Named "la virtuosissima cantatrice" — the most dazzling singer — by a contemporary, Strozzi published eight volumes of music between 1644 and 1677, more than any composer of any gender in 17th-century Venice.
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It ends with the two couples shouting in unison "It's not that way. It's over here!" ("C’est pas par là, c’est par ici!" )"La cantatrice chauve de Eugène Ionesco," alalettre.
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August William HoFfmann and the Misses Dcmmer, Roderick. Genoris, Harkncss, Head, Detmar, Hyde, Hoffman and Nemerca. Murio-Celli's compositions included "Il Sogno" (a waltz song), “Mid Starry Deeps 0f Splendor", the "Soldier’s Bride", and “In-cantatrice", a vocal theme and variations written expressly for Adelina Patti.
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Its actual title was the result of an error in rehearsal by actor Henri-Jacques Huet: the fire chief's monologue initially included a mention of "l'institutrice blonde" ("the blonde schoolteacher"), but Huet said "la cantatrice chauve", and Ionesco, who was present, decided to re-use the phrase.
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Ionesco set about translating this experience into a play, La Cantatrice Chauve, which was performed for the first time in 1950 under the direction of Nicolas Bataille. It was far from a success and went unnoticed until a few established writers and critics, among them Jean Anouilh and Raymond Queneau, championed the play.
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Christiane Eda-Pierre (24 March 1932 – 6 September 2020La cantatrice Christiane Éda-Pierre est décédée ) was a French coloratura soprano of Martinican origin,Alain Pâris. Dictionnaire des interprètes et de l’interprétation musicale au XX siècle. Éditions Robert Laffont, Paris, 1995 (p377). who sang in a wide variety of roles, from baroque to contemporary works.
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Denise Scharley (born Neuilly-en-Thelle, 15 February 1917 – died Versailles, 26 July 2011) was a French contralto who made her debut in 1942, singing Pelléas et Mélisande at the Opéra-Comique.Europe 1 (28 July 2011). "Décès de la cantatrice Denise Scharley". Accessed 31 July 2011 Long associated with French opera, she starred as Madame de Croissy in the Paris première of Poulenc's Dialogues of the Carmelites.
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Erik Berchot is regularly invited by the in Paris for the Bagatelle festival. Erik Berchot is the pianist of Claudy MalherbeClaudy Malherbe on Ircam's radio opera: La Cantatrice, commissioned by Radio France (September 2008). On 28 September 2009 in Paris, Erik Berchot received the insignia of Chevalier of the Ordre national du Mérite from the hands of composer Michel Legrand, on behalf of the President of the French Republic, Nicolas Sarkozy.
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Relatively modest – the Malibran library supposedly having stayed between the hands of her husband or transferred to her sister, the mezzo-soprano Pauline Viardot – this part nevertheless contains some remarkable pieces, such as two bound missals, Le petit paroissien complet and La voie du salut, or a small in-12 format brochure with the English version of the Fidelio libretto, published in London in 1835 to prepare for the performances at the Royal Opera House in Covent Garden the year after, and carrying handwritten notes from Malibran. This section is completed by a series of music scores – two autograph compilations of works of the cantatrice,Are concerned: the Album lyrique, composé de Quatorze Chansonnettes, Romances et Nocturnes, dedicated to general La Fayette, who served as an intermediary during the divorce process of the cantatrice with her first husband, as well as Dernières Pensées, containing ten pieces. three collections of dedicated romances and a few music manuscripts – press clippings, concert programs and posters, as well as a series of poems, stanzas or texts devoted to the prima donna.
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Soprano Sophie Cruvelli, 1852 Sophie Johanne Charlotte Crüwell, vicountess Vigier, stage name Sophie Cruvelli (12 March 1826 – 6 November 1907) was a German opera singer. She was a dramatic soprano who had a brief but stellar public career especially in London and Paris in the middle years of the 19th century.Georges Favre, Une grande Cantatrice Niçoise: La Vicomtesse Vigier (Sophie Cruvelli) 1826–1907 (Éditions A. et J. Picard, Paris 1979). She was admired for her vocal powers and as a tragédienne.
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Emma Eames contemplates her piano Eames made her professional operatic debut in Gounod's Roméo et Juliette at the Paris Opéra's headquarters, the Palais Garnier, in 1889. She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire. As early as November 1889, The Times newspaper called her "the favourite cantatrice of the Opera".The Times, Thursday, Nov 07, 1889; pg. 5 She left the company in 1891, however, for personal reasons.
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Apart from the libretto for the opera Maximilien Kolbe (music by Dominique Probst) which has been performed in five countries, produced for television and recorded for release on CD, Ionesco did not write for the stage after Voyage chez les morts in 1981. However, La Cantatrice chauve is still playing at the Théâtre de la Huchette today, having moved there in 1952. It holds the world record for the play that has been staged continuously in the same theatre for the longest time.Theatre de la Huchette.
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Every French noun has a grammatical gender, either masculine or feminine. The grammatical gender of a noun referring to a human usually corresponds to the noun's natural gender (i.e., its referent's sex or gender). For such nouns, there will very often be one noun of each gender, with the choice of noun being determined by the natural gender of the person described; for example, a male singer is a chanteur, while a female singer is either a chanteuse (a pop singer) or a cantatrice (an opera singer).
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On 8 June 1779, a work by Sacchini appeared for the first time on the stage of the Paris Opéra. It was a revival of the dramma giocoso L'amore soldato, which had premiered in England the previous year, and was now advertised as an intermède in three acts.; During his stays in Paris in the seventies Sacchini is also said to have imparted the rudiments of a real singing education to the future European star of opera and refined cantatrice, Brigida Banti.Bruce Carr, Banti, Brigida Giorgi, in The New Grove Dictionary of Opera, cit.
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Caruselli (ed.), Enciclopedia, I, p. 98. In spite of her basic theoretical ignorance and her vulgar manners, Banti, owing to her natural talent, succeeded in growing a highly refined cantatrice and was able to shrink from outward appearance, from superficiality, and, in a word, from the decay of vocal taste which marked the 18th century's second half. Thus, she took her firm stand by the side of those even-aged or younger singers that, by re-establishing the good singing habits of yore, paved the way for Rossini bel canto's near developments.Celletti, Storia ..., p. 112.
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A performance of the play in Kiev, Ukraine, 1968 La Cantatrice chauve – translated from French as The Bald Soprano or The Bald Prima Donna – is the first play written by Romanian-French playwright Eugène Ionesco. Nicolas Bataille directed the premiere on 11 May 1950 at the Théâtre des Noctambules, Paris. Since 1957 it has been in permanent showing at the Théâtre de la Huchette, which received a Molière d'honneur for its performances. It holds the world record for the play that has been staged continuously in the same theatre for the longest time.
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These ideas are apparent in much of Massin's most famous work. For over twenty years Massin acted as art director of Éditions Gallimard, one of the leading French publishers of books. An early, important work for Massin at Gallimard was his 1963 design for Raymond Queneau's Exercices de style, a book of 99 retellings of the same story, each presented different graphically. Another famous design appeared in 1964 in Massin's graphic interpretation of Eugène Ionesco's play, La Cantatrice chauve (translated as The Bald Prima Donna or The Bald Soprano).
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Zeno jokingly referred to the gatherings at Lalli's house as the "Accademia Lalliana" ("Lallian Academy"). Lalli was also a member of an actual academy, the Accademia degli Arcadi. The academy's pan pipe symbol appears on the title pages of some of his published poetry, and two of his intermezzi (La cantatrice and Il tropotipo) were published under his arcadian name "Ortanio". In 1723, in addition to his work for the Venetian theatres, Lalli became the court poet for Maximilian Emanuel, Elector of Bavaria and later his son Carl Albert.
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He referred to her as the best cantatrice di camera in Europe and described her singing as "the outcome of a rare and surprising combination of natural gifts and indefatigable cultivation." Her program for the recitals illustrated the development of vocal music since the 17th century. Beatty-Kingston wrote that "All the laudatory adjectives in my vocabulary are insufficient to express my sense of the beauty, grace and poetical feeling characterising her rendering of these compositions, one and all." In addition to singing, she performed as a violinist on occasion.
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The theater was created in 1948 by Georges Vitaly and had its first production on April 26th 1948, Albertina by Valentino Bompiani. The theater was a part of the explosion of creativity and culture following the end of the occupation of Paris. The theater began showing Ionesco's The Bald Soprano (La Cantatrice chauve) followed directly by The Lesson on 16 February 1957. This was a revival of The Bald Soprano as the play on its own had been poorly received by critics and the public on its own, performed at Théàtre des Noctambules in 1950 before being stopped short after only 25 performances.
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Magda Olivero (née Maria Maddalena Olivero) (25 March 1910 – 8 September 2014), was an Italian operatic soprano. Her career started in 1932 when she was 22, and spanned five decades establishing her "as an important link between the era of the verismo composers and the modern opera stage".Siff, Ira, "Magda Olivero, 104, the Last Great Verismo Soprano, Has Died", Opera News, 8 September 2014. She has been regarded as "one of the greatest singers of the twentieth century". "La cantatrice italienne Magda Olivero est morte à l’âge de 104 ans", France Musique, 9 September 2014.
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She remained in the United States for most of the next decade, bringing her family with her; a British music hall manager said that "she had sold out to the mighty dollar". In 1890 she married for the second time, to an American, William Smith (known professionally as William Seeley), who was several years her junior; they had a son. She performed in the musical Little Christopher, and another show, Playmates, written by her husband, before returning to vaudeville as the head of her own traveling company which toured across the United States. She was sometimes billed as "England's Gem", and as "England's Favorite Comedy Cantatrice".
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In 1852-1853 she was heard much more successfully at the Paris Opera in a variety of parts, including the title role in the French premiere of Luisa Miller. In the Summer of 1853 she returned to Covent Garden where she was much admired as the title heroines in Louis Spohr's Jessonda and Gioachino Rossini's Matilde di Shabran. On 14 May 1853 she portrayed Gilda in the English premiere of Verdi's Rigoletto to great success. In 1853 Bosio accepted an invitation to join the roster of singers at the Bolshoi Kamenny Theatre in Saint Petersburg, Russia where she was given the title "Première Cantatrice" and was the highest paid singer at the theatre.
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Sne notably created the role of the Cantatrice/Juliana in the world premiere of Salvatore Sciarrino's Aspern at the Teatro della Pergola in Florence in 1978. Salvetta was particularly known for her work as a concert soprano and recitalist, and she frequently performed in concerts and recitals with the pianist . She was a champion of new music, notably singing the premieres of works by composers Luciano Berio, , Niccolò Castiglioni, Luis De Pablo, Franco Donatoni, Carlo Galante, Alessandro Lucchetti, Giacomo Manzoni, Ennio Morricone, Jan Novák, Carlo Pedini, Salvatore Sciarrino, and . She also appeared in concerts with many notable orchestras, including the London Sinfonietta, the RAI National Symphony Orchestra, and the Spanish National Orchestra among others.
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The > newspapers went into ecstasies over the entire affair, including such > headline outbursts as AN OVATION TO THE YOUNG CANTATRICE. At the same time, a man named C.W. Davis of Idaho was staying in the Pico House hotel."At the Hotels," Los Angeles Daily Times, January 18, 1882, image 3, column 4 Charles W. Davis was the architect for a new Presbyterian Church on the corner of Fort and Second streets."The Corner Stone," Los Angeles Times, February 16, 1882, image 3 "The Mamie Perry Concert Troupe" was organized in spring 1883 to give a concert at Turnverein Hall and then make a tour of San Bernardino, Riverside, San Diego and Santa Barbara.
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386 (French original text: "Comme cantatrice Mme Pasta est trop > jeune pour avoir pu voir à la scène la Todi, Pacchiarotti, Marchesi ou > Crescentini; elle n'a même jamais eu, ce me semble, l'occasion de les > entendre au piano; et pourtant les dilettanti qui ont entendu ces grands > artistes s'accordent à dire qu'elle semble leur élève. Elle n'a d'obligation > pour le chant qu'à Mme Grassini, avec laquelle a chanté pendant une saison à > Brescia". and alongside whom—Stendhal could have added—she had been an ideal Curiatius"[curiazzeggiò] più volte con lei" (that is: "she Curiatiused several times with her"), jests Morelli in his essay (in Gli Orazi e i Curiazi, p. 27). in several revivals of Cimarosa’s opera.
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'The Bald Soprano'" The Villager, September 22–28, 2004 Howe graduated from Sarah Lawrence College in Bronxville, New York, in 1959. As an undergraduate, she wrote her first play, Closing Time, directed by her classmate, Jane Alexander, who also acted in it. After graduation, she and Alexander traveled to Europe; Alexander to act and study mathematics at the University of Edinburgh and Howe to study philosophy at the Sorbonne and write. When Howe saw Eugène Ionesco’s Le Cantatrice Chauve at the Théâtre de la Huchette, "It changed my life,” she said. “It was like a bolt of lightning going through my head.” Following her return from Europe, Howe did graduate work at Columbia University Teacher’s College and Chicago Teachers College.
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Like Samuel Beckett, Ionesco began his theatre career late; he did not write his first play until 1948 (La Cantatrice chauve, first performed in 1950 with the English title The Bald Soprano). At the age of 40, he decided to learn English using the Assimil method, conscientiously copying whole sentences in order to memorize them. Re- reading them, he began to feel that he was not learning English, rather he was discovering some astonishing truths such as the fact that there are seven days in a week, that the ceiling is up and the floor is down; things which he already knew, but which suddenly struck him as being as stupefying as they were indisputably true.Ionesco, La tragedie du langage, Spectacles,Paris, no.
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Later the same year he also staged adaptations of Harold Pinter's The Dumb Waiter (Kjøkkenheisen) and Eugène Ionesco's La Cantatrice chauve (Den skallete sangerinnen). Among his other productions are Ibsen's Ghosts (Gengangere), Brand and An Enemy of the People (En folkefiende), Shakespeare's Romeo and Juliet, and Cecilie Løveid's Maria Q. Bang-Hansen was part of the group that established the regional theatre for Møre og Romsdal, Teatret Vårt, in 1972. At this theatre he produced an adaptation of Shakespeare's Comedy of Errors in 1972, Kaj Munk's Ordet in 1973, and Henrik Ibsen's Kongsemnerne in 1974. He headed the Norwegian National Academy of Theatre from 1973 to 1976, and was theatre director at Rogaland Teater in Stavanger from 1976 to 1982.
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However, Barbara who had survived along with her mother had reached the age of 12 by the first Festa della Salute in 1631. By this time, Barbara had already begun to develop as a musician and started to demonstrate virtuosic vocal talent along with being able to accompany herself on the lute or theorbo. In her book, “Sounds and Sweet Airs”, historian Anna Beer states that Barbara Strozzi's musical gifts, (especially her captivating singing voice) became more evident at the time of her early adolescence and this led to Giulio arranging lessons in composition for Strozzi with one of the leading composers at the time, Francesco Cavalli. These lessons proved to be fruitful: at the age of fifteen, Barbara is described as “la virtuosissima cantatrice di Giulio Strozzi”, Giulio Strozzi's virtuosic singer.
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Ionesco's earliest theatrical works, considered to be his most innovative, were one-act plays or extended sketches: La Cantatrice chauve translated as The Bald Soprano or The Bald Prima Donna (written 1948), Jacques ou la soumission translated as Jack, or The Submission (1950), La Leçon translated as The Lesson (1950), Les Salutations translated as Salutations (1950), Les Chaises translated as The Chairs (1951), L'Avenir est dans les oeufs translated as The Future is in Eggs (1951), Victimes du devoir translated as Victims of Duty (1952) and, finally, Le Nouveau locataire translated as The New Tenant (1953). These absurdist sketches, to which he gave such descriptions as "anti-play" (anti-pièce in French) express modern feelings of alienation and the impossibility and futility of communication with surreal comic force, parodying the conformism of the bourgeoisie and conventional theatrical forms. In them Ionesco rejects a conventional story-line as their basis, instead taking their dramatic structure from accelerating rhythms and/or cyclical repetitions. He disregards psychology and coherent dialogue, thereby depicting a dehumanized world with mechanical, puppet-like characters who speak in non-sequiturs.
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Many notes of this last category are not only extremely fine in themselves, but have the ability to produce a kind of resonant and magnetic vibration, which, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator. :This leads to the consideration of one of the most uncommon features of Madame Pasta's voice: it is not all moulded from the same metallo, as it is said in Italy (which is to say that it possesses more than one timbre); and this fundamental variety of tone produced by a single voice affords one of the richest veins of musical expression which the artistry of a great cantatrice is able to exploit.Pleasants 1961, p. 374 In 1829 named cantante delle passioni by Carlo Ritorni, one of the most erudite critics of the period, he described her as such because her voice was directed "towards expressing the most intense passions, accompanying it with expressions of physical action, unknown before her in the lyric theatre".
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