sacristan, Pandolphe ("Cendrillon"), Le Baron de Gondremarck, Crespel, Peter ("Hänsel et Gretel"), Carpe ("La Forêt"), V’lan (
17823303
Jules Massenet


, combining sparkle and clarity, and his unerring theatrical instinct. Rodney Milnes, in "The New Grove Dictionary of Opera" (1992), agrees that "Manon" and "Werther" have a secure place in the international repertoire; he counts three others as "re-establishing a toehold" ("Cendrillon", "Thaïs" and "Don Quichotte"), with many more due for re-evaluation or rediscovery. He concludes that comparing Massenet with the handful of composers of great genius, "It
3225828
Rodney Milnes


on Record" Vol 1 ("Carmen"), Vol 2 ("Thaïs" and "Don Quichotte") and Vol 3 (The stage works of Weill). For BBC radio he was a regular contributor to the "Building a Library" feature in "Record Review"; in "Just the part" and "In Repertory" he talked to opera singers about particular roles they have made their own, and in 2001 introduced a 14-part series "Performing Verdi". Milnes was a Knight of the Order
8702561
Don Quichotte


I am the Knight-errant'), and the necklace is returned to him. The bandits ask for the blessing of the noble knight before he leaves. "The garden of Dulcinée's House" Music and dancing, a party is in progress, but Dulcinée is melancholy, 'Lorsque le temps d'amour a fui' ('When the time of love has gone'). Rousing herself, she snatches a guitar and sings 'Ne pensons qu'au plaisir d'aimer' ('Think just of the pleasures of love'
2055471
Paul Bastide


productions of "Tarass Boulba", "Don Quichotte" (with Chaliapin) and "The marriage of Figaro". He returned to the Salle Favart as head of music studies from 1948-52. He conducted "Louise" in some performances of the 50th anniversary run in 1950 at the Opéra-Comique, and the following year in Marseille. At the Opéra he conducted "la Flûte enchantée" in 1949 and "Pénélope" in 1951. Bastide became a Chevalier of the Légion d'honneur in 1928. Several operas by
21856209
Paul Hazard


on 13 April 1944. Hazard founded, with Fernand Baldensperger, the "Revue de littérature comparée" in 1921. Some of his important writings are "Histoire illustrée de la littérature française" (comp. with Joseph Bédier, 2 vol., 1923–24); "Leopardi" (1913); "Lamartine" (1926); "Stendhal" (1927); "Don Quichotte" (1931); and "Les livres, les enfants et les hommes" (1932) ("Books, Children and Men
499907
Quinn Kelsey


Forester in Janáček's "The Cunning Little Vixen", Athanaël in Massenet's "Thaïs", and Sancho Panza in Massenet's "Don Quichotte". Kelsey sang the role of Germont in "La traviata" at the Metropolitan Opera on 4 December 2018, a new production and the first appearance of Yannick Nézet-Séguin as the Met’s new music director. Violetta was sung by Diana Damrau, and Alfredo, by Juan Diego Flórez. F. Paul Driscoll, in his review of the performance in "Opera News"
20124284
Viengsay Valdés


with Carlos Acosta at the Manchester International Festival, and played the lead roles in both "Giselle" and "Don Quichotte" at the Grand Palais in Paris. In October 2007, she participated in the Gala "The Giants of the Dance", which was directed by the Cuban choreographer Alberto Méndez at the National Auditorium of Mexico City. She was then invited to dance on the show "Carlos Acosta and his Friends" at Sadler's Wells Theatre, London. Her partner was international ballet star, Carlos Acosta. In
2331937
Jules Massenet


preposterous. He countered, "Who knows "Manon", "Werther" and "Don Quichotte" knows the best of Massenet, but not his range from heroic romance to steamy verismo." Massenet's output covered most of the different subgenres of opera, from opérette ("L'adorable Bel'-Boul" and "L'écureuil du déshonneur" – both early pieces, the latter lost) and opéra-comique such as "Manon", to grand opera – "Grove" categorises "Le roi de Lahore" as "the last
3225804
Jules Massenet


, the two best known, "Manon" and "Werther", have been recorded many times, and studio or live recordings have been issued of many of the others, including "Cendrillon", "Le Cid", "Don Quichotte", "Esclarmonde", "Hérodiade", "Le jongleur de Notre-Dame", "Le mage", "La Navarraise" and "Thaïs". Conductors on these discs include Sir Thomas Beecham, Richard Bonynge, Riccardo Chailly, Sir Colin Davis, Patrick
3225820
Jules Massenet


his best works." In 1955 Edward Sackville-West and Desmond Shawe-Taylor commented in "The Record Guide" that, although usually dismissed as an inferior Gounod, Massenet wrote music with a distinct flavour of its own. "He had a gift for melody of a suave, voluptuous and eminently singable kind, and the intelligence and dramatic sense to make the most of it." The writers called for revivals of "Grisélidis", "Le jongleur de Notre-Dame", "Don Quichotte" and "
3225825
Victor-Lévy Beaulieu


This would be the first of a long run: "Race de monde" (1969) — "La nuite de Malcomm Hudd" (1969) — "Jos Connaissant" (1970) — "Les Grands Pères" (1971) — "Un rêve québécois" (1972) — "Oh Miami Miami Miami" (1973) — "Don Quichotte de la démanche" (1974). Beaulieu served as a teacher of literature at the National Theatre School of Canada from 1972 to 1978, and also wrote for
4564786
Monte Carlo


. By the early years of the twentieth century, the Salle Garnier was to see such great performers as Nellie Melba and Enrico Caruso in "La Bohème" and "Rigoletto" (in 1902), and Feodor Chaliapin in the premiere of Jules Massenet's "Don Quichotte" (1910). This production formed part of a long association between the company and Massenet and his operas, two of which were presented there posthumously. Other famous twentieth-century singers to appear at Monte Carlo included Titta Ruffo, Geraldine Farrar,
11630542
Tangerine Dream bootleg recordings


1986). A low quality unlicensed copy of "Quichotte" was released as "Don Quixote" (1988). The complete versions of both shows were released on "Tangerine Tree 17: East Berlin 1980" (2003). The band performed at the Guildhall in Preston, England on 5 November 1980. The first 40 minutes were bootlegged on LP as "Undulation" (1986), with a later CD version misnamed "Soundtrack For Fantasy, Live in Detroit, USA Undulation" (1992). Some of
13602463
Nicolai Ghiaurov


shared a stage with Mirella Freni in 1961 in Genoa. She was Marguerite, he was Mephistopheles in "Faust". Married in 1978, they lived in her hometown, Modena. They sang together frequently. He made his US debut in Gounod's "Faust" in 1963 at the Lyric Opera of Chicago, and he went on to sing twelve roles with the company, including the title roles in "Boris Godunov", "Don Quichotte", and "Mefistofele". Ghiaurov made his Metropolitan Opera debut on 8
13973828
Don Quichotte


York City performed it nine times in 1926. After devastating reviews of those performances in particular, and criticisms of Massenet's music in general, by Lawrence Gilman in the "Herald Tribune", the opera has never been revived at the Met, although it was performed by the Opera Company of Boston (staged and conducted by Sarah Caldwell) in 1974 (with Noel Tyl, Donald Gramm, and Mignon Dunn), and the New York City Opera in 1986. Besides frequent and periodic revivals of it at Monte Carlo and
2055464
Pauline Savari


"Gil Blas", "Figaro", "Le Don Quichotte", and "La France". Savari also wrote many plays and novels. At the same time, Savari had a career on stage as both an actress and an opera singer, including a leading role in "Alceste" by Gluck. She was a pupil and friend of the noted French actress Marie Léonide Charvin (known as Agar). In 1891 Savari founded artistic evenings at the Galerie Vivienne. In 1893 Savari applied to become a member of
20869665
Oskar Danon


, Prokofiev, Stravinsky and Saint-Saëns for Reader's Digest in 1962-63, and in 1963 "Die Fledermaus" in German and English for RCA in Vienna with Adele Leigh, Anneliese Rothenberger, Risë Stevens, Sándor Kónya, Eberhard Waechter and George London, as well as recording for Supraphon in Czechoslovakia: Scheherazade, Orpheus, Pulcinella and the Franck symphony. His Vienna State Opera debut in 1964 was "The Gambler", in a production from Belgrade, followed over the years by "Don Quichotte" (Massenet
21400813
Jules Massenet


and "Thérèse", a terse drama set in the French Revolution. His last major success was "Don Quichotte" (1910), which "L'Etoile" called "a very Parisian evening and, naturally, a very Parisian triumph". Even with his creative powers seemingly in decline he wrote four other operas in his later years – "Bacchus", "Roma", "Panurge" and "Cléopâtre". The last two, like "Amadis", which he had been unable to finish in the 1890s
3225796
Vanni Marcoux


The same year, 1910, he sang for the first time Massenet's "Don Quichotte" at the "Gaieté Lyrique"" in Paris, a part that would soon become his signature role. For nearly 40 years, Vanni Marcoux was a familiar and much admired figure in Parisian musical life, mainly at the Opéra and the Opéra-Comique, where he created a number of roles in contemporary operas such as Raoul Gunsbourg's "Lysistrata", Max d'Ollone's "L'Arlequin", Henry Février's "Monna Vanna"
6179999
José Montalvo (choreographer)


He is the artist-in-residence at the Théâtre National de Chaillot in Paris. For example, in 2012-2013, he choreographed "Don Quichotte du Trocadéro" at Chaillot. At the end of the Bastille Day military parade on July 14, 2014, to commemorate the centennial of the First World War, he was commissioned by the French government a choreographic performance with 250 young dancers from the eighty countries who fought in the war on the Place de la Concorde. The eight-minute performance to a clarinet concerto
10116645
Carlos Meglia


various literary classics such as "Don Quichotte", "La Bible pour les Enfants", and several books of Martin Fierro, the poet. He contributed to several major magazines of Argentina, including "Satiricon" – a humorous periodical, "El Grafico" – a sports magazine, and "Billiken" – a children's magazine. He made his first short comic stories for the "Publisher Record". Meglia decided to enter the Hanna-Barbera Studios, where he worked in animation for some popular cartoon series,
10231275
Samuel Ramey


such as Verdi's "Attila", Rossini's "Maometto II" and Massenet's "Don Quichotte". He provided the voice for The Beast, the main antagonist of the 2014 animated miniseries "Over the Garden Wall". Ramey has made an exceptionally large number of recordings that feature nearly all of his main operatic roles as well as collections of miscellaneous arias, other classical pieces, and crossover discs of popular American music. He has also appeared on television and video productions of the Met's productions of "Carmen
10458802
Magazine 60


Magazine 60 is a French synthpop band founded by music producer, Jean-Luc Drion. Other members are Dominique Régiacorte, Pierre Mastro and Véronique Olivier. The group was best known for the 1984 song, "Don Quichotte," which hit the Top 10 in France and the Top 60 in the United States in 1986. In 1981, the band released an EP, "Magazine 60", by Barclay Records. It sold over 260,000 copies in France, making the Top Ten, and became a gold record. One
10586766
Quintuple meter


song cycle "Don Quichotte à Dulcinée" (1932–33), and the first theme group of Carlos Chávez's "Sinfonía india" (1935–36), which is predominantly in time, but mixed with other meters. Another impulse for the use of quintuple meter was to evoke pagan and specifically Ancient Greek culture. The meter of the bacchanalian "Danse générale" concluding Ravel's ballet "Daphnis et Chloé" (1909–12) is a particularly well-known example. In his First Symphony, the "Sinfonía de Antígona" (
12559337
Arnold Voketaitis


he triumphed in the title role of "Don Quichotte", repeating it in 1981 in Monterrey. In 1976 Voketaitis portrayed Rev. John Hale in Robert Ward's "The Crucible" with the Florentine Opera. In 1989 he returned to Chicago as Abimelech in Camille Saint-Saëns's "Samson et Dalila". The following year he sang Basilio in "The Barber of Seville" at the Miami Opera. He has also performed in concert the solo bass role in the Shostakovich 13th Symphony with the Chicago Symphony Orchestra (1979)
14076220
Don Quichotte à Dulcinée


of its alternating and meters for word-painting, and enlivening it by sometimes garnishing the with a clashing dissonance. Sensuality subtly increases with a turn to the major, and the final rhapsodizing on the beloved ("O Dulcinée") deepens the emotional perspective of all that has gone before. Parallel harmonies create the atmosphere of medieval Christian liturgy in the prayer of "Chanson épique." Here the oft-reiterated asymmetrical dance-rhythm of the "zortzico" imparts a sustained urgency unusual in slow music. Against the manic
14416779
Europe Ecology


regions, with the intention of supporting the Left in runoffs. However, the party's ultimate goal was said to be to wrest control of a major region, such as Ile-de-France from the PS. The coalition's candidates included the researcher Philippe Meirieu, magistrate Laurence Vichnievsky, the rural activist François Dufour or Augustin Legrand of the homeless' association "Les Enfants de Don Quichotte". Europe Écologie received 12.19% of the national vote, or 2,373,922 votes, in the first round. The party came third
16994963
Delores Ziegler


her debut at the San Francisco Opera as Bellini's Romeo and portrayed Dulcinee in Massenet's "Don Quichotte" at the Teatro Comunale Florence. In 1992 Ziegler was the mezzo soloist in Rossini's "Stabat Mater" with conductor Riccardo Muti and the Philadelphia Orchestra. In 1993 she made her debut at the Lyric Opera of Chicago as Dorabella to Carol Vaness' Fiordiligi. In 1994 she portrayed Rosina in the United States premiere of Judith Weir's "Blond Eckbert" and Rosina in "The Barber of Seville" at the Santa
17310259
Adine Fafard-Drolet


Etchemin, Quebec. By 1903, Fafard-Drolet, a dramatic soprano, was appearing regularly around L'Islet and Quebec City. In 1907 she went to Europe for two years of further training, studying in London at the Royal College of Music and in Paris with the baritone Jean-Baptiste Faure. She gave several concerts in Europe and in one of these sang for King Alfonso XIII of Spain. She auditioned for the composer Jules Massenet and was offered a leading role in his unfinished opera "Don Quichotte"; however,
19565448
Mary Garden


a bodystocking). By 1910, Garden had become a household name within America. She left the Manhattan Opera House to join the Chicago Grand Opera Company where she sang from 1910 to 1913 in such roles as Mélisande, Fanny in Massenet's "Sapho", Dulcinée in Massenet's "Don Quichotte", the Prince in Massenet's "Cendrillon", the title role in Georges Bizet's "Carmen", and the title role in Giacomo Puccini's "Tosca". During this time she also sang in other American
19804674
Don Quichotte


in France, it was also shown with great success in Italy (Catania in 1928, Turin in 1933 (Teatro Regio), Bologna in 1952, Venice in 1982, Florence in 1992). The Polish premiere was at the Kraków Opera in 1962, and Baltic State Opera premiere was in 1969. Nicolai Ghiaurov sang the title role to great acclaim at Lyric Opera of Chicago in 1974 and again in 1981. Lyric Opera of Chicago mounted the work again in 1993 with Samuel Ramey, Jean-Philippe Lafont and Susanne Mentzer
2055465
Don Quichotte


. The first revival in Britain since 1912 was given by English National Opera in October 1994, with Richard Van Allan as Quixote. The production was presented again in 1996. "A square in front of Dulcinée's house" A festival is being celebrated. Four hopeful admirers of Dulcinée serenade her from the street. Dulcinée appears and explains philosophically that being adored is not enough, 'Quand la femme a vingt ans' ('When a woman is twenty'). She withdraws and a crowd, largely of beggars,
2055466
Viorica Cortez


Verdi Requiem at La Scala, along with Plácido Domingo and Nicolai Ghiaurov. The celebrated Bulgarian bass was her partner for Massenet's freshly revived opera, "Don Quichotte", both in Paris and Chicago, the Parisian mise en scène being assigned to Peter Ustinov. In Chicago, Cortez was a commanding and electrifying Elisabetta in "Maria Stuarda" opposite Montserrat Caballé (1973). The friendship and mutual respect between the two divas represented a milestone in Cortez's career. For "Norma" and "Maria Stuarda", as
21358246
Viengsay Valdés


who gave her the name in honor of a region of Laos where they were representing Cuba. One European critic described it as an unrepeatable performance. I think the same. I never conceived of such amazing elegance and flexibility, with perfect precision." In April 2008, Valdes performed in front of the Giza Pyramids, Egypt, in the first ever professional ballet performance on the open-air stage there. As Kitri in Don Quichotte, she danced beneath the gaze of the Sphinx. In July of the same year,
2331939
Normand Brathwaite


in Sainte-Thérèse, Quebec, Brathwaite started to participate in theatrical plays in 1977 and played in 1981 the musical comedy show "La Cage aux folles". From 1979 to 1991, he participated in several television shows as actor including "Chez Denise", "L'Ingenieux Don Quichotte", "Peau de banane" and "Le 101 Ouest Avenue des Pins" as well as minor roles in a few movies such as The Moderns and If Only during the late 1980s. His first role as a television host was in
3635285
Maurice Ravel


), but he was unable to meet the production schedule, and Jacques Ibert wrote most of the score. Ravel completed three songs for baritone and orchestra intended for the film; they were published as "Don Quichotte à Dulcinée". The manuscript orchestral score is in Ravel's hand, but Lucien Garban and Manuel Rosenthal helped in transcription. Ravel composed no more after this. The exact nature of his illness is unknown. Experts have ruled out the possibility of a tumour, and have variously suggested frontotemporal dementia, Alzheimer's
3655985
Alice Ducasse


Méhul (November 1868), Formosa in "En Prison" by Guiraud (March 1869), Thérèse in "Don Quichotte" by Boulanger (May 1869) and Nydia in "Le Dernier Jour de Pompéi" by Victorin Joncières (September 1869) Moving over to the Opéra Comique she created Léna in the 1872 premiere of "La princesse jaune", and Frasquita in the 1875 premiere of "Carmen", as well as singing in the first Opéra Comique performances of works premiered elsewhere: Jacqueline in "Le médecin malgré
551226
Aleksey Yermolayev


only 16; his teacher there was Vladimir Ponomaryov. He sent four years with the Gosudarstvenniy Akademicheskiy Teatr Opery i Baleta (GATOB) at the Mariinsky Theatre in Leningrad, and made his name in modern roles. He spent the years 1930-1938 as Principal Dancer at the Bolshoi Ballet in Moscow. Yermolayev demonstrated impressive athletic strength, and a vivid personality in his acting. His roles included the God of the Wind ("Le Talisman"), Basilio ("Don Quichotte"), Albert ("Giselle")
5629171
Léon Jehin


appointed the conductor of the Monte Carlo Opera in succession to Arthur Steck. His first performance there was leading "Mireille". As well as conducting the central repertoire at the Monte Carlo opera, he conducted the premieres of the following operas: In 1889 he married the mezzo-soprano Blanche Deschamps, with whom he had worked in Brussels. In 1953 a centennial concert was held in his memory in the Casino. In 1910 at La Monnaie Jehin conducted "Don Quichotte" with the premiere cast and the Monte Carlo orchestra,
6029701
Germaine Cernay


on French radio allowed Cernay to enlarge her repertoire to roles in "Carmen", "Le roi d’Ys", "Le Chemineau", "La damnation de Faust", "Don Quichotte" and "La Lépreuse". She also sang in the first performance of surviving fragments of Chabrier's "Vaucochard et fils Ier" on 22 April 1941 at the Salle du Conservatoire. Cernay was one of the best-known concert altos of her generation and highly considered as a Bach interpreter. She appeared regularly with the Orchestre
6732094