" Ils ont tous en tête ce qu'a fait Kylian ", raconte Riccardi, dont le père est italien et la mère espagnole.
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A hundred years later, Georges Escoffier came up with the modern list of mother sauces: hollandaise, velouté, béchamel, espagnole, and tomate.
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I didn't know much about it, aside from what I'd heard from my children's friends and from the movie L'Auberge Espagnole.
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Kevin's challenge would be to learn a new concerto — Lalo's "Symphonie Espagnole" — in a few weeks, something she said would normally take 100 days.
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The programme—which has also produced some 1m Erasmus babies—is captured in "L'Auberge Espagnole", a cult French film set in a multi-national student flat in Barcelona.
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" Daniel Reed, who became a violinist for the New York Philharmonic, even recalled a specific performance: "I still remember him practicing the first movement of Lalo's 'Symphonie Espagnole.
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Zurbarán only soared into the canon in the 1840s, when the Louvre opened its Galerie Espagnole, and Parisians discovered his frank, no-nonsense pictures of saints in agony and ecstasy.
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In a single year, 1922, Picabia produced geometric abstractions, figurative silhouettes ("La Nuit Espagnole" is perhaps the most notable), and conventional, vaguely impressionistic watercolors of women draped in floral fabrics.
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These and other illustrated works, like Optophone [I] and La Nuit espagnole (The Spanish Night) have an almost graphic design quality to them, similar to the art journals of the time.
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Then, the Kansas City Symphony director Michael Stern takes up the baton while Mr. Bell performs the solo part in Édouard Lalo's "Symphonie Espagnole," a concerto-like piece inspired by Spanish dance melodies.
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Then, in the 1960s, Julia Child introduced the mother sauces to home cooks, who suddenly found themselves scurrying around town in search of gelatinous beef bones for making the stock required for sauce espagnole.
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To secure the prize, Ms. Morison, 31, sang selections from Rossini ("Tancredi"), Strauss ("Der Rosenkavalier"), Ravel ("L'Heure Espagnole") and Purcell ("Dido and Aeneas") with a silky, lightly smoky tone, easygoing dramatic flair and unflappable poise.
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Or try: L'Auberge Espagnole is a much lighter story of people trying to learn a new language; Lost in Translation points out how alienating not knowing the language can be; Love Actually portrays learning a new language as the ultimate grand romantic gesture.
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Building on the work of the chef Marie-Antoine Carême from the early 19th century, Auguste Escoffier laid out his tidy thinking about sauces in his encyclopedic textbook, "Le Guide Culinaire," published in 1903: First, master those mother sauces (béchamel, espagnole, velouté, hollandaise and tomate).
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He owned some outstanding paintings: Bacon's 1957 canvas "Study for a Portrait IX" is a postwar highlight, while the 224 portrait "Woman in a Yellow Dress (La Belle Espagnole)," by Amedeo Modigliani, and a group of five rare "Metaphysical" oil paintings by de Chirico from the 250s are among his early-22011th-century Italian works.
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Ravel dedicated L'heure espagnole to Madame Jean Cruppi,L'heure espagnole (Ravel, Maurice), imslp.org/wiki, accessed 17 April 2019 whose son he would later commemorate with one of the movements of Le Tombeau de Couperin .
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The Espagnole River is a river on the Caribbean island of Dominica.
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Reproduced in L'Avant Scène Opéra. L'Enfant et les sortilèges & L'Heure espagnole. January 1990, p86. Kobbé commented that from "the delightful clock noises of the opening to the Habanera quintet of the end, L'Heure Espagnole is full of charming music",Kobbé, Gustave.
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Capel Martínez, Rosa Mª (15 de enero de 2010). «Prensa y Escritura Femenina en la España Ilustrada». El Argonauta español. Revue bilingue, franco-espagnole, d’histoire moderne et contemporaine consacrée à l’étude de la presse espagnole de ses origines à nos jours (XVIIe-XXIe siècles) (7).
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La Poesie Espagnole, par John Arthur RAY site de Archive Internet, consulté le 11 avril 2010.
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The Symphonie espagnole in D minor, Op. 21, is a work for violin and orchestra by Édouard Lalo.
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The "Ordinary Salpicon" includes veal sweetbreads, ham, mushrooms, foie gras and truffles served in espagnole sauce. Celery ragout is cooked in bouillon seasoned with salt, nutmeg and pepper. Cucumber ragout is made with velouté sauce. One ragout is made with madeira, chestnuts and chipolata sausages cooked in bouillon with espagnole sauce.
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Beef with espagnole sauce and French fries Espagnole sauce () is a basic brown sauce, and is one of Auguste Escoffier's five mother sauces of classic French cooking. Escoffier popularized the recipe, which is still followed today.Escoffier (1903), Le Guide culinaire, Editions Flammarion Espagnole has a strong taste, and is rarely used directly on food. As a mother sauce, it serves as the starting point for many derivatives, such as sauce africaine, sauce bigarade, sauce bourguignonne, sauce aux champignons, sauce charcutière, sauce chasseur, sauce chevreuil, and demi-glace.
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Steak with sauce Robert Sauce Robert is a brown mustard sauce and one of the small sauces, or compound sauces, derived from the Classic French demi-glace, which in turn is derived from Espagnole sauce, one of the five mother sauces in French cuisine (Béchamel, velouté, espagnole, sauce tomate, and hollandaise).Escoffier, Auguste. The Escoffier Cookbook. Crown Publishers, Inc.
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57 At about this time there was a distinctly Spanish tone to Ravel's output, perhaps reflecting his own Spanish ancestry.Goodwin, p. 4 His opera L'heure espagnole was completed in 1907,Kilpatrick, Emily. "The Carbonne Copy: Tracing the première of L'Heure espagnole", Revue de Musicologie, 2009, pp. 97–135 as was the song "Vocalise- Etude en forme de habanera".
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His work was influenced by the Spanish greats such as Maria Fortuny and Joaquín Sorolla.Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p.195 On account of his talent, Navarro was considered as one of the most worthy painters to represent the Valencian School.Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p.
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Most of the characters in the movie L'Auberge Espagnole are enrolled in the Erasmus programme and the programme plays a central role in the plot.
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L'Avant Scène Opéra. L'Enfant et les sortilèges & L'Heure espagnole. January 1990. The opera was performed for the first time in Canada at the 1961 Montreal Festivals.
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The Dominican snout is rare, and locally distributed on Dominica in dry coastal forest and scrub, at such sites as Cabrits National Park, Morne Espagnole, and Morne Daniel.; .
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Blyth, Alan. "Obituaries", The Gramophone, July 1971, p. 31 Solti demonstrated his belief in vernacular opera with a triple bill in English of L'heure espagnole, Erwartung and Gianni Schicchi.
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The phrase auberge espagnole is a French idiom, literally translated as "Spanish inn" or "Spanish hotel". It describes a place where customers can eat what they bring - by extension, that one must be independent. Another French intepretation is what in English is known as "Going Dutch" or "potluck", hence its English title. A third meaning of auberge espagnole is a common resting area for travellers from a variety of different cultures and regions.
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His book, Martine à la ferme, appears in the 2002 French film, L'Auberge espagnole. A principal character in the film (Audrey Tautou) states that she was named after Delahaye's Martine.
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Hundreds of other derivatives are in the classical French repertoire. Escoffier included a recipe for a Lenten espagnole sauce, using fish stock and mushrooms, in Le Guide culinaire, but doubted its necessity.
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Sevillana, or, as the composer titled it Sevillaña (Scène Espagnole),Although he called it the fictitious Spanish Sevillaña, the composer may have been aware of the correct spelling "Sevillana", and this is combined with a French subtitle 'Scène Espagnole' (Spanish Scene). is a short piece for orchestra by the English composer Edward Elgar written in 1884 and published as his Op. 7\. It was first published by Tuckwood, with the composer's revision of 1889 published by Ascherberg in 1895.Kennedy, p.
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The Symphonie espagnole had some influence on the genesis of Tchaikovsky's Violin Concerto in D major. In March 1878, Tchaikovsky was staying at Nadezhda von Meck's estate at Clarens, Switzerland, while recovering from the breakdown of his disastrous marriage and his subsequent suicide attempt. His favourite pupil (and allegedly his lover), the violinist Iosif Kotek, shortly arrived from Berlin with a lot of new music for violin. His collection included the Symphonie espagnole, which he and Tchaikovsky played through to great delight.
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Since August 2010 she stars as Velma Kelly in the Spanish production of Chicago. Elle a joué le rôle de "Eva Ruiz" dans la série Espagnole "un dos tres" (un paso Adelante). Saison 5 à 6.
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Chinese Puzzle () is a 2013 French comedy-drama film written and directed by Cédric Klapisch. It is the third chapter of the Spanish Apartment trilogy, after L'Auberge Espagnole (2002) and Les Poupées russes (Russian Dolls, 2005).
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His last performances with Eduard Lalo's Symphonie Espagnole with RCO in Amsterdam and in Cape Town and Sofia in 2013/2014 were memorable. His new all Bach CD with the Concertgebouw Chamber Orchestra is out on PENTATONE.
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Performance of "Voyage Espagnole" for violin and piano, Bruce Patti of the Dallas Symphony Orchestra for the Dallas Theater Guild, Nov.10, 2011. Email rave review from those present via Sherry Peel, co-president of the DTG.
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The Memoirs were published at Paris in 1831–1834 in 18 volumes. Many editions have since appeared. Of her other books the most noteworthy are Histoires contemporaines (2 vols., 1835); Scènes de la vie espagnole (2 vols.
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Ravel contrasted the work to his previous opera, L'heure espagnole: :More than ever, I am for melody. Yes, melody, bel canto, vocalises, vocal virtuosity – this is for me a point of departure. If, in L'heure espagnole the theatrical action itself demanded that the music be only the commentary on each word and gesture, here, on the contrary, this lyric fantasy calls for melody, nothing but melody.... The score of L'enfant et les sortilèges is a very smooth blending of all styles from all epochs, from Bach up to ... Ravel.Orenstein, p.
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Sketches of the cast for the 1911 premiere of L'heure espagnole by Ravel completed two operas, and worked on three others. The unrealised three were Olympia, La cloche engloutie and Jeanne d'Arc. Olympia was to be based on Hoffmann's The Sandman; he made sketches for it in 1898–99, but did not progress far. La cloche engloutie after Hauptmann's The Sunken Bell occupied him intermittently from 1906 to 1912, Ravel destroyed the sketches for both these works, except for a "Symphonie horlogère" which he incorporated into the opening of L'heure espagnole.
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He also directed two operas, Ravel's L'Heure Espagnole (Boston Summer Opera Theatre) and Stravinsky's Mavra (New England Chamber Opera Group), 1972. He has appeared in The Poets' Theatre performances of Dylan Thomas's Under Milk Wood (2014) and The Word Exchange (2015).
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The espagnole sauce is cooked with the veal, and then later the fat is skimmed from the sauce, which is then run through a sieve, after which it is served with the dish. An 1858 recipe for veal cutlets a la zingara is similar, with the addition of mushrooms and truffles in the center of the dish surrounding the veal and ham. After the meats are cooked and plated, The espagnole sauce is cooked in the pan the veal was cooked in, lemon juice and cayenne pepper are added, and then the sauce is poured over the cutlets.
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Franc-Nohain Maurice Étienne Legrand, who published under the pseudonym Franc- Nohain (; 25 October 187218 October 1934), was a French librettist and poet. He is best known for his libretti for Maurice Ravel's opera L'heure espagnole and for numerous operettas by Claude Terrasse.
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Ravel was closely involved in every aspect of the production as it was prepared for its premiere by the Opéra-Comique at the Salle Favart in Paris.Kilpatrick E. The Carbonne Copy : tracing the première of L’Heure espagnole. Revue de Musicologie, Tome 95/1. Année 2009.
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She sang in the premieres of Raoul Gunsbourg's operas Le vieil aigle (1909), Le cantique des cantiques (1922) and Lysistrata (1923), and the American premiere of Ravel's L'heure espagnole. She was married to the conductor Henri Büsser. She died on 21 August 1972 in Paris.
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Only 8 minutes of La Fête espagnole, which originally ran 67 minutes, have survived. According to Williams,Tami Williams, "Germaine Dulac: A Cinema of Sensations," University of Illinois Press, 2014 this consists of three or four short and disconnected sequences from throughout the film. These nitrate negative fragments were acquired by Henri Langlois in 1938 from Éclair, and were transferred to safety film in 1948; nothing else of La Fête espagnole has turned up since then. Nevertheless, this film remnant is still shown periodically in retrospectives of Dulac's work and was included, in 2012, in the Cinémathèque Française's festival Toute la mémoire du monde.
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Scribner After World War I ended, Hauser returned to his primary specialty, the history of the early modern period, but continued to publish on many contemporary historical, economic and geographical subjects. According to den Boer, one of Hauser's finest historical works from this period was his 1933 La prépondérance espagnole (1559-1660) which he characterised as "rightly considered a masterly and original synthesis." It echoes the view of Augustin Renaudet in a paper read at a meeting of the Société d'Histoire Moderne shortly after Hauser's death. La prépondérance espagnole had multiple editions and was reprinted in 1973 with an introduction and eulogy to Hauser by Pierre Chaunu.
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She remained there incommunicado for seven weeks, before escaping with the aid of May Picqueray and other friendsMagnone, Fabrice, Le Libertaire (1919-1956): De la Révolution espagnole à la Seconde Guerre mondiale, Ch. III, Sec. C: La Seconde Guerre Mondial, parcours politique du journal Article : Stimer was aided principally by May Picqueray (1893-1983), the militant anarchist editor of Le Refractaire, who had previously assisted the couple by protesting their imprisonment in Russia by the Bolsheviks in 1923. during the chaotic transfer of power to the Vichy government.Magnone, Fabrice, Le Libertaire (1919-1956): De la Révolution espagnole à la Seconde Guerre mondiale, Ch. III, Cec.
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He subsequently runs away on his first day on the job and pursues his dream to become a writer, recounting the story of his experiences in the Auberge Espagnole. Towards the end Xavier can be seen getting together with his now ex-girlfriend Martine as well.
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In 2017, eighteen of Le Coultre's works were donated to the Musée de Beaux Arts de Lyon by their son, Marc Régny, occasioning an exhibition of her works, juxtaposed with two by Albert Gleizes in the museum's permanent collection, Danseuse espagnole (1916) and Terre et ciel (1935).
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Lesure and Nectoux, p. 10 The following year Daphnis et Chloé and L'heure espagnole were successfully revived at the Paris Opéra. In the post-war era there was a reaction against the large-scale music of composers such as Gustav Mahler and Richard Strauss.Orenstein (1991), p.
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He can be heard in two complete recordings, Faust and Thais, opposite his wife, the soprano Géori Boué, as well as in Werther, and Ravel's L'heure espagnole. He also appeared in the film of Messager's operetta Coups de roulis, and Le Barbier de Séville as Don Bazile.
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Kobbé's Complete Opera Book, ed Harewood. Putnam, London & New York, 1954, p1060. while Grove notes that the opera is one of a group of Spanish influenced works that span Ravel’s career and that in it he employed "a virtuouso use of the modern orchestra".Nichols R. L'Heure espagnole.
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He was born in Corbeil-Essonnes, Essonne. His father was Maurice Étienne Legrand, a poet who wrote as Franc-Nohain, and who was the librettist for Maurice Ravel's opera L'heure espagnole. His elder brother was the writer Jean Nohain. Dauphin's debut on film came in La Vagabonde (1930).
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The Times called her "theatrical Viagra".Kate Whiting (5 January 2009). "Kelly Reilly stars in Above Suspicion", Chester Chronicle. Retrieved 3 October 2009. In 2002, Reilly starred alongside Audrey Tautou and Romain Duris as Wendy, an English Erasmus student, in the French comedy L'Auberge espagnole (The Spanish Apartment).
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Lalo was known outside France primarily for his Symphonie espagnole (1874), but within France he was recognized almost solely for this subsequent opera.Palmer, John. "Le Roi d'Ys (1875–1888)" in All Music Guide to Classical Music: The Definitive Guide to Classical Music, p. 716 (Hal Leonard Corporation, 2005).
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Romain Duris (; born 28 May 1974) is a French actor, best known for his role in Cédric Klapisch's Spanish Apartment trilogy, which consists of L'Auberge Espagnole (2002), Russian Dolls (2005), and Chinese Puzzle (2013). He also appeared in Iris (2016 film) and All the Money in the World (2017).
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Coat of Arms of the Dukes de Mouchy : De gueules, à la bande d'or. L'écu sommé d'une couronne ducale Espagnole, bonnet et manteau de gueules (Grand d'Espagne). The title of duke of Mouchy was a French peerage held by members of a cadet branch of the Noailles family.
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Ashton later expanded the ballet to include the Country Dance, Noche Espagnole and the Foxtrot, Old Sir Faulk.Kennedy, p. 291 In 1972, to mark Walton's seventieth birthday, Ashton created a new ballet using the score of the "entertainment". It was premiered at the Aldeburgh Festival, with Peter Pears as the reciter.
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He studied the violin with a persistence and interest that were unusual for a child, and at the age of 8 he played a sonata by Mozart before an audience. At 9 he had his first real concert in Sofia. At 11, he played Édouard Lalo's Symphonie espagnole with an orchestra.
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10 In the same year he designed the first British production of Ravel's L'heure espagnole for Covent Garden."Hugo Rumbold", The Daily Mail, 21 November 1932, p. 10 Rumbold designed a revival of Bernard Shaw's Arms and the Man at the Duke of York's Theatre in 1919,The Times, 12 December 1919, p.
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His grand-daughter, Cecilia de Madrazo y Garreta married the celebrated Orientalist artist, Mariano Fortuny (1838-1874). Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p. 158 Beside Spain, people with Madrazo surnames reside in Mexico, Brazil, Venezuela, Argentina, San Salvador and the Philippines. Whereas in the central Philippines, Madrazo changed into Maderazo.
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He made his debut in London in 1894. In 1895 he gave Édouard Lalo's Symphonie espagnole its UK premiere. His American debut came at Carnegie Hall in November 1895 (where he was described as "a Spanish violinist". He was also said to have "just entered his 28th year", but he was in fact 30).
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In 1994, she was performing in major Italian houses in works like La Voix humaine (Trieste, Genova, Naples), Cavalleria rusticana (Trieste, Bologna), L'heure espagnole and Il segreto di Susanna (Opera of Trieste). In 1995, in a production touring through the Netherlands, she debuted in the part of Lady Macbeth, later one of her signature parts.
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Belgian frites with sauce andalouse Sauce andalouse is a Belgian specialty, a sauce consisting of mayonnaise, tomato paste, and peppers (such as pimientos or (roasted) bell pepper) typically served with Belgian fries. Some recipes use velouté or espagnole sauce instead of mayonnaise. The origin of the name is due to the region of Andalusia.
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Common variants of demi- glace use a 1:1 mixture of beef or chicken stock to sauce espagnole; these are referred to as "beef demi-glace" (demi-glace au boeuf) or "chicken demi-glace" (demi-glace au poulet). The term "demi-glace" by itself implies that it is made with the traditional veal stock.
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The critic Julián Gallego found Cupid's facial expression to be so melancholy that he interprets the ribbons as fetters binding the god to the image of Beauty, and gave the painting the title "Amor conquered by Beauty".Gallego, Julián. "Vision et symboles dans la peinture espagnole du siecle d'or". Paris: Klincksieck, 1968. p. 59f.
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Mendy is a youth product of Clichois, Montfermeil, and Francs Borains. Mendy started his professional career with CD Badajoz in Spain.Mendy vers la D3 espagnole Royal Francs Borains In 2019, he signed for Strømsgodset Toppfotball in the Norwegian Eliteserien,Prosper Mendy er klar for SIF Strømsgodset where he has made fourteen appearances and scored one goal.
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Sauce poivrade being prepared Sauce poivrade, sometimes called sauce au poivre, is a peppery sauce in French cuisine. It is made of a cooked mirepoix thickened with flour and moistened with wine and a little vinegar, then heavily seasoned with pepper.André L. Simon, A concise encyclopedia of gastronomy, 1952, p. 39 More traditional versions use Espagnole sauce to thicken.
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From 1919 the Franco-Spanish company of Tanger-Fès (French: Compagnie Franco-espagnole du Tanger-Fès (TF) ) started construction of the 315 km Tangier - Fes railway, out of which 18 km were in the International zone of Tangier, 93 km in the Spanish zone and 204 km in the French zone. The railway was finished in 1927.
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Their best performance was in 2014, when they finished 5th over 41 participants. They are commonly known as "The Blue Gang", because of the colour of their shirts or "The Student Gang" because of the young age of most of their members. Castellers de la Vila de Gràcia appear briefly in the movie L'auberge espagnole by Cédric Klapisch.
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PADA He is best remembered now as the librettist for some operettas by Terrasse, and for the opera L'heure espagnole by Maurice Ravel, adapted from his own comedy. He had two sons: the actor Claude Dauphin, and the songwriter and television producer/director Jean Nohain (aka Jaboune).Musique en ligne He died in Paris in October 1934, aged 61.
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Mouly, R.P. SS.CC. De la Guillotine aux Iles du Pacifique. Le Père Marie-Joseph Coudrin Fondateur de la Congrégation des Sacrés-Coeurs 1768-1837. Tolra, Editeur. Paris 1939. Page 156 After stops at Isla de los Estados (Argentina), Valparaíso (Chile), Quilca and Callao (Peru) and Mazatlán (Mexico),Mouly, R.P. SS.CC. Des Français en Amérique Espagnole (1827-1957).
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Jean Doujat Jean Doujat (1609, in Toulouse – 27 October 1688, in Paris) was a French lawyer, juris consultus, professor of canon law at the Collège royal, docteur-régent at the faculté de droit de Paris, preceptor of the Dauphin and historian. His works include histories of the reign of Louis XIV. He wrote an important Grammaire espagnole abrégée.
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Kjøttboller – Meatballs: A rougher version of Swedish meatballs. Served with mashed potatoes and cream-sauce or sauce espagnole depending on the locality. Svinekoteletter – Pork Chops: simply braised and served with potatoes and fried onions or whatever vegetables are available. Svinestek – Roast Pork: a typical Sunday dinner, served with pickled cabbage (a sweeter variety of the German sauerkraut), gravy, vegetables, and potatoes.
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Glock, 141. It was during this period that the music of Ravel came to the forefront of his repertoire. Between 1969 and 1975 he recorded the orchestral works with the New York Philharmonic and the Cleveland Orchestra and in 1973 he made studio recordings for the BBC of the two one-act operas (L'enfant et les sortilèges and L'heure espagnole).Vermeil, 2017.
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Sauce africaine is a brown sauce, flavoured with tomatoes, onions, peppers and herbs. It is derived from espagnole sauce (basic brown sauce), one of the five "mother sauces" of French cooking. This hearty sauce complements steak, chops, and chicken. Though not as quickly prepared as some other sauces, its basic method is the same as most other "small" brown sauces.
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Jägerschnitzel – a cutlet served with chasseur sauce, accompanied by spätzle Sauce chasseur, sometimes called "hunter's sauce", is a simple or compound brown sauce used in French cuisine. It is typically made using demi-glace or an espagnole sauce as a base, and often includes mushrooms and shallots. It may also include tomatoes and a finishing of fines herbes.Larousse Gastronomique (1961), Crown Publishers.
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Kraked Unit is a French based band founded in 2000 by French composer and DJ Loïk Dury in collaboration with other musicians and composers. They focus on the creation of music for films, including films by Cédric Klapisch: L'auberge espagnole (2001), The Russian Dolls (2004), Paris (2008). They also compose music for catwalk shows by Karl Lagerfeld, Paco Rabanne and Kenzo.
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Rapsodie espagnole is an orchestral rhapsody written by Maurice Ravel. Composed between 1907 and 1908, the Rapsodie is one of Ravel's first major works for orchestra. It was first performed in Paris in 1908 and quickly entered the international repertoire. The piece draws on the composer's Spanish heritage and is one of several of his works set in or reflecting Spain.
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Brown sauce in Austrian Dish In classical French cuisine, a brown sauce is generally a sauce with a meat stock base, thickened by reduction and sometimes the addition of a browned roux, similar in some ways to but more involved than a gravy. The classic mother sauce example is espagnole sauce as well as its derivative demi-glace, though other varieties exist.
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XIII, N°. 51, July 1888. and an anti- Spanish bias. Lea saw the Inquisition as theocratic absolutism that weakened Spain to an extent that undermined its overseas empire and ultimately contributed to its defeat during the Spanish–American War of 1898. However both Juan Antonio Llorente's in his Histoire critique de l'Inquisition espagnole (1817) and Lea had access to original documents.
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He was born in Jerez de la Frontera. He studied at the Academy of Fine Arts in Cádiz then, on a scholarship, at the Spanish Academy in Rome from 1871 to 1876 and also at the Academy Chigi in Rome. Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p. 18 He came under the influence of Marià Fortuny.
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Las Cabras, [Goats], a painting by José Navarro José Navarro y Llorens was born in Godella, near Valencia, Spain in 1867. He received his art education at the San Carlos Academy in Valencia, a city to which he remained very attached throughout his life.Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p.195 He lived in Madrid from around 1920.
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The performers included Fauré, Florent Schmitt, Ernest Bloch, Pierre Monteux and, in the Debussy work, Ravel."Courrier Musicale", Le Figaro, 20 April 1910, p. 6 Kelly considers it a sign of Ravel's new influence that the society featured Satie's music in a concert in January 1911. The first of Ravel's two operas, the one-act comedy L'heure espagnole was premiered in 1911.
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The prominent Spanish composers Enrique Granados, Isaac Albeniz, Joaquín Turina and Manuel de Falla all lived in Paris, were inspired by the new works French music as well as traditional Spanish themes, and created a new school of modern Spanish music. They also in turn influenced French music; Debussy and Ravel wrote Iberia and Rapsodie espagnole inspired by Spanish themes.
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The following year, Fortuny married his sister, Cecilia de Madrazo. He accompanied the Fortuny family to Toledo, then went with him to Rome, where he studied at the Accademia Chiggi. Later, he and his brother Raimundo would work in Fortuny's studio.Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, pp 158-59 Cecilia de Madrazo, painting by Frederico de Madrazo, 1869.
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He lived in Paris where he taught singing for many years before his death in 1951. His voice is preserved on a number of historic CD recordings made between 1904 and 1928 which have been issued on CYP 3612. He can also be heard on the first full recording of L’heure espagnole (1931), and in extracts from Pelléas et Mélisande (1927).
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More important to Carême's career was his contribution to the refinement of French cuisine. The basis for his style of cooking was his sauces, which he named mother sauces. Often referred to as fonds, meaning "foundations", these base sauces, espagnole, velouté, and béchamel, are still known today. Each of these sauces was made in large quantities in his kitchen, then formed the basis of multiple derivatives.
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Lavern J. Wagner. ‘Music of Composers from the Low Countries at the Spanish Court of Philip II’, Musique des Pays-Bas anciens – musique espagnole ancienne: Brussels 1985, 193–214, p199Wicks John D. Entry in New Grove 1980 p24Gerard De Turnhout: Sacred & Secular Songs for Three Voices: Songs to Latin texts. Only one work by Bonmarché, Constitues eos principes a 8 voces, survives.RISM 15687, ed.
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The Académie Belgo-Espagnole d'Histoire (Academia Belgo Española de Historia) is a cultural society founded in Brussels in 1953. The Academy was formed by the noted historian and academic scholar Fortune Koller. Koller is known for his work in the fields of heraldry, genealogy and chivalric & dynastic orders. The purpose of the Academy is to research and publish works on various historical periods of Hispanic culture.
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Modot lived in Montmartre at the beginning of the 20th century where he met Picasso and Modigliani. In 1909 he started his career with Gaumont and for the following 20 years he covered all silent film genres. In 1917 he was the main actor in Abel Gance's Mater dolorosa. He played in Germaine Dulac and Louis Delluc's avant-garde films La fête espagnole (1919) and Fièvre (1921).
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Bottone's appearances at the Royal Opera House, Covent Garden include: Der Rosenkavalier (Italian Singer); Die Fledermaus (Alfred); Les Huguenots (Raoul); Otello (Cassio); Il viaggio a Reims (Count Libenskof); Capriccio (Italian Singer); Sweeney Todd (Pirelli), L'heure espagnole (Torquemade), La fanciulla del West (Nick), Adriana Lecouvreur (Abbé de Chazeuil) and Le Nozze di Figaro (Don Basilio). He also took part in Dame Joan Sutherland's farewell appearance at Covent Garden.
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Henri-François Rey (July 31, 1919 in Toulouse - July 22, 1987 in Paris) was a French writer, dramaturge and screenwriter. His book La Fête espagnole (The Spanish party) won the 1959 Prix des Deux Magots. His best-known work, Les Pianos mécaniques (Mechanical pianos) won the Interallié prize in 1962, and was adapted to film by Juan Antonio Bardem in 1965 as The Uninhibited.
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Femme Espagnole (1920) After the war, he continued to work in the media he discovered by circumstance. Metal shortages compelled him to search for another print form and that's when he discovered the modernist woodcut. He would continue to work in wood until age started to get the best of him in the late 1930s. During this time, he produced many fine art prints and book illustrations.
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Zank, pp. 105 and 367 The third unrealised project was an operatic version of Joseph Delteil's 1925 novel about Joan of Arc. It was to be a large-scale, full-length work for the Paris Opéra, but Ravel's final illness prevented him from writing it.Nichols (1987), pp. 171–172 Ravel's first completed opera was L'heure espagnole (premiered in 1911), described as a "comédie musicale".
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Nichols, p. 85 Johnson also quotes Vuillermoz's recollections of Ravel's own vocal mannerism of letting his voice fall a fourth or fifth at the end of a phrase – which occurs in many places in both Histoires naturelles and his contemporary opera L'heure espagnole. Some musicologists have seen the cycle as a descendant of the genre initiated by Chabrier in his four 'farmyard' songs of 1890.Delage, Roger.
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Fifth, strong marinades for meat and game ceased to be used. Sixth, they stopped using heavy sauces such as espagnole and béchamel thickened with flour based "roux", in favor of seasoning their dishes with fresh herbs, quality butter, lemon juice, and vinegar. Seventh, they used regional dishes for inspiration instead of haute cuisine dishes. Eighth, new techniques were embraced and modern equipment was often used; Bocuse even used microwave ovens.
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Godrèche was not well known to American audiences until Patrice Leconte's Ridicule was released in 1996. The film introduced her to Americans in the role of Mathilde de Bellegarde. In 1998 she starred with Leonardo DiCaprio and Jeremy Irons in The Man in the Iron Mask. Godrèche was nominated for a 2002 César Award for Best Supporting Actress for her performance in the surprise European hit, L'Auberge espagnole.
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Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p. 158 His maternal grandfather was Tadeusz Kuntze, a Polish painter. The Madrazo family have been described as one of the most important painting dynasties, who literally dominated 19th-century painting in Spain.Los Madrazo, una familia de artistas: [Exhibition], Museo Municipal, 1985 [catálogo de la exposición, tapa del libro] His first lessons came from his father and grandfather.
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Chaudfroid sauce, also spelled as chaud-froid sauce, is a culinary sauce that can be prepared using a reduction of boiled meat carcasses and other ingredients. Simpler preparations of the sauce omit the use of meat, and some use sauces such as espagnole, allemande or velouté as a base. Chaudfroid sauce is typically served cold, atop cold meats and cold meat-based dishes such as galantine and terrine.
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Debussy's music is noted for its sensory content and frequent usage of atonality. The two composers invented new musical forms and new sounds. Ravel's piano compositions, such as Jeux d'eau, Miroirs, Le tombeau de Couperin and Gaspard de la nuit, demand considerable virtuosity. His mastery of orchestration is evident in the Rapsodie espagnole, Daphnis et Chloé, his arrangement of Modest Mussorgsky's Pictures at an Exhibition and his orchestral work Boléro (1928).
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She sang La femme and Concepción in the first and third parts of a triple bill of Vol de nuit, Le Rossignol and L'Heure espagnole in Brussels. In 1960 Poulenc wrote his La Courte Paille song cycle (poems by Maurice Carême) for Duval – or rather "for her to sing to her six-year-old son" (although she did not premiere it)Francis Poulenc. Journal de mes melodies. Cicero editeurs, 1993, p62.
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With the help of composer Jules Massenet, Donalda made her debut in 1904 in Nice, singing the title role in his opera Manon. The following year, she debuted in London, singing the role of Micaëla in Carmen. Donalda was the first to sing the roles of Concepción in Maurice Ravel's L'heure espagnole and Ah-joe in Franco Leoni's L'Oracolo at Covent Garden.Groves Dictionary of Music and Musicians, 5th ed.
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Franz Liszt used the same theme in his Rhapsodie espagnole S. 254 (1863). Rachmaninoff dedicated the work to his friend the violinist Fritz Kreisler. He wrote to another friend, the composer Nikolai Medtner, on 21 December 1931:R.D. Darrell, Liner notes to VOX SVBX 5456, Rachmaninoff: Piano Music, Volume 1, Michael Ponti, pianist > I've played the Variations about fifteen times, but of these fifteen > performances only one was good.
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The film begins with friends from L'Auberge espagnole meeting in Saint Petersburg at the wedding of Wendy's brother, William. Xavier begins to reminisce about the events of the past several years. Xavier and Martine have split up and Martine has since had a child and become a committed environmental activist. For financial reasons, Xavier becomes a writer for pulp romantic novels and a ghostwriter, writing the autobiographies of celebrities.
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Wolff, Stéphane. Un demi-siècle d'Opéra- Comique 1900–1950. André Bonne, Paris, 1953. At the Opéra-Comique Giraudeau also sang in Madame Bovary by Emmanuel Bondeville (Charles Bovary), Blaise le savetier by Philidor (Blaise), Ariane à Naxos (Bacchus), Lakmé (Gérald), Le Barbier de Séville (Almaviva), Così fan tutte (Ferrando), Les Indes galantes (Valère), Manon (Des Grieux), Madama Butterfly (Pinkerton) Les Mamelles de Tirésias (le Mari) and L'Heure espagnole (Gonzalve).
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Gilbert Chase, The Music of Spain (New York: W.W. Norton 1941; rev.ed., New York: Dover 1959) at 289-304, "The Spell of Spanish Music". Gilbert discusses Falla at 182-197. Included would be Glinka, Bizet, Rimsky-Korsakov, Debussy, Ravel, and Stravinsky.A list of composers and works: Mikhail Glinka (Jota Aragonesa, 1845), Georges Bizet (Carmen, 1875), Nikolai Rimsky-Korsakov (Capriccio Espagnol, 1887), Claude Debussy (Ibéria, 1905-1908), Maurice Ravel (Rapsodie espagnole, 1907, and Boléro, 1928).
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L'Auberge Espagnole (; literally: "the Spanish inn"), also known as Pot Luck (UK) and The Spanish Apartment (Australia), is a 2002 French-Spanish film directed and written by Cédric Klapisch. It is a co-production of Mate Production, Via Digital, BAC Films, , France 2 Cinéma and Studio Canal). An economics graduate student from France, Xavier, spends a year in Barcelona to study. His fellow students are from all over Western Europe and have a flatshare.
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With Bourdin she can be heard in three recordings, Faust under Thomas Beecham, Thaïs, and a radio recording of Véronique. Boué appeared in the title role of the movie La Malibran, by Sacha Guitry, in 1943, assisted by her ability to accompany herself while singing. She retired from the stage in 1970. As well as Faust and Thaïs her recorded legacy includes L'Aiglon, Angélique, Paganini, Les contes d'Hoffmann, L'heure espagnole and Mozart.
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Rhapsodie espagnole (Spanish Rhapsody), S.254, R.90, is a composition for solo piano composed by Franz Liszt in 1858. The piece is very suggestive of traditional Spanish music, and was inspired by Liszt's tour in Spain and Portugal in 1845. When played, this piece takes roughly 11–14 minutes and contains many extreme technical challenges, including rapid chords and octaves. Ferruccio Busoni arranged the piece for piano and orchestra in 1894.
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Several recordings in which he sang won the Prix du Disque (L'Heure espagnole, DGG, 1967; Les Contes d'Hoffmann, Decca, 1972) and Enescu's Œdipe (EMI, 1984) won a Grand Prix du Disque et Prix de Ministère de la Culture. In 2004 he was awarded an Orphée d'Or Herbert von Karajan for his career, and in the same year a Lauréat des Victoires de la Musique. He also received a Médaille de la Ville de Paris.
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Where their choices coincided, as in Beethoven, Brahms and Richard Strauss, Mengelberg was generous in giving Monteux at least his fair share of them.Canarina, p. 85 While in Amsterdam Monteux conducted a number of operas, including Pelléas et Mélisande (its Dutch premiere), Carmen, Les Contes d'Hoffmann, a Lully and Ravel double bill of Acis et Galatée and L'Heure espagnole, Gluck's Iphigénie en Tauride (also brought to the Paris Opéra)Pitou, p. 289 and Verdi's Falstaff.
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The Paris Opéra presented it on 5 December 1921 with Fanny Heldy as Concepción, and it enjoyed more success.Roland-Manuel, p. ?? The opera returned to the Opéra-Comique in 1945 where it continued in the repertoire. Outside France, L’heure espagnole was first seen at Covent Garden in 1919, Chicago and New York in 1920, Brussels in 1921, followed by Basel and Rotterdam (1923), Prague (1924), Hamburg, Stockholm (1925), reaching Buenos Aires in 1932 and Cairo in 1934.
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None of these works was ever published, and some of them were destroyed, but others survive in manuscript or in fragments among her papers.Showalter, Françoise de Graffigny, p. 128-31. Her fellow participants at Jeanne Quinault's Bout-du-Banc insisted that she contribute a piece to their next collective work. Comte de Caylus gave her the outline of a "nouvelle espagnole", a type of short fiction in vogue since the seventeenth century, which she developed on her own.
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His other studies included masterclasses with Gösta Winbergh, Neil Shicoff, Ileana Cotrubaș and Luigi Alva.Music and Vision. Retrieved 20 September 2014 Davislim became a member of the Zurich Opera in 1994. His roles there included Count Almaviva in Rossini's The Barber of Seville, Achilles in Offenbach's La belle Hélène, Tamino in Mozart's The Magic Flute, Ferrando in Così fan tutte, Don Ottavio in Don Giovanni, Camille in Lehár's The Merry Widow, and Gonsalvo in Ravel's L'heure espagnole.
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"Heure espagnole, L'", The New Grove Dictionary of Opera, Oxford Music Online, Oxford University Press, retrieved 14 March 2015 The critic David Murray writes that the score "glows with the famous Ravel tendresse."Murray, p. 316 The second opera, also in one act, is L'enfant et les sortilèges (1926), a "fantaisie lyrique" to a libretto by Colette. She and Ravel had planned the story as a ballet, but at the composer's suggestion Colette turned it into an opera libretto.
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Demi-glace (English: "half glaze") is a rich brown sauce in French cuisine used by itself or as a base for other sauces. The term comes from the French word glace, which, when used in reference to a sauce, means "icing" or "glaze." It is traditionally made by combining one part Espagnole sauce and one part brown stock. The sauce is then reduced by half, strained of any left over impurities and finished with a sherry wine.
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Demi-glace keeps very well, about six months refrigerated or almost indefinitely frozen. Due to the considerable effort involved in making the traditional demi-glace, chefs commonly substitute a simple jus lié of veal stock or to create a simulated version, which the American cookbook author Julia Child referred to as a "semi-demi-glace"(i.e. sans espagnole sauce). However, even today, many chefs who prepare French haute cuisine use a demi-glace prepared in their own kitchen.
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From 1937 he was a leading conductor for the Paris Opéra-Comique, conducting, in addition to the creations below and recordings above, Une éducation manquée, L'heure espagnole, Le médecin malgré lui, Don Quichotte and L'Enlèvement au Sérail.S. Wolff: Un demi-siecle d'Opéra-Comique (Paris, André Bonne, 1953). He became an associate director of the Paris Opéra from 1945 to 1946. While driving in Rome during 1952, he suffered a massive paralytic stroke that ended all his musical activities.
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Towards the end of the film, the scene returns to William and Natasha marrying in front of family members and the characters introduced in L'Auberge Espagnole. Wendy's divorced parents begin to squabble during the reception. Wendy has been avoiding Xavier during the time leading up to the wedding, but she is unhappy at seeing her parents arguing and lets Xavier comfort her. He apologises for his past behaviour and the film ends with Xavier and Wendy embracing.
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Their repertoire extended to contemporary works such as the quartet by Claude Debussy. Poulet was then offered the creation of the violin sonata by Debussy, on 5 May 1917 at the salle Gaveau in Paris, accompanied by the composer. This concert, in aid of the Foyer du soldat aveugle, Poulet also played the Symphonie espagnole by Édouard Lalo.Article in Le Figaro of 5 May 1917 From the 1920s, Poulet slowly reduced his playing in favour of conducting.
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The sarrusophone is rarely called for in orchestral music. However, around the turn of the 20th century, the contrabass sarrusophones in EE and CC enjoyed a vogue, the latter as a substitute for the contrabassoon (the French model patterned after the German Heckel model, having been introduced later around 1906 by Buffet et al.) so that it is called for in, for example, Jules Massenet's Esclarmonde (1889), Visions (1891) and Suite parnassienne (1912); Maurice Ravel's Shéhérazade overture (1898), Rapsodie espagnole (1907) and L'heure espagnole (1907–09); Ignacy Jan Paderewski's Symphony in B minor "Polonia" (1903–08; 3 sarrusophones are called for); Frederick Delius's Requiem (1913–16) and Songs of Sunset (1906–07); Claude Debussy's Jeux (1913), Lili Boulanger's Psalm 129 (1916) and Psalm 130 (1917) and Arrigo Boito's Nerone (1924). Igor Stravinsky included a part for contrabass sarrusophone in Threni. The composer Paul Dukas used the contrabass sarrusophone to great effect in 1897 in his The Sorcerer's Apprentice, where the instrument begins the bassoon's macabre dance motif (familiar to all who recall Disney's animated film Fantasia).
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The Tunisian Craft industry employees many craftsman. If the artisanal activities are varied in the city, those related to wool are perhaps the most popular among both men and women. One of the survivors of the Battles of Djerba said in 1560, according to a book reproduced by Charles Monchicourt “the inhabitants weave with fine wool of very beautiful baracans (covers) out of thin fabric, and decorate silk longer than an ordinary carpet”.Charles Monchicourt, L'expédition espagnole contre l'île de Djerba, éd.
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L'heure espagnole is a French one-act opera from 1911, described as a comédie musicale, with music by Maurice Ravel to a French libretto by Franc-Nohain, based on Franc-Nohain's 1904 play ('comédie-bouffe') of the same nameStoullig E. Les Annales du Théâtre et de la Musique, 30eme edition, 1904. Librairie Paul Ollendorff, Paris, 1905.Roland-Manuel, p. 52: When Franc-Nohain heard Ravel play the work through to him for the first time, he apparently looked at his watch and said to Ravel "56 minutes".
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She caught the eye of Hollywood producers and soon landed her first major role in a US feature, Around the World in 80 Days (2004), in which she starred alongside Jackie Chan and Steve Coogan. She won two César Awards for Most Promising Actress in L'Auberge espagnole (2002), and Best Supporting Actress in Les Poupées russes (2005). In 2014, she hosted the 39th César Awards ceremony. She was selected to be on the jury for the Cinéfondation and short films sections of the 2015 Cannes Film Festival.
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Bottone is unusual amongst modern-day tenors in retaining much of his original repertoire well into his sixth decade. To this has been added a wide range of character repertoire, such as Loge (Das Rheingold), Benda (The Jacobin), Torquemade (L'heure espagnole), Nick (La fanciulla del West), Tzar Berendey (Snow Maiden), Don Ottavio (Don Giovanni). In September 2016, Bottone opened the Sarratt Festival of Music. He is a Patron of Bampton Classical Opera and led the jury for the company's Young Singers' Competition in 2019.
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Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p. 158 The Madrazo family have been described as one of the most important painting dynasties, who literally dominated 19th- century painting in Spain.Los Madrazo, una familia de artistas: [Exhibition], Museo Municipal, 1985 [catálogo de la exposición, tapa del libro] He received his first instruction from his father. While still attending the classes at the Royal Academy of San Fernando, he painted his first picture, The Resurrection of Christ (1829), which was purchased by Queen Christina.
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L'enfant et les sortilèges: Fantaisie lyrique en deux parties (The Child and the Spells: A Lyric Fantasy in Two Parts) is an opera in one act, with music by Maurice Ravel to a libretto by Colette. It is Ravel's second opera, his first being L'heure espagnole. Written from 1917 to 1925, L'enfant et les sortilèges was first performed in Monte Carlo in 1925 conducted by Victor de Sabata. After being offered the opportunity to write a musical work, Colette wrote the text in eight days.
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When Hitler came to power, Fleshin and Molly Steimer were forced to flee to Paris. On 18 May 1940, Steimer was arrested by the French government and interned at Camp Gurs.Polenberg, Richard, Fighting Faiths: The Abrams Case, the Supreme Court, and Free Speech, Cornell University Press (1999); , , pp. 361–361 After seven weeks of imprisonment, Steimer, aided by French anarchist friends, including May Picqueray, editor of Le Réfractaire,Magnone, Fabrice, Le Libertaire (1919–1956): De la Révolution espagnole à la Seconde Guerre mondiale, Ch. III, Sec.
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14 The company's repertory in the 1960s combined the standard operatic works and less familiar pieces. The five composers whose works were given most frequently were Verdi, Puccini, Wagner, Mozart and Richard Strauss; the next most performed composer was Britten.Goodman and Harewood, p. 57 Rarities performed in the 1960s included operas by Handel and Janáček (neither composer's works being as common in the opera house then as now), and works by Gluck (Iphigénie en Tauride), Poulenc (The Carmelites), Ravel (L'heure espagnole) and Tippett (King Priam).
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He appeared at a Prom concert in 1938. During World War II he gave numerous concerts for Allied troops. After the war, he had extended tours of Europe, Southeast Asia, New Zealand, and Australia, and continued his work with the BBC, eventually achieving over 1,000 radio broadcasts. He made his American debut in 1953, playing Lalo's Symphonie espagnole with the New York Philharmonic under George Szell. In 1955 he gave the first performance of Sir Arthur Bliss's Violin Concerto, which was written for him.
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The marriage hall contains a series of frescoes and can be visited on request. The Hotel de Francqueville (18th century) houses the rich collections of the , considerably enlarged and renovated in 1994. The relief map of the city, as it was at the end of the 17th century, is the starting point for essential guided tours of the city. The Maison Espagnole [Spanish House], headquarters of the Tourist Office, dates from 1595 and is the last house which is half-timbered and gabled on regional-style street.
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Subsequently, for her own ballet companies and for others, she danced in roles of her own inventions: in Holy Etudes, Touring, Le Guignol, and Night on Bald Mountain (all 1925); for Teatro Colón in Estudios religiosos (1926); in her Capricio Espagnole per Rimsky-Korsakoff in 1931; and in the 1934 ballet based on Hamlet per Liszt: the title role.Baer (1986), pp. 29–44 & 74–75 (roles; 49–57 & 75, 78, 64 & 79 (for her companies). She performed into the 1930s, at venues in Europe and the Americas.
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A sense of Goya's working methods can be gained from Goya's companion and assistant in Bordeaux Antonio Brugada As with many of his final works, Goya here returns to bullfighting. These also include his Portraits of the Ferrers (a Spanish family living in Paris) and Bullfight (Course de taureaux), both produced in Paris in 1824Dictionnaire de la peinture espagnole et portugaise du Moyen Âge à nos jours, Paris, Larousse, 1989, 320 p. (), p 121. Charles Baudelaire referred to the series as "admirable plates, vast pictures in miniature".
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In 1993 Duris was noticed whilst waiting in a queue by a casting director and was offered a part in the Cédric Klapisch film Le péril jeune (1994). He has since worked regularly with Klapisch. His first role, however, was in a pop video for Princess Erika, "Faut qu'j'travaille" (I Need To Work), in which he plays the role of a small-time gangster. Duris is best known for his role as the French exchange student Xavier Rousseau in L'Auberge Espagnole and The Russian Dolls.
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In 1970, she was the winner of the first prize in the George Enescu Competition in Bucharest. In 1972, she was invited by Leopold Stokowski to play the Glazunov Violin Concerto with the London Symphony Orchestra at the Royal Festival Hall, recorded by Decca. Her discography includes Debussy, Franck, Fauré sonatas for Aurophon-Classics, the Sibelius Violin Concerto with Neeme Järvi and the Gothenburg Symphony for BIS. Also, the Tchaikovsky, Brahms, Beethoven, Saint-Saëns and Bruch 1st violin concertos and the Lalo Symphonie Espagnole with various orchestras, collected on a set of Doremi CDs.
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He made a series of recordings of short pieces in 1928 for RCA Victor and Pathé. One of his best paintings, a self-portrait in oil, was finished in 1930. He made more tours of America in 1933 and 1937, where he gave recitals with Mischa Levitzki and José Iturbi, and concerts with the New York Philharmonic under the baton of George Enescu (playing Édouard Lalo's Symphonie espagnole in February 1937). He also continued to premiere his own compositions such as "Danza Argentina" and "Canto y Danza Andaluza".
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F.J. de Pons. Voyage à la partie orientale de la Terre-Ferme, dans l'Amérique Méridionale, fait pendant les années 1801, 1802, 1803 et 1804 : contenant la description de la capitainerie générale de Carácas, composée des provinces de Vénézuéla, Maracaïbo, Varinas, la Guiane Espagnole, Cumana, et de l'île de la Marguerite .... Paris: Colnet 1806. It was also published in English the same year. Rather than describe the administrative center of Caracas, Humboldt started his researches with the valley of Aragua, where export crops of sugar, coffee, cacao, and cotton were cultivated.
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Druet made her debut at the Paris Opera in 2011 as the Page in Salome by Richard Strauss. In 2013, she was Orphée in Gluck's Orphée et Eurydice in the revised version by Hector Berlioz at the , alongside Marion TassouMarion Tassou biography as Eurydice. She appeared as Concepción in Ravel's L'heure espagnole in Lyon, which was recorded, and as Baba Turk in Britten's The Rake's Progress. She has appeared at the Paris Opera as Tisbe in Rossini's La Cenerentola, as Annina in Verdi's La traviata, and as Ciesca in Puccini's Gianni Schicchi.
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Her Quartet gave a complete cycle of Beethoven quartets in Wigmore Hall in London in 1938, and another in Oxford. She gave concerti with noted orchestras and conductors such as the New Queen's Hall Orchestra conducted by Henry J. Wood, and London Symphony Orchestra conducted by Bruno Walter, and the Royal Philharmonic Society. In 1916 she played the Brahms Violin Concerto and Édouard Lalo's Symphonie espagnole with Ernest Bloch. During World War I, because her German heritage brought her loyalty into question in England, Menges toured North America from 1916 to 1919.
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The Pro Arte Orchestra was founded as a limited company chaired by the double-bass player Eugene Cruft; directors also included Archie Camden and Antony English. The initial aim was to perform "the finest of the lighter classics in orchestral music". The first concert was given at the Royal Festival Hall on 21 October 1955 with a Rossini overture, Schubert's Unfinished, Lalo's Symphonie Espagnole and works by Strauss and Chabrier, conducted by Sir Malcolm Sargent. Much of the work of the orchestra, however, was in the recording studio, particularly for the Pye-Nixa label.
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Marie-Thérèse Gauley sang the part of the child at both the premiere in Monte-Carlo and the first performance at the Opéra- Comique on 1 February 1926. The original cast also included Henri Fabert as Vieillard Arithmétique, Warnerey as the clock and cat," L'Enfant et les sortilèges et L'Heure espagnole", L'Avant-Scène Opera, January 1990. while at the Opéra-Comique, conducted by Albert Wolff and with choreography by Louise Virard, the cast included Germaine Féraldy, Mathilde Calvet, Madeleine Sibille, Roger Bourdin, René Hérent and Louis Guenot.Wolff S. Un demi-siècle d'Opéra-Comique (1900-1950).
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He was the conductor of the Tokyo Metropolitan Symphony Orchestra 1983-1986 (he was given the title Honorary Conductor in 1989, and on his death in 2008 he was honored again with the title Permanent Honorary Conductor). His debut with the Lyric Opera of Chicago was in 1965 with a double bill of Carmina Burana and L'heure espagnole, and his debut with the Metropolitan Opera in New York was on March 28, 1987 where he conducted Samson et Dalila. Fournet was also president of the jury of the Besançon International Conductor's Competition for many years.
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Perhaps the most famous, and most direct, use of the metronome as an instrument is György Ligeti's 1962 composition, Poème Symphonique for 100 metronomes. Two years earlier, Toshi Ichiyanagi wrote Music for Electric Metronomes. Maurice Ravel used three metronomes at different speeds for the opening of his opera L'heure espagnole (1911)."Getting to the heart of Ravel's opera double bill" by Sanjoy Roy, The Guardian, 17 August 2012 The clicking sounds of mechanical metronomes have sometimes been used to provide a soft rhythm track without using any of the usual percussion instruments.
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The basic method of making espagnole is to prepare a very dark brown roux, to which brown stock (stock made from simmering roasted bones, meats and aromatics ) is added, along with roasted bones, pieces of beef, vegetables, brown sugar and various seasonings. This blend is allowed to slowly reduce while being frequently skimmed. The classic recipe calls for additional veal stock to be added as the liquid gradually reduces, but today, water is generally used instead. Tomato paste or pureed tomatoes are added towards the end of the process, and the sauce is further reduced.
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1965 saw the amalgamation of the production business, FASA, with Renault's Spanish distribution company, SAEAR (Société Anonyme Espagnole des Automobiles Renault), which had originally been created in 1908 to distribute cars imported from France, long before import restrictions persuaded the company to create its assembly facility at Valladolid. By 1971, production had increased to 110,255 vehicles, including most of the company's smaller mainstream models such as the Renault 8 and Renault 4. The Renault 5 was added to the plant's production line in 1974, triggering a further expansion of FASA output.
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In 1960 he sang as Scarpia in Puccini's Tosca opposite Renata Tebaldi, and went with the company to Venice, appearing as Ramiro in L'Heure espagnole. In 1960, he made his first appearance at the Aix-en-Provence Festival as Mozart's Don Giovanni, and the first time an opera from the festival had been broadcast around Europe by Eurovision. Seen in Vienna and London, these performances led to engagements outside France and the start of his international career.Bury, Laurent. Gabriel Bacquier: « J'ai trouvé ma voix seulement lorsque j'ai eu a lutter avec les grands ».
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On 30 September, 600 troops from the regiment, led by Colonel Lowe (who was appointed second in command to Major General John Oswald, the commander of the division), captured Zakynthos from its outnumbered French garrison without fighting. Detachments participated in the capture of other islands of Kefalonia, Ithaca and Kythira. On 16 October 1813, a conjunct force consisting of , , and Captain Piearce Lowen of "His Majesty's Corsican Rangers", captured "Forts Espagnole and Castel Nuova", near Cattaro. In November 1827 a grant of £1600 was paid for ordnance stores captured there.
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This work may have been the catalyst for the composition of the concerto.Brown, Crisis Years, 260. Tchaikovsky wrote to his patroness Nadezhda von Meck, "It [the Symphonie espagnole] has a lot of freshness, lightness, of piquant rhythms, of beautiful and excellently harmonized melodies.... He [Lalo], in the same way as Léo Delibes and Bizet, does not strive after profundity, but he carefully avoids routine, seeks out new forms, and thinks more about musical beauty than about observing established traditions, as do the Germans."As quoted in Brown, Crisis Years, 260.
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The second half of this work also features a semi- soloistic part for piano four hands. By the end of the 19th century, several French composers had started using the sinfonia concertante technique in symphonic poems, for example, Saint-Saëns uses a violin in Danse macabre, and Franck a piano in Les Djinns. Richard Strauss's Don Quixote (1897) uses several soloists to depict the main characters, namely cello, viola, bass clarinet and tenor tuba. Lalo's best known work, the Symphonie espagnole, is in fact a sinfonia concertante for violin and orchestra.
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The show, inspired by the film L'Auberge Espagnole, put 12 young people representing different European countries in a luxurious villa in the Cote d'Azur in Nice to live for two and a half months. Much as in Loft Story, the French version of Big Brother, broadcast on M6 in 2001 and 2002, these young people were filmed 24 hours and eliminated progressively by the public. Each week, one or two celebrities also visited and stayed a few days with the contestants. The celebrities also joined the contestants in voting whom to evict each week.
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The volume appeared in March 1745, with the title Recueil de ces Messieurs (Anthology by these Gentlemen); her story was called Nouvelle espagnole ou Le mauvais exemple produit autant de vertus que de vices (Spanish novella, or A bad example leads to as many virtues as vices). Françoise de Graffigny's contribution was singled out for praise.Smith, "Composition," pp. 131-36. This success encouraged her to accept another task from Caylus, the outline of a fairy tale with the title La Princesse Azerolle, published later in 1745 in a collection called Cinq Contes de fées (Five Fairy Tales).
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He even gave some recitals in the Palacio de Bellas Artes. He gave up the violin when he heard a recording of himself playing Symphonie espagnole by Édouard Lalo, and then comparing his interpretation with that of Yehudi Menuhin. At first he thought he had wasted his time with the violin but has since decided that it gave him his philosophy on life and prepared him for his painting and sculpture. After he left music, he began to be attracted to color, but he remains attached to music especially artists such as Bach, Debussy, Mahler and Stravinsky.
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Among Dran's recordings are La Belle Hélène by Offenbach (Pâris) conducted by Leibowitz (Nixa, 1952),Described by Andrew Porter as "a gay, insouciant, even- better-than-Björling Paris". Porter, A. La Belle Hélène. In: Opera - Thirty all-time great recordings. London, 2002. Orphée aux enfers by Offenbach (Pluton-Aristée) conducted by Leibowitz (Nixa, 1952), L'Heure espagnole by Ravel (Gonzalve) conducted by Leibowitz (Vox, 1952), Les Troyens à Carthage by Berlioz (Iopas) conducted by Hermann Scherchen (Westminster, 1952), Louise by Charpentier (Le poète) conducted by Jean Fournet (Philips, 1956) and La Grande-Duchesse de Gérolstein by Offenbach (Fritz), conducted by Leibowitz (Urania, 1958).
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Hispanism in France dates back to the powerful influence of Spanish Golden Age literature on authors such as Pierre Corneille and Paul Scarron. Spanish influence was also brought to France by Spanish Protestants who fled the Inquisition, many of whom took up teaching of the Spanish language. These included Juan de Luna, author of a sequel to Lazarillo de Tormes. N. Charpentier's Parfaicte méthode pour entendre, écrire et parler la langue espagnole (Paris: Lucas Breyel, 1597) was supplemented by the grammar of César Oudin (also from 1597) that served as a model to those that were later written in French.
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Born in Cádiz, Viniegra began studying law but soon decided to be a painter and entered the Escuela de Bellas Artes de Cádiz, where he was taught by Rámon Rodríguez Barcaza and José Pérez Jiménez. He concentrated initially on painting watercolors, and a series of works in that genre, which grew eventually into an album, earned him his first taste of public success, in 1877. In the following years, he won various painting prizes at regional exhibitions and traveled to Rome, where he devoted himself to the study of life drawing.Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p.
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Book three discusses and explains the anamorphosis of figures that are viewed by reflection from plane, cylindrical, and conical mirrors. Book four deals with the distortions created by refraction. The added work on optics by Mersenne contained the author's final contributions to optics, including experimental studies of visual acuity and binocular vision and a critical discussion of contemporary hypotheses on the nature of light. \- L'Interprétation des chiffres, ou Règle pour bien entendre et expliquer facilement toutes sortes de chiffres simples, tirée de italien et augmentée, particulièrement à l'usage des langues française et espagnole (Paris, 1641, in-8°).
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Sackville-West and Shawe-Taylor, p. 607 There appears to have been no mercenary motive for this; Ravel was known for his indifference to financial matters.Nichols (1987), p. 32 The pieces that began as piano compositions and were then given orchestral dress were Pavane pour une infante défunte (orchestrated 1910), Une barque sur l'océan (1906, from the 1905 piano suite Miroirs), the Habanera section of Rapsodie espagnole (1907–08), Ma mère l'Oye (1908–10, orchestrated 1911), Valses nobles et sentimentales (1911, orchestrated 1912), Alborada del gracioso (from Miroirs, orchestrated 1918) and Le tombeau de Couperin (1914–17, orchestrated 1919).
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It is more uncompromisingly modern in its musical style than L'heure espagnole, and the jazz elements and bitonality of much of the work upset many Parisian opera- goers. Ravel was once again accused of artificiality and lack of human emotion, but Nichols finds "profoundly serious feeling at the heart of this vivid and entertaining work".Nichols, Roger. "Enfant et les sortilèges, L'", The New Grove Dictionary of Opera, Oxford Music Online, Oxford University Press, retrieved 14 March 2015 The score presents an impression of simplicity, disguising intricate links between themes, with, in Murray's phrase, "extraordinary and bewitching sounds from the orchestra pit throughout".
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Travers began violin lessons at age four which led to her first public performance at age six in the Falls Village, Connecticut, summer music festival, Music Mountain. She later performed on CBS radio 'Ford Sunday Hour' show when she was nine. She soloed with the New York Philharmonic Orchestra under Efrem Kurtz at Lewisohn Stadium at age ten where she played "Symphonie Espagnole" In 1940, she played the Mendelssohn Concerto with the National Orchestral Association at Carnegie Hall under Leon Barzin. She appeared in the 1941 film There's Magic in Music with Irra Petina, Diana Lynn, and Allan Jones.
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At the NYCO he notably portrayed the role of Rabbi Azrael in the world premiere of David Tamkin's The Dybbuk (1951) and Pierre Cauchon in the premiere of the one act version of Norman Dello Joio's The Triumph of St. Joan (1959). In September 1945 Harrell made his debut with the San Francisco Opera portraying Escamillo in Carmen. He sang several more roles with that company during the 1945-1946 season, including the Commissioner in Der Rosenkavalier, Dapertutto in Les Contes d'Hoffmann, Fernando in Fidelio, Germont, Marcello in La bohème, Ramiro in L'heure espagnole, and Silvio in Pagliacci among others.
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They are also found in the "Dance of the Seven Veils" from Richard Strauss' opera Salome and in Richard Wagner's Tannhäuser. An unusual variation on the standard castanets can be found in Darius Milhaud's Les Choëphores, which calls for castanets made of metal. Other uses include Rimsky-Korsakov's Capriccio espagnol, Ravel's Rapsodie espagnole, Francis Poulenc's Concerto for Two Pianos and Orchestra in D minor and Karl Jenkins's Tangollen. One can also see Spanish influence in the music of Naples through the presence of castanets, as it was registered by Athanasius Kircher on his Tarantella Napoletana (tono hypodorico).
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For many European students, the Erasmus Programme is their first time living and studying in another country. Hence, it has become a cultural phenomenon and is popular among European students, going on to become the subject of movies such as the French film L'Auberge espagnole, and the documentary Erasmus 24 7. The programme fosters learning and understanding of the host country, and the Erasmus experience is considered both a time for learning as well as a chance to socialise and experience a different culture. Tutors are often keen for students of subjects such as Politics or International Relations to participate in Erasmus.
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The piece was written in Clarens, a Swiss resort on the shores of Lake Geneva, where Tchaikovsky had gone to recover from the depression brought on by his disastrous marriage to Antonina Miliukova. He was working on his Piano Sonata in G major but finding it heavy going. Presently he was joined there by his composition pupil, the violinist Iosif Kotek, who had been in Berlin for violin studies with Joseph Joachim. The two played works for violin and piano together, including a violin-and- piano arrangement of Édouard Lalo's Symphonie espagnole, which they may have played through the day after Kotek's arrival.
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His last public appearance in the UK took place at the Royal Albert Hall, London, on 14 May 1974. Stokowski conducted the New Philharmonia in the 'Merry Waltz' of Otto Klemperer (in tribute to the orchestra's former Music Director who had died the previous year), Vaughan Williams's Fantasia on a Theme of Thomas Tallis, Ravel's Rapsodie espagnole and Brahms's 4th Symphony. His very last public appearance took place during the 1975 Vence Music Festival in the South of France, when, on 22 July 1975, he conducted the Rouen Chamber Orchestra in several of his Bach transcriptions.
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His grandfather was José de Madrazo, the painter and former Director of the Prado Museum; his father was Federico de Madrazo, also a painter; his uncles were Luis de Madrazo, a painter, Pedro de Madrazo, an art critic and Juan de Madrazo, an architect; while his brother was Raimundo de Madrazo y Garreta, also a painter. Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p. 158 His maternal grandfather was Tadeusz Kuntze, a Polish painter. The Madrazo family have been described as one of the most important painting dynasties, who literally dominated 19th-century painting in Spain.
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This is a list of the recordings of Gianni Schicchi, the third of a group of three one-act operas by Giacomo Puccini collectively known as Il trittico; the other operas are Il tabarro and Suor Angelica. The three were premiered at the Metropolitan Opera on 14 December 1918, and for the next three years were always played together. After 1921, however, Puccini agreed that the operas could be performed separately. Gianni Schicchi became the most popular and most frequently performed of the three, often paired with other works such as Maurice Ravel's L'heure espagnole and Richard Strauss's Salome.
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The series featured Ustinov and Jones as themselves in a London car journey perpetually searching for Copthorne Avenue. The comedy derived from the characters they met, whom they often also portrayed. The show was unusual for the time, as it was improvised rather than scripted. Ustinov and Jones improvised on a tape, which was difficult, and then edited for broadcast by Frank Muir and Denis Norden, who also sometimes took part. During the 1960s, with the encouragement of Sir Georg Solti, Ustinov directed several operas, including Puccini's Gianni Schicchi, Ravel's L'heure espagnole, Schoenberg's Erwartung, and Mozart's The Magic Flute.
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Criticism has focused on the classics employed in her verse and the intellectual values expressed in her poetry; she is grouped with the other three Uruguayan women of the modernist movement (modernismo): María Eugenia Vaz Ferreira, Juana de Ibarbourou and Delmira Agustini. Luisa's philosophically inclined poetry and her rigorous critical works quickly reached an international public platform in Buenos Aires and in Barcelona and is studied in Madrid and in Paris. She is discussed by Rafael Cansinos Assens (Verde y Dorado en Las Letras Americanas. Semblanzas e Impesiones Criticas [1926–1936] Aguilar, Madrid 1947), F. Contreras in L'espirit de l'Amérique Espagnole, Paris Col.
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Garban's transcriptions of music for piano solo or piano four hands included Maurice Ravel's string quartet, Introduction and Allegro, Rapsodie espagnole, Valses nobles et sentimentales, Ma mère l'Oye, Trio for piano, violin and cello, Kaddisch from Deux mélodies hébraïques, Le tombeau de Couperin, Berceuse sur le nom de Gabriel Fauré, and Boléro. He also transcribed a few scenes from the opera L'enfant et les sortilèges for piano or piano four hands. The four hand piano duet version of La valse frequently is performed. Other Garban transcriptions include L'apprenti sorcier by Paul Dukas and Saint-Saëns's Le carnaval des animaux for solo piano.
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The Brava or Race de Combat is a French breed of domestic cattle raised in the Camargue, the delta of the Rhône in southern France. It is bred specifically for bull-fighting, either Spanish-style (on foot) or Portuguese-style (on horseback). It is one of two cattle breeds raised in semi-feral conditions in the Camargue: the other is the Raço di Biòu or Camargue breed, which is not a fighting breed but is used in a bloodless bull-sport, the course camarguaise. The Brava derives from Iberian fighting cattle imported in the nineteenth century, and may also be known as the Espagnole Brava.
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The work was dedicated to Kotek on its publication in 1878. In the meantime, Kotek had worked with Tchaikovsky on the Violin Concerto in D while visiting him in Clarens, Switzerland in 1877. Indeed, it was Kotek's visit that provided the direct inspiration for the concerto, as he brought with him the score of the recently published Symphonie espagnole by Édouard Lalo, which so impressed Tchaikovsky that he put aside the composition he had been working on (the Piano Sonata in G major) and immediately started to write a violin concerto of his own. With Kotek's technical assistance and feedback, the concerto was completed inside a month.
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However, there have been a considerable number of performances of Part II, Sette canzoni, considered one of Malipiero's masterpieces.Waterhouse (1999) p. 139 It premiered in the United States in 1925 in a concert performance organized by the League of Composers at the Forty-Eighth Street Theatre in New York City. In Italy it was first performed in Turin in 1926 (in a double bill with Ravel's L'heure espagnole); in Rome in 1929 (in a double bill with Puccini's Gianni Schicchi); and in Florence in 1948 (in a triple bill with Donizetti's Il campanello and a ballet based on Cocteau's Les Maries de la Tour Eiffel).
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Berners' musical works included Trois morceaux, Fantaisie espagnole (1919), Fugue in C minor (1924), and several ballets, including The Triumph of Neptune (1926) (based on a story by Sacheverell Sitwell) and Luna Park (1930). In his period at the British embassy in Rome during World War I he composed avant-garde piano music and several song cycles and later ballets and film scores, notably for the 1947 feature Nicholas Nickleby. His friends included the composers Constant Lambert and William Walton and he worked with Frederick Ashton. Walton dedicated Belshazzar's Feast to Berners, and Lambert arranged a Caprice péruvien for orchestra, from Lord Berners' opera Le carrosse du St Sacrement.
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Her Carnegie Hall debut was on June 4, 2007 as Zanetto by Pietro Mascagni. She created the role of Donna Maria d'Avalos in the opera Gesualdo by Alfred Schnittke in the Vienna State Opera. 1987 saw her as Orfeo, in Orfeo ed Euridice directed by Peter Werhahn, for which she won the O.E. Hasse-Preis for best young artist in Germany. Other roles she has performed on stage include Amneris in Aida, Charlotte in Werther, Clairon in Capriccio, Concepcion in L'heure espagnole, Dalila in Samson et Dalila, Geschwitz in Lulu, Herodias in Salome, Jocasta in Oedipus rex, Kundry in Parsifal, Laura in La Gioconda, and Venus in Tannhäuser.
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In 2003 a third Lehar's operetta was presented in Bad Ischl, The Count of Luxemburg, having originally opened in Innsbruck. He re-conceived the 1769 farcical opera L'Operia Seria (Gassmann) with the Dutch Reisopera, and made his own performing edition of Offenbach's Hoffmann's Tales. He mounted the double bill Poulenc's La Voix Humaine and Ravel's l'Heure Espagnole in 2011, as Rossini's La Pietra del Paragone for Opera Trionfo, or Die Fledermauss from Johann Strauss at the Norvegian National Opera in 2012. As the Artistic Director of l'Opéra de Metz he staged Britten's Turn of the Screw, Thomas Adès Powder Her Face, and Lehar's Land of Smiles.
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As well as recordings of all three Poulenc operas, these include Franz Lehár's La Veuve Joyeuse opposite Jacques Jansen for Pathé under Jules Gressier, Florent Schmitt's Psaume XLVII Op. 38 under Georges Tzipine, and Ravel's L'Heure espagnole (Concepción) with Opéra-Comique forces under André Cluytens. In 2009 a 1963 recording of Pelléas et Mélisande from Glyndebourne under Vittorio Gui brought back Duval's performance of Mélisande.Obituary in Le Monde, 27 January 2016 accessed 23 April 2016. From French radio broadcasts, recordings of Phryné by Saint-Saens in 1960 and Geneviève de Brabant by Offenbach in 1956 (both title roles) have been issued, while her Périchole of 1950 has yet to be released.
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The review aggregator on the Italian website MyMovies.it assigns a rating of 2.28/5 for AmeriQua based on fifteen reviews and other notices. While it was evident that the filmmakers had very good intentions, for Alessandro Antinori, the film is disappointingly "amateurish", the product of a rough script and banal dialogue, particularly as delivered by the non-professional protagonists, Kennedy and Gabellone, and the Italian dubbing was even more embarrassing. Comparing the film unfavourably to L'Auberge espagnole, whose director Cédric Klapisch also draws on his student experience in a foreign country, Antinori argues that AmeriQua fails to achieve its primary objective of getting past American stereotypical perceptions of Italians.
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The film was a success at the box office earning $2.1 million in rentals in North America. According to Reisch, Universal "had an enormous success with" the film "because I succeeded in making the picture very inexpensively." However it also got terrible reviews and Reisch felt it cost him the chance of directing again. He later said: > If you make a picture called Song of Scheherazade, with "Song of India" in > it, and the "Caprice Espagnole" and "The Flight of the Bumble Bee", all by > Rimsky-Korsakov, and if Yvonne De Carlo is the inspiration for all of this, > you are leaving yourself wide open for criticism.
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He has a parallel career as a composer and as a lyric tenor. Having sung roles at many Swedish venues such as the Folkoperan and the Vadstena-Academy, during 2000 to 2011 he was a tenor soloist at the Royal Opera in Stockholm, where he appeared 355 performances in 25 roles, including Tamino (Mozart's Die Zauberflöte), Almaviva (Rossini's Il Barbiere da Siviglia), Raoul de Gardefeu (Offenbachs La Vie Parisienne), Gonzalve (Ravel's L'heure Espagnole). During 2009, he appeared as Nadir in Bizet's Les Pêcheurs de Perles at Folkoperan. He is continuously performing in concerts and oratorios, especially in Bach’s tenor parts in the Passions and oratorios.
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In 1962 Beattie made his debut at the San Francisco Opera (SFO) as Osmin. He appeared in several more operas at the SFO through 1968, including Doctor Bartolo in The Barber of Seville, the Doctor in Wozzeck, Don Alfonso in Così fan tutte, Don Iñigo Gomez in L'heure espagnole, Lord Plimpton in Fra Diavolo, Mustafa in L'Italiana in Algeri, and the title role in Don Pasquale among others. In 1966 he portrayed the Prosecutor in the United States premiere in Darius Milhaud's Christophe Colomb at the SFO. In 1964 Beattie portrayed Rutledge Blunt in the world premiere of Robert Ward's Lady From Colorado at the Central City Opera.
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Shore made his Covent Garden debut in 1992, playing Baron Trombonok in Il viaggio a Reims. His most recent Covent Garden appearances were as Don Inigo Gomez in L'Heure espagnole in 2007 and 2009."Andrew Shore", Performance Database, Royal Opera House. Retrieved 21 October 2014 For Glyndebourne he has played Baron Douphol in La traviata (1988), the Mayor in Jenůfa (1990), Mr Gedge in Albert Herring (1990), Falstaff (1990), Don Alfonso in Così fan tutte (1991), Dr Kolenaty in The Makropulos Case (1995 and 1997), Dikój in Káťa Kabanová (1998), Bartolo in Le Nozze Di Figaro (2000 and 2012) and Krušina in The Bartered Bride.
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The dance was adopted by all classes of society and had its moment in English and French salons. It was so well established as a Spanish dance that Jules Massenet included one in the ballet music to his opera Le Cid (1885). Maurice Ravel wrote a Vocalise-Étude en forme de Habanera, and a habanera for Rapsodie espagnole (movement III, originally a piano piece written in 1895), Camille Saint-Saëns' Havanaise for violin and orchestra is still played and recorded today, as is Emmanuel Chabrier's Habanera for orchestra (originally for piano). Bernard Herrmann's score for Vertigo (1958) makes prominent use of the rhythm as a clue to the film's mystery.
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The Compagnie générale du Maroc (General Company of Morocco), known as "Genaroc", is a French financial holding company founded in February 1912 by a consortium of French banks headed by the Bank of Paris and the Netherlands. In 1914, it teamed with :fr:Lyonnaise des Eaux to create the Moroccan Society of Distribution of Water, Gas and Electricity (SMD). It then took part in the creation of the :fr:Compagnie des chemins de fer du Maroc (Railway Company of Morocco), and it became one of the two main shareholders of the :fr:Compagnie franco-espagnole du chemin de fer de Tanger à Fès (Franco-Spanish Company of the Tangier Railway in Fez).
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She was a student of Oleg Afonine for nearly a year. At the Conservatoire national supérieur de musique et de danse de Lyon she received the First Prize for Song in 1998 and was spotted by William Christie who worked with Les Arts Florissants. Under Christie and Marc Minkowski she expanded her repertoire to include Berlioz, Fauré and Britten. From 1998 to 2012 she appeared in "starter roles" in quality productions, and from 2002 the title role as Armide, Atys (Jean- Baptiste Lully); Médée (Marc-Antoine Charpentier); La Périchole, La belle Hélène (Jacques Offenbach); Carmen (Georges Bizet); L'Heure espagnole (Maurice Ravel); Pelléas et Mélisande (Claude Debussy).
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Roast beef in Bourguignonne sauce, served with potatoes and red cabbage Sauce bourguignonne (; ), is a French sauce with a base of red wine with onions or shallots, a bouquet garni (parsley, thyme and bay leaf), reduced, strained, and mixed with some espagnole sauce. Just before serving it is mounted with butter and seasoned lightly with cayenne pepper. Like all red wine sauces, it may have some mushrooms added during cooking to enrich the flavour.Larousse Gastronomique (1961), Crown Publishers (Translated from the French, Librairie Larousse, Paris (1938)) When the sauce is used to accompany sautéed meat or poultry, it is made directly in the sauté pan in which these items were cooked.
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She then collaborated with her sister, creating an extensive series of illustration's for her brother-in-law, Charles-Henri Hennebutte. They appeared in his albums for tourists: Album des deux frontières and Guide du voyageur de Bayonne à Saint-Sébastien. Feillet was nevertheless primarily a painter, exhibiting at the Paris salon from 1936. Notable examples of her work include a portrait of Juana Cano (1836), "Vue des environs de Bayonne, prise au Boucau" (1839), "Espagnole à l’église" and "Gitana en San Isidro, environs de Madrid". Her painting of "Arrivée à Bayonne du duc et de la duchesse d’Orléans", painted 1839–40, was exhibited at the Salon in 1942.
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For her first major postwar recital Caryathis collaborated with author and artist Jean Cocteau, who at that time was a spokesman for Satie and the composers of Les Six, and the program they assembled focused primarily on their music.The finalized program consisted of La belle excentrique, Francis Poulenc's Le Jongleur, Georges Auric's Paris-Sport, Maurice Ravel's Rapsodie espagnole, and an unnamed Spanish dance by Enrique Granados, along with non-choreographed works by Darius Milhaud (Symphonie pastorale) and Arthur Honegger (Pastorale d'été). See Michel Duchesneau, François de Medici, Sylvain Caron, "Music and Modernity in France (1900-1945)", PUM, 2006, p. 103. Satie was paid 500 francs each for his three dance numbers; he threw in the Grande ritournelle for free.
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In 2006, EMI France issued a 4-CD box set ("Les Introuvables de Leonid Kogan") containing his concerto recordings for that label, all digitally remastered the same year. The EMI Kogan recordings from 1950s and 1960s used to belong to Columbia, who released about five stereo recordings of Kogan in the vinyl record period: Beethoven Violin Concerto (SAX 2386), Brahms Violin Concerto (SAX 2307), Tchaikovsky Violin Concerto (SAX 2323), Lalo Symphonie espagnole (SAX 2329) and Leclar/Telemann/Ysaye Sonatas for duo Violins (SAX 2531). Nowadays, these Kogan records are among the most sought-after records for classical vinyl collectors. For example, the price of the Beethoven Violin Concerto (SAX2386) record soars up to 10,000 dollars in eBay auctions.
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As the festival expanded, the organizational structure of the MF required the creation of a staff music director. This post was held by Françoys Bernier (1956–1960), Roland Leduc (1960–1963), and Gérard Lamarche (1964–1965). While the musical offerings of the festival diversified, it still maintained a commitment to its classical music roots. The festival notably presented the Canadian premieres of Arthur Honegger's Jeanne d'Arc au bûcher (1953); Jean Racine's classic tragedy Athalie with music by baroque composer Jean-Baptiste Moreau and new music by Clermont Pépin (1956); Ildebrando Pizzetti's Assassinio nella cattedrale (1959); Maurice Ravel's L'heure espagnole (1961); Claudio Monteverdi's Vespro della Beata Vergine 1610 (1962); and Gilbert Bécaud's L'Opéra d'Aran (1965).
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In 1992 she became a member of the Vienna State Opera. From there, she developed a fast- paced international career, as an opera singer (Covent GardenRuxandra Donose stars in L'heure Espagnole at the Royal Opera House, Opera Today, review, Anne Ozorio, 25 Oct 2009, Opéra Bastille, Metropolitan Opera, Salzburg Festival etc.) and also as an interpreter for Lied and oratorio. Donose is considered a distinguished bel canto singer, but also one of the leading interpreters of the French and the Mozartian mezzo-soprano repertoireA tale of two Carmens: Ruxandra Donose’s Rosenblatt Recital, Bachtrack, review, 7 Oct. 2014. Her voice is "marked by a dark, warm tone, extreme mobility and light, shining heights".
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The name "Espanola" has been attributed to a story which dates back to the mid 18th century. The story goes that a First Nations Ojibwa tribe of the area sent a raiding party a long distance to the south and brought back with them a white woman who spoke Spanish. The Spanish woman married a local Anishinaabe (First Nations) of a family living near the mouth of the river and taught her children to speak Spanish. Later, when the French voyageurs and coureurs des bois came upon the settlement and heard fragments of Spanish spoken by the local natives, they remarked "Espagnole", which had been later anglicized to "Espanola", and the river was named the Spanish River.
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Ravel described the piece as "an evocation of a pavane that a little princess might, in former times, have danced at the Spanish court". The pavane was a slow processional dance that enjoyed great popularity in the courts of Europe during the sixteenth and seventeenth centuries.Brown, Alan. Grove Music Online, Oxford Music Online, accessed 15 November 2011 This antique miniature is not meant to pay tribute to any particular princess from history, but rather expresses a nostalgic enthusiasm for Spanish customs and sensibilities, which Ravel shared with many of his contemporaries (most notably Debussy and Albéniz) and which is evident in some of his other works such as the Rapsodie espagnole and the Boléro.
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The sauce is colored by first browning the butter in the pan, before adding the wheat flour and letting it brown further. Food coloring (sukkerkulør, literally "sugar coloring"), soy sauce, and brown cheese (both for colour and taste) are sometimes added. The sauce may acquire different tastes depending on the meat served, as it is common to cook the meat for a while in the sauce before serving. In Sweden (brunsås) and Finland (ruskeakastike), meatballs are usually served with a light brown, thick sauce, prepared in the same manner as sauce espagnole (combining dark brown roux with stock), but attains a lighter colour and smoother consistency due to the addition of cream.
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In 2014 she appeared as the title heroine in Francesco Cavalli's La Calisto at the Bavarian State Opera, sang Anne Trulove in The Rake's Progress at the Teatro Regio di Turino, and performed the title role in Handel's Partenope at the San Francisco Opera. In February 2015 de Niese sang Susanna in The Marriage of Figaro at the Hamburg State Opera. In August 2015 she returned to the Glyndebourne Festival Opera in performances of Concepción in L'heure espagnole and the title role in Ravel's L'enfant et les sortilèges. In December 2015 she created the role of Roxane Coss in the world premiere of Jimmy López's opera Bel Canto at the Lyric Opera of Chicago.
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Her professional debut was as Dorabella in Così fan tutte in 1984 with Opera 80. In 1986 she sang the title role in Monteverdi’s L'incoronazione di Poppea at Glyndebourne, and she returned to sing in many productions there in roles such as Concepción in L'heure espagnole. With Glyndebourne Touring Opera, she sang the role of Sashka in the 1987 world premiere of Nigel Osborne's The Electrification of the Soviet Union.See the Glyndebourne Opera performance database for the complete list of Steiger's roles and performances there. Retrieved 6 September 2016 From 1988, she sang at other opera houses in the UK, including the Royal Opera House, Covent Garden, with roles in Parsifal,Associated Press (30 January 1988).
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As the differences between opéra and opéra comique faded, the two main houses in Paris came more into competition, although the Salle Favart saw the premieres of more innovative works: Debussy's Pelléas et Mélisande (1902), Dukas' Ariane et Barbe-bleue (1907), Ravel's L'heure espagnole (1911), and French premieres of works by Puccini and Falla. Between 1900 and 1950, 401 works by 206 different composers were performed at the Opéra-Comique, of which 222 were either world premieres (136) or the first performance in Paris (86). In June 1936 a broadcast of Les Contes d'Hoffmann was disrupted by the start of a company sit-in demanding the director's resignation.Nichols R. The Harlequin Years: music in Paris 1917-1929.
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Gabrio made his film debut in the 1920 Germaine Dulac-directed film La fête espagnole (English release title: Spanish Fiesta). In 1924 he was cast by film director Henri Fescourt to appear as Jean Valjean, the literary protagonist in the film adaptation of the Victor Hugo novel Les Misérables whose twenty-year-long struggle with the law for stealing bread during a time of economic and social depression is chronicled. Gabrio's appearance in the film catapulted him to stardom. In 1927, Gabrio began appearing in international films, such as 1927's Georg Jacoby-directed German film Der Faschingskönig, and in 1929 Gabrio made his first and only English language talkie The Inseparables, directed by Adelqui Migliar and John Stafford.
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Conal has performed in Le nozze di Figaro, Così fan tutte, Il Seraglio, Die Zauberflöte, Don Giovanni, Don Carlo, Falstaff, I vespri siciliani, Aida, Rigoletto, Billy Budd, Peter Grimes, The Rape of Lucretia, A Midsummernight's Dream, Let's Make an Opera, Albert Herring, La damnation de Faust, Fidelio, The Barber of Seville, L'heure espagnole, Lucia di Lammermoor, Don Pasquale, L'elisir d'amore, L'italiana in Algeri, Il turco in Italia, The Queen of Spades, La Bohème, Il ritorno d'Ulisse in patria, Norma, Katya Kabanova, Roméo et Juliette, Manon, Mignon, Manon Lescaut, Cendrillon, Fra Diavolo, Der Rosenkavalier, Lulu, Arabella, Ariadne auf Naxos, Capriccio, Lohengrin, Die Walküre, Gianni Schicchi, Die Meistersinger, The Mikado, The Pirates of Penzance, The Bartered Bride.
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He was born in Sitges to a merchant family from Barcelona, who were living in Sitges temporarily as a result of the Peninsular War. When they returned home, he studied at a Piarist school, following which he was sent to Montpellier for a year to study business. Between 1823 and 1828, having decided to devote himself to painting, he lived in Barcelona and attended the Escola de la Llotja.Caso, E.F., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p. 82 The Family of Jorge Flaquer (a banker) After a brief stay at the École des Beaux-Arts in Marseille, he moved to Paris in 1829 and studied with Antoine-Jean Gros,Brief biography @ the Museo del Prado.
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Petr Migunov (; born August 24, 1974) is a Russian opera and classical singer (bass) who graduated from the Saint Petersburg Conservatory and was a winner of both the Tokyo and Salzburg Competitions in 1997 and 1999 respectively. He is well known for his performances as the bass soloist in Beethoven's Ninth Symphony as well as in the requiems of Mozart and Faure. He is also known for his singing of operatic bass roles such as Mephistopheles in Faust, Prince Gremin in Eugene Onegin, René in Iolanta and Don Iñigo in L'heure espagnole. In 2000 he performed at both Carnegie Hall and Lincoln Center Theater and since that time performs in Russia where he is a soloist of the Bolshoi Theatre.
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The pianist and musical scholar Graham Johnson quotes the musicologist Fritz Noske's view that Delibes' songs derive from the chansonnette, "lighter and more entertaining than the romance, and less susceptible to the German influence of the lied". In his songs, Delibes shares with Bizet "a natural feeling for the theatre, and an ability to spin local colour", as in his chanson espagnole "Les filles de Cadix". Of other early songs, Johnson describes "Eclogue" and "Bonjour, Suzon" as "charm[ing] us with their unpretentious gaiety and delicacy, as well as their economy of means". Some of the songs evoke the period style of the 16th century, such as "Avril", "Chanson de l'oiseleur" and "Myrto", the last of which is a pre-echo of mélodies by Gabriel Fauré.
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La Fête espagnole was praised as something vital and new in French cinema, although—as observed by Tami WilliamsTami Williams, "Germaine Dulac: A Cinema of Sensations," University of Illinois Press, 2014—the praise was directed toward Delluc, and not Dulac. For Delluc's part, he never avoided praising Dulac's contribution to the success of the film, stating that it was "a rare example of complete cooperation in French cinema. Author, director and actors have agreed, through their specific affinities and willingness to work, to seek the absolute realization of the chosen theme."Louis Delluc, from an article published in Paris-Midi, 4 May 1920, in Ecrits cinématographiques III, Drames de cinéma, Cinémathèque française et Editions de l’étoile/Cahiers du cinéma, Paris, 1990, p.
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Chaudfroid sauce can be prepared using a pre-made fumet (reduced stock) from meats and game meats, along with ingredients such as demi glace, liquid essence of truffles, and Port or Madeira wine, which is cooked and reduced to a sauce consistency. Some simpler preparations of chaudfroid sauce omit the use of meat, and these can be prepared as a brown sauce, a white sauce and as a red sauce using tomato purée. A simpler preparation of chaudfroid sauce without the use of meat can be made by using espagnole sauce, adding ingredients such as aspic jelly, gelatin, cream and sherry to it, and cooking the mixture. Another simpler preparation technique that lacks meat involves the use of allemande sauce or velouté sauce and other ingredients.
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Wolff, Stéphane. Un demi-siècle d'Opéra-Comique. André Bonne, Paris, 1953. The same year she was discovered by Poulenc, rehearsing Cio-Cio- san the composer immediately recognizing her as the artist he was seeking for his first opera Les Mamelles de Tirésias that June; she worked closely with Poulenc for the rest of his life. Paul Payen and Denise Duval in Les Mamelles de Tirésias, Paris, 1947 Her repertoire at the Salle Favart went on over 20 years to cover the title role in Angélique, la Périchole in le Carrosse du Saint-Sacrement, Giulietta in les Contes d’Hoffmann, Concepción in L'Heure espagnole, Alexina in Le Roi malgré lui, Tosca, la Bohème (Musette), Madame Bovary (Emma), Manon (Manon), Pelléas et Mélisande (Mélisande).
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Between 2006 and 2011 he was artistic director and founder of Spurio, an experimental project involving opera, filmmaking, video art and live performance, that culmintated in the production of a feature film based on the myth of Orpheus with live music composed by Davide Fensi. He currently has a long-time collaboration with the Opera Academy of the Royal Opera House in Copenhagen for which he has directed scenes and short works like: L'heure espagnole, Turn of the screw, Jules Massenet’s Manon, Dialogues des Carmelites, La bohème, Wozzeck. He has also worked with the young singers of the Accademia della Scala and the Royal Conservatoire of Scotland. Spirei is professor for opera1 at the Oslo National Academy of the Arts KhiO, Norway.
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Other roles at that house included: Leila in Les pêcheurs de perles, the title role in Mireille, Marguerite in Faust, Juliette in Roméo et Juliette, Ophélie in Hamlet, Manon, Thaïs, as well as Fiordiligi in Così fan tutte, Gilda in Rigoletto, and Violetta in La traviata, etc. Doria also sang in baroque music such as Rameau's Les Indes galantes, and contemporary works, such as Ravel's L'heure espagnole, and Poulenc's Dialogues des Carmélites. In thirty years of career, Doria sang an estimated sixty roles. Renée Doria made several recordings, most notably, complete studio recordings of Contes d'Hoffmann (1948), Thais (1961), Mireille (1962), Massenet's Sapho (1978), and excerpts of Rigoletto, Faust, and Manon, opposite Alain Vanzo, as well as recitals of arias and songs.
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Covarrubias adopted Isidore's idea that the original form of a word is related to its original meaning, so that investigating etymology reveals the origin and deeper meaning of things. The quality of Covarrubias's etymologies were prone to fanciful speculation, in line with other etymological work of the time. He was especially interested in connecting Spanish words to Hebrew, which was considered the original language of humanity before the Tower of Babel. Covarrubias was also aware of contemporary work in lexicography from other countries, including Jean Pallet's Dictionnaire très ample de la langue espagnole et françoise [Very Copious Dictionary of the Spanish and French Language] (Paris, 1604) and Jean Nicot's Trésor de la langue français [Treasury of the French Language] (Paris, 1606).
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Although little of his music was published even in his native Haiti during his life, after his death his family collected his manuscripts and had them printed privately. A collection of his pieces was published in Port-au-Prince in 1955, entitled simply, Musique de Ludovic Lamothe. In 2001, a CD recording of Lamothe was published on the IFA Music Records label, released in 2001 featuring some of his pieces, the Ballade in A Minor, Danza No. 1 (La Habanera), Evocation, and Danse Espagnole No. 4, performed by Latino-Caribbean pianist, Charles P. Phillips. In 2006, a book entitled Vodou Nation: Haitian Art Music and Cultural Nationalism by the Chicago Studies in Ethnomusicology cited numerous examples of Lamothe's compositions to illustrate his cultural contribution to Vodou music.
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Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, p. 158 After Fortuny's death, de Madrazo took care of his studio; cataloguing his works and arranging for an auction at the Hôtel Drouot in Paris."Madrazo y Garreta, Ricardo Federico de," in Enciclopedia, Museo de Prado, Online (translated from Spanish) Meanwhile, his sister, Cecilia, devoted the rest of her life to the preservation of her husband's memory. Pulido, N., "El Prado publica el epistolario del Archivo Madrazo," ABC Cultura, 2 December, 2017, Online After Fortuny's death, de Madrazo moved between Paris, Madrid and Tangiers; living in Venice for a short time, marrying in 1884 and finally settling in Madrid in 1885 and using it as base to make annual trips to Paris and Venice.
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Among the encores was their own adaption of the Finale from The Carnival of the Animals, to be repeated on many occasions in the hall as the favourite of Tatiana von Metternich. In 1992, a scholarship in their name, the Paratore Brothers Scholarship Fund, was established at Boston University for highly gifted music students. The duo returned to the Rheingau Musik festival almost every year, in 2001 with a program of mainly pieces which composers arranged for two pianos, Stravinsky's Le sacre du printemps, Ravel's Rapsodie espagnole and Debussy's Prélude à l'après-midi d'un faune, concluding with Darius Milhaud's Scaramouche. They recorded works by their friend Dave Brubeck in 2001, the ballet suite Points on Jazz and Four By Four, originally called Centennial Suite, when it was composed in 1949/50.
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Danco made many recordings for Decca Records (released on the London label in the U.S.) in the 1940s and 1950s. Some of these are available on CD, including Gluck's Orphée et Eurydice conducted by Hans Rosbaud in 1956, Don Giovanni (as Donna Anna) conducted by Josef Krips, and Le nozze di Figaro (Cherubino) under Erich Kleiber in 1955. She also worked closely with Ernest Ansermet and the Suisse Romande Orchestra on a series of recordings in the 1950s, including Ravel's two one-act operas L'heure espagnole and L'enfant et les sortilèges, Debussy's Le martyre de Saint Sébastien, and Fauré's Requiem. There have been a number of CD reissues of Suzanne Danco's recital performances and recordings, including a 2001 compilation disc entitled The Singers: Suzanne Danco with recordings made between 1947 and 1952.
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Vix studied at the Nantes Conservatoire and then at the Paris Conservatoire as a pupil of Lhérie where she won the first prize for opera in 1904 (as well as second prize for opéra comique).Stoullig E. Les Annales du Théâtre et de la Musique, 30eme edition, 1904. Librairie Paul Ollendorff, Paris, 1905. She made her debut at the Palais Garnier on 27 January 1905 in the title role in the premiere of Daria by Georges Marty, following this with Marguerite in Faust, Mélisse in Armide, and Juliette in Roméo et Juliette. Vix made her debut at the Opéra-Comique on 27 September 1906 as Louise, and was a member of the company for six seasons, creating the roles of Concepción in L'heure espagnole in 1911 and Francesca in Francesca da Rimini (Leoni) in 1913.
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The name is supposed to denote an attempt to revise a generally accepted, proven scientific version of recent Spanish history and is applied to both "historiadores coyunturales" and "historiadores profesionales"; Moradiellos 2009, p. 3, Eduardo González Calleja, La historiografía sobre la violencia política en la Segunda República española: una reconsideración, [in:] Hispania Nova 11 (2013), p. 25 recently the term is applied not only to professionals in historiographic science but also to scholars who until their alleged "enigmatic evolution" had been global icons of scientific Hispanism. Ricardo Robledo, De leyenda rosa e historia científica: notas sobre el último revisionismo de la Segunda República, [in:] Cahiers de civilisation espagnole contemporaine 2 (2015), p. 6 Sometimes in such cases the term is qualified as perfectly respectable scientific "revisionismo amable", Julio Gil Pecharromán, Revisionismo amable, [in:] Revista de libros 11.11.
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While maintaining a professional opera career, she has been teaching at Wilfrid Laurier University since July 2002 and is currently Coordinator of the Opera Program there. From 1989 to 1994, Barber sang with Oper Frankfurt in Germany. Barber made her New York City Opera debut in 2002 as Nero in Handel's Agrippina and her Paris Opera debut as Annio in Mozart's La Clemenza di Tito. On November 18, 2003, Barber performed in recital with fellow mezzo-soprano Frederica von Stade and pianist Steven Blier at Wilfrid Laurier University's Maureen Forrester Recital Hall. In the 2006-2007 season, Barber created the role of Jessica in John Estacio’s opera Frobisher for Calgary Opera. Her discography includes Ravel’s L’heure espagnole on Deutsche Grammophon under André Previn, Handel’s Rinaldo on Naxos Records and a solo disc of Handel and Hasse arias for CBC Records.
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The coat of arms with the four red pales on a gold background appears on several other coats of arms, named as "of Aragon".Armorial du Hérault Vermandois, Le Royaume d Arragon, Nos 1047 - 1061 see 1054 Le Duc de Monblanc, 1055 Le Conte de Daigne Marquis de Villames, 1056 Le Conte d Ourgel, 1057 Le Conte de Prades, 1058 Le Compte d Ampures, Also mentioned in Armorial de Gelre, 1370-1395, the coat of arms of Peter IV Die Coninc v. Arragoen is golden with four pallers of gulets (Barcelona) or the Armorial d'Urfé, 1380, sont les armes de le Conte de Cathalogne, and in armorial de Charolais, 1425, arms conte de Barselongne and armorial Le Blanq (sources from 1420-1450) venant des contes de Barselone,Michel Poppof. "L'heraldique espagnole et catalane a la fin du Moyen-âge".
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His Scena Sinfonica, in the style of an operatic selection, has been used as a test piece for brass bands.Roy Newsome, The Modern Brass Band: From the 1930s to the new millennium He made claims to have scored Edward Elgar's The Severn Suite for brass band from the composer's rough sketches, but Geehl's account of his involvement with Elgar has now been exposedSee Kay : "The Severn Suite — Manuscripts, Music and Myths" in the Elgar Society Journal for December 2013. as a self-serving fantasy.Trevor Herbert, The British Brass Band: A Musical and Social HistoryOfficial Journal of the North American Brass Band Association, Inc, August 1994 His other works include a symphony, concertos for piano and violin, Suite espagnole, Comedy Overture, In Fairyland, On the Cornish Coast, Rhapsody for band, Prince Charlie – 1745, piano pieces and songs.
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Invasion of the Barbarians, 1887 He was born in Colmenar de Oreja, Spain, and exhibited a talent for art when he was a young child. At thirteen, he met Don José Ballester, the husband of a neighbor in Colmenar, who owned the Cafe de la Concepción in Madrid. Ballester was impressed with his work and, after consultation with Luis Taberner (1844–1900), a recognized and popular artist in Madrid, Ballester decided to bring Checa and his family to the capital to begin his art studies.Caso, E.D., Les Orientalistes de l'école Espagnole, ACR edition, 1997, pp 57–58 In 1873, he entered the Escuela de Bellas Artes de San Fernando in Madrid, followed by study at the , where he would paint Invasion of the Barbarians (since lost in a fire) which won the gold medal at the National Exhibition of Fine Arts in 1887.
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Only an hour long, the complete opera is seldom performed today, but its orchestral sections are, especially the act 2 music published as Interlude and Dance, which is popular at concerts of Spanish music. (Fritz Kreisler in 1926 arranged for violin and piano the dance from this pairing under the spurious title Danse espagnole.) Indeed the opera is unusual for having nearly as much instrumental music as vocal: act 1, scene 2 consists entirely of a short symphonic poem (with distant voices) called Intermedio, depicting sunset in Granada; act 2, Scene 1 includes the above- referenced Danza and Interludio, with the latter ending the scene, i.e. in the opposite sequence to the excerpted pairing; and act 2, scene 2 begins with the a second and longer Danza (with vocal punctuation). The role of Salud is central to the action.
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Several recipes for minced beef collops are found in Eliza Acton's Modern Cookery for Private Families, the most simple made mincing very tender beef and simmering the "collops" in their own gravy. Collops made with less tender cuts, like rump steak, are served in a stew made with a basic roux of flour and butter with herbs (called "brown thickening") and a flavoring ingredient like ketchup or chili vinegar. A fancier version of this dish is made with cayenne, mace, mushroom catsup and port wine, optionally served with gravy and currant jelly. Acton uses the term "collops" not only for recipes made with minced cuts of beef, but also in the meaning of "veal cutlets", small round cuts of veal either fried gently in clarified butter and served with espagnole sauce or, for the "Scotch Collops", dipped in egg batter and bread crumbs and fried before saucing.
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Cameron played the role of Jack Point in The Yeomen of the Guard in New York in 1962 and at open-air performances at the Tower of London in 1962 and 1964."Yeomen in true setting – Sullivan's subtle treatment", The Times, 7 July 1964, p. 15 Howard Taubman in The New York Times praised Cameron as "a Jack Point [who] can act and a clown who can sing". Other conductors with whom Cameron recorded were Sir Thomas Beecham, in Delius's Songs of Sunset (1955) and a radically edited version of Handel's Solomon (1956); Sir Adrian Boult, in Vaughan Williams's A Sea Symphony (1954) and Busoni's Doktor Faust (1959); Colin Davis, in Berlioz's L'enfance du Christ (1960) and Béatrice et Bénédict (1962); Bruno Maderna, in Ravel's L'heure espagnole (1960); Sir Anthony Lewis, in Purcell's King Arthur (1960); Roger Wagner, in Belshazzar's Feast (1960); and Leopold Stokowski, in music from Messiah (1966).
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Antonio Salieri's 26 Variations on La Folia, for orchestra, written towards the end of his career, is one of his finest works. Henry Purcell, in: The Fairy-Queen, first played in 1692, included a tune with resemblances to the Francesco Geminiani/Arcangelo Corelli: Concerto Grosso n 12; the 12 Corelli concerts were published in 1714, although a 1681 reference exists from Georg Muffat about having heard the compositions of this "Italian Violin Orpheus" "with extreme pleasure and full of admiration". In the 19th century, Franz Liszt included a version of the Folia in his Rhapsodie Espagnole, and Ludwig van Beethoven quoted it briefly in the second movement of his Fifth Symphony. La Folia once again regained composers' interest during the 1930s with Sergei Rachmaninov in his Variations on a theme by Corelli in 1931 and Manuel María Ponce and his Variations on "Spanish Folia" and Fugue for guitar.
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The early years of the twentieth century saw two more French operas which, though not on the level of Debussy's achievement, managed to absorb Wagnerian influences while retaining a sense of individuality. These were Gabriel Fauré's austerely Classical Pénélope (1913) and Paul Dukas's colourful Symbolist drama, Ariane et Barbe-Bleue (1907). The more frivolous genres of operetta and opéra comique still thrived in the hands of composers like André Messager and Reynaldo Hahn. Indeed, for many people, light and elegant works like this represented the true French tradition as opposed to the "Teutonic heaviness" of Wagner. This was the opinion of Maurice Ravel, who wrote only two short but ingenious operas: L'heure espagnole (1911), a farce set in Spain; and L'enfant et les sortilèges (1925), a fantasy set in the world of childhood in which various animals and pieces of furniture come to life and sing.
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Born in Rome, he studied at the Accademia Nazionale di Santa Cecilia, studying piano with Francesco Baiardi, conducting with Giacomo Sentaccuoli and composition with Ottorino Respighi. Around the end of the First World War Francesco came to England and in 1920 he married Maria Stierli, with whom he had a daughter, Maeve, and a son, Niso. “On 21 September 1920 he played Mendelssohn's First Concerto, and on 9 October of the same year the Busoni transcription of Liszt's Rhapsodie espagnole, a week later making his recital debut at the Wigmore Hall; that programme contained favourite pieces he was still playing 20 years later - Bach's Italian Concerto, Beethoven's 'Waldstein' Sonata, Chopin's Cjt minor Scherzo, Berceuse, Fantasy- Impromptu and Al> Polonaise, and the three of Liszt's Paganini Etudes - Capriccio, La chasse, …[and] La campanella.” At the first night of the 1921 Prom season Francesco contributed with the Weber Konzertstück.
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This performance was a major critical success for Cassel, with The New York Times proclaiming that, "Walter Cassel's suave enactment of the treacherous Baron was the hit of the evening." Cassel remained one of the NYCO's leading baritones up through the Fall of 1954, giving a total of 126 performances with the company. He portrayed such roles as Amelia's Husband in Gian Carlo Menotti's Amelia Goes to the Ball, the Count in Wolfgang Amadeus Mozart's Le nozze di Figaro, Dapertutto in The Tales of Hoffmann, Escamillo in Bizet's Carmen, Ford in Verdi's Falstaff, Gerard in Umberto Giordano's Andrea Chénier, Giorgio Germont in Verdi's La traviata, John the Baptist in Richard Strauss's Salome, Ramiro in Maurice Ravel's L'heure espagnole, and the title roles in Mozart's Don Giovanni and Verdi's Rigoletto among others. He notably recorded the role of Valentin in Faust with the NYCO for MGM Records in 1951 and portrayed Petruccio in the world premiere of Vittorio Giannini's The Taming of the Shrew in 1958.
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Side 'A': #"Romanza Andaluza," for violin & piano, Op. 22/1 (Pablo de Sarasate) – 2:50 #"Concierto de Aranjuez," for guitar & orchestra: Adagio (Joaquín Rodrigo) – 4:22 #"Spanish Dances" (12), in 4 volumes for piano, Op. 37, H. 142, DLR 1:2: 6. Rondalla Aragonesa in D major (Enrique Granados) – 2:33 #"España," album leaves (6) for piano, Op. 165, B. 37: 2. Tango in D major (Isaac Albéniz) – 2:15 #"Suite española No. 1, for piano, Op. 47, B. 7: 1. Granada" (Albéniz) – 2:49 Side 'B': #"Suite española No. 1, for piano, Op. 47, B. 7: 3. Sevilla" (Albéniz) – 3:44 #"Jeux Interdits" ("Spanish Romance" / "Romance Espagnole"), for guitar (Anonymous) – 2:38 #"Spanish Dances" (2) (Morceaux charactéristiques), for piano, Op. 164, B. 36: Tango in A minor (Albéniz) – 3:25 #"Keyboard Sonata No. 84 in D major" (Allegro) (Antonio Soler) – 3:02 #"Spanish Dances" (12), in 4 volumes for piano, Op. 37, H. 142, DLR 1:2: 5.
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In London he appeared in 1962 with the Royal Opera as Gonzalve in L'heure espagnole by Ravel. In the following year he appeared with Sadler's Wells Opera as Pluto in Offenbach's Orpheus in the Underworld (repeating the role twenty years later in the 1983 BBC television production"Orpheus in the Underworld", British Film Institute, retrieved 7 May 2019.). During the following thirty years he played many roles at Sadler's Wells (later renamed English National Opera); these included Eisenstein in Die Fledermaus and Loge in Das Rheingold, as well as Herod in Salome, Shuysky in Boris Godunov, Dr Suda in Osud and Sciocca in The Violins of Saint-Jacques (creation, 1966), and he participated in the premieres of Toussaint by David Blake and The Royal Hunt of the Sun by Iain Hamilton. Belcourt appeared in musicals, including Man of La Mancha in London's West End in 1968 and Kiss Me, Kate at Sadler's Wells in 1970.
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He made his debut with the City Opera on October 1, 1960, as Schaunard in La bohème, with Chester Ludgin and Norman Treigle in the cast. He went on to perform there the leading baritone roles in The Consul (with Patricia Neway), Le nozze di Figaro (as Count Almaviva), The Ballad of Baby Doe (as Horace Tabor), Lizzie Borden (as Captain Jason MacFarlane, in the world premiere of Beeson's opera), Carmen (as Escamillo), Tosca (as Baron Scarpia) (with Plácido Domingo), Cavalleria rusticana (as Alfio), Manon (as Lescaut, with Beverly Sills), conducted by Julius Rudel, Gianni Schicchi (title role), La traviata (as Germont), Lucia di Lammermoor (as Enrico), L'heure espagnole (Mulateer), Roberto Devereux (Nottingham), La Cenerentola (Dandini), Il barbiere di Siviglia (Figaro), Un ballo in maschera (Renato), Maria Stuarda (Talbot), Rigoletto (title role), Don Giovanni (title role), directed by Frank Corsaro, I puritani (Sir Richard Forth), Manon Lescaut (Lescaut), Pagliacci ( Tonio), Lucrezia Borgia (Alfonzo d'Este), Andrea Chénier (Gerard), Falstaff (Ford), and Attila (Ezio).
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Elizabeth Y. Gilbert in Musical America (January 16, 1929): > It was not until the Spanish group that well-known Boston critics, who > consider it bad form to stay beyond a given point in the program, put back > their hats and coats, compelled to stay by the phenomenon of George > Copeland. Two Danses Espagnole, of de Falla and Granados, two pieces by > Infante, made Mr. Copeland's large audience all but stamp their feet in > rhythmic accompaniment. To a deaf onlooker, it would seem that Mr. Copeland > was banging at his piano unmercifully, and so he was, but with such powerful > and vibrating tones, with such subtly hesitated syncopation, as in de > Falla's Danse, that not only did the audience applaud wildly, not only did > the above-mentioned critics remain, but Mr. Copeland was forced to give five > or six encores, and even then could not satisfy the clamor for more. Mr. > Copeland is wise to specialize in rarities; in these he is unique.
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While at the NEC, he appeared in student performances of Ravel's L'heure espagnole and Donizetti's Don Pasquale. He directed the choir of St. John the Baptist in Quincy, sang with Emmanuel Music, and appeared as a soloist with the Boston Symphony Orchestra in the Monteverdi Vespers, Bach's St. Matthew Passion and Tchaikovsky's opera Eugene Onegin. Another early venture into opera was his performance in Verdi's Giovanna d'Arco with Boston Concert Opera, where according to the Boston Globe critic, Richard Dyer, "he sang the guest-star New York contingent right off the stage".Dyer (April 12, 1987) Reinhart first started training in voice with Professor Gloria Bugni McMaster at State University of New York at Geneseo, then went on to train as an opera singer at the American Institute of Musical Studies in Graz, where he took further classes with Eleanor Steber and studied with the soprano Patricia Brinton who encouraged him to continue his preparation in Paris.
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In addition to providing degrees in various areas of music, the Wanda L Bass School of Music is known for its Opera and Musical Theatre productions. The school produces six main stage shows each season.OCU: Music In recent years the school has produced many shows including; Parade, La Boheme, Seussical, The Secret Garden, The Music Man, Urban Cowboy:The Musical, The Merry Wives of Windsor (Opera), A Streetcar Named Desire (Opera), The Magic Flute, The Pirates of Penzance, Guys and Dolls, Falstaff, Lucia di Lammermoor, Oil City Symphony, The Boor (Opera), Signor Deluso, The Medium, The Fantastiks, Man of La Mancha, Songs For a New World, The Merry Widow, Suor Angelica, L'heure espagnole, Kiss Me, Kate, West Side Story, Passion, Susannah, Così fan tutte, The Elixir of Love, Bye Bye Birdie, The Tender Land, Working, The Impresario and Oklahoma!.Welcome to the OCU School of Music The Wanda L. Bass School of Music produces another, student run, Music Theatre Company called "Stripped".
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She also sang on the cast recording of the show made with Columbia Records. On May 5, 1961, Venora made her first of many appearances at the San Francisco Opera (SFO) as Mimì in Giacomo Puccini's La Bohème opposite George Shirley as Rodolfo. She returned to the SFO annually through 1964, portraying such roles as Blanche in Francis Poulenc's Dialogues of the Carmelites, Concepción in Maurice Ravel's L'heure espagnole, Esmerelda in Bedřich Smetana's The Bartered Bride, the Guardian of the Temple Gates in Strauss's Die Frau ohne Schatten, Juliette in Charles Gounod's Roméo et Juliette, Klingsor's Maiden in Richard Wagner's Parsifal, Lauretta in Puccini's Gianni Schicchi, Leila, Marzelline in Ludwig van Beethoven's Fidelio, Micaëla, Norina in Gaetano Donizetti's Don Pasquale, Susannah, and the title role in Puccini's Manon Lescaut. She returned again in 1966 to portray Cherubino in Wolfgang Amadeus Mozart's Le Nozze di Figaro, Gilda in Giuseppe Verdi's Rigoletto, and Nannetta in Verdi's Falstaff.
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120 Among the Impressionist composers who created new works for piano, orchestra, opera, chamber music and other musical forms, stand in particular, Claude Debussy (Suite bergamasque, and its well-known third movement, Clair de lune, La Mer, Pelléas et Mélisande), Erik Satie (Gymnopédies, "Je te veux", Gnossiennes, Parade) and Maurice Ravel (Miroirs, Boléro, La valse, L'heure espagnole). Several foreign-born composers, such as Frédéric Chopin (Poland), Franz Liszt (Hungary), Jacques Offenbach (Germany), Niccolò Paganini (Italy), and Igor Stravinsky (Russia), established themselves or made significant contributions both with their works and their influence in Paris. Charles Aznavour Bal-musette is a style of French music and dance that first became popular in Paris in the 1870s and 1880s; by 1880 Paris had some 150 dance halls in the working-class neighbourhoods of the city. Patrons danced the bourrée to the accompaniment of the cabrette (a bellows-blown bagpipe locally called a "musette") and often the vielle à roue (hurdy-gurdy) in the cafés and bars of the city.
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Pianists Richard Goode and Jonathan Biss played En blanc et noir as the final work in a recital at Queen Elizabeth Hall in London on 31 May 2008, which also included Schubert's Allegro in A minor, Debussy's arrangement of Schumann's Canons for pedal-piano, Beethoven's transcription of the Große Fuge and Stravinsky's Agon. On a 2008 recording, Vladimir Ashkenazy and his son played En blanc et noir together with other works by Debussy and Ravel, including Ravel's Rapsodie espagnole and La Valse. A review described their playing as swirling but clear in the first movement, painting "a bleak and devastated landscape" in the second, and in the third with "an understatement which is breathtaking". A 2015 recording by the Duo Tal & Groethuysen combines the work with another work written in response to the World War, Reynaldo Hahn's Le ruban dénoué, composed at the front near Verdun, where the volunteer soldier experienced anxiety, fascination and deadly boredom.
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He had also contracted syphilis.Poznansky, pp. 252-253 After his dismissal by Nadezhda von Meck, Kotek went to Berlin to study with Joseph Joachim. In 1878, still recovering from the breakdown of his disastrous marriage and his subsequent suicide attempt,Classical Archives Tchaikovsky went to stay at Nadezhda von Meck's estate at Clarens, Switzerland, along with Modest and Kolya Konradi. They arrived there on 9 March, after which Kotek was summoned from Berlin. He arrived on 14 March carrying a swag of new music for violin, including Édouard Lalo's Symphonie espagnole, which he and Tchaikovsky played through to great delight. This gave Tchaikovsky the idea of writing a violin concerto, and he immediately set aside his current work on his Piano Sonata in G major and started on the concerto on 17 March. Kotek gave Tchaikovsky the benefit of his technical advice, and they would play through each new section as it was composed.
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In order to improve the quality and historical accuracy of his work, Froissart declared his intention to follow now as his main source the Vrayes Chroniques of Jean Le Bel, who had expressed fierce criticism on verse as a suitable vehicle for serious history writing. Froissart also used other texts, such as the Life of the Black Prince by Chandos Herald, in particular for the Black Prince's campaign in Spain in 1366–1367.J.J.N. Palmer, 'Book I (1325-78) and its sources', in J.J.N. Palmer (ed.), Froissart: Historian (Woodbridge: Boydell Press, 1981), pp. 7-24; Peter F. Ainsworth, 'Collationnement, montage et jeu parti: le début de la campagne espagnole du Prince Noir (1366-67) dans les Chroniques de Jean Froissart, Le Moyen Âge, 100 (1994), 369-411. He furthermore inserted some official documents into his text, including the act of hommage by King Edward III to the French King Philip VI (1331) and the English version of the Peace Treaty of Calais (1360).
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1992 – LALO, Symphonie espagnole (Lalo, Sarasate, Ravel, Saint-Saens) with the Polish Symphony Orchestra, Naxos 1992 – WIENIAWSKI, Violin Showpieces (Henryk Wieniawski's violin sketches), Naxos 1993 – BRIAN CYRCLE (Concerto for Violin and Symphony No. 18 by Brian Havergal), Naxos / Marco Polo 1994 – BRAHMS / JOACHIM (Hungarian Brahms dances and Joachim's romances), Naxos 1995 – WIENIAWSKI (Concerts for Violin No. 1 and 2 by Henryk Wieniawski), Naxos 1996 – MENDELSSOHN (Two concerts by Felix Mendelssohn for violin and orchestra), Naxos 1998 – DUET (Mendelssohn's double concert for violinist and pianist with Jania Aubakirova in Barbican Hall, London). 1999 – ELGAR Rediscovered works for violin (Newly discovered works for violin by Edward Elgar), Black Box, (nomination for the Prize of Gramophone magazine, England) 1999 – BRAHMS (Three Brahms sonatas for piano and violin), Black Box 2001 – ELGAR Rediscovered works for violin, vol.2 (Newly discovered works for violin by Edward Elgar, volume 2), Black Box 2005 – A. RUBINSTEIN (Trio No. 3 by Anton Rubinstein for piano, cello, violin with orchestra, etc.), "Melody" 2005 – KARL JENKINS, Requiem (M. Bisengaliev – violin and West Kazakhstan Philharmonic Orchestra, DK K. Jenkins), EMI Classics, (No.
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Noteworthy for its entertainment value to the assembled nobles of the time, the 17th century provided a memorable banquet event courtesy of the host, the Duke of Buckingham. In honor of his royal guests, Charles I and Queen Henrietta Maria, a pie was prepared concealing a human being — famous dwarf of the era, Jeffrey Hudson. Jenkins, Jessica Kerwin, The Encyclopedia of the Exquisite, Nan A. Talese/Doubleday, 2010, p. 201 Eliza Acton lists among the entremets (which she calls "second-course dishes") many dishes, both sweet and savoury: small fruit-filled vol-au-vents with apricots, plums and peaches; a coconut cheesecake attributed to Jamaican origins; jam filled puff pastries; pie varieties like mince pie and pudding pie; pan-fried "potato ribbons"; different types of croquettes; sea kale and spinach, with gravy and sippets; sugar-glazed carrots braised in cream; poached eggs in Espagnole sauce; asparagus tips or green peas with creamy roux; green beans with lemon-butter sauce; turnips in "thick white sauce"; and a wide range of dessert compotes, sweet puddings, molded "fancy jellies" and cakes.
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Born and raised in Tbilisi, Vladislav Adelkhanov started to play violin at the age of seven, subsequently winning Georgian national youth violin competitions in 1979 and 1981. He first studied with David Reizner at a regular neighborhood music school, and as a school pupil performed with Georgian National Symphony Orchestra concertos by Bruch, Mozart and Wieniawski as well as Symphonie espagnole by Lalo. From 1986 until 1989 he studied with Olga Voitova at the Moscow Conservatoire Music College. In August 1987 he represented Soviet Union at the International Music Festival in Nyírbátor, Hungary, and later that year he won Mendelssohn concerto competition. He holds Master's degree from the Moscow Conservatoire, which he graduated in 1994, and where his tutors were Maya Glezarova (violin) and Gennady Cherkasov (chamber music). In 1997 he completed Advanced Instrumental Studies Course with Yfrah Neaman at the Guildhall School of Music and Drama. Between 1989 and 1994 he led several Baroque HIP projects, based on Bylsma and Harnoncourt methods. In 1992 he was awarded 6th prize at the 4th Carl Nielsen International Violin Competition.
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She hoped to study at the school, and the lack of a response hurt her feelings. However, she did win three different scholarships to Louisiana State University. At LSU she studied voice, was a member of Phi Mu sorority, and was highly active in student opera productions that were at that time directed by baritone Pasquale Amato. While a student, Greer won a major singing contest which led to an engagement to perform as a soloist with the Philadelphia Orchestra under conductor Eugene Ormandy. After graduating from LSU, Greer joined the roster of principal artists at the Philadelphia Opera Company (POC), making her debut with the company on January 19, 1939 as Musetta in Giacomo Puccini's La bohème. She remained with the company through 1941, portraying such roles as Adele in Die Fledermaus, Cio-cio-san in Madama Butterfly, Concepcion in L’heure espagnole, Frasquita in Carmen, Giorgetta in Il tabarro, Mařenka in The Bartered Bride, Marguerite in Faust, Méliande in Pelléas et Mélisande, and Susanna in The Marriage of Figaro.
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Harold Barnes: "Jean Périer", Grove Music Online ed. L. Macy (Accessed 30 January 2009), (subscription access) Although he performed a great deal of operetta, he also sang a number of operatic roles including the title role in Don Giovanni, Lescaut in Manon Lescaut, and Scarpia in Tosca. His career was almost entirely centred in Paris, particularly at the Opéra-Comique, where he notably created the role of Pelléas in Debussy's Pelléas et Mélisande. He repeated the role of Pelléas at the Manhattan Opera Company in 1908 and at the Opéra de Monte-Carlo. He appeared in numerous other world premieres, most notably Ramiro in Ravel's L'heure espagnole (1911) and leading roles in Messager's Véronique (1898) and Fortunio (1907). Périer's other roles at the Opéra-Comique included Clément Marot in La Basoche, Juliano in Le domino noir, Lindorf in Les contes d’Hoffmann, Lescaut in Manon, Ulysse in Télémaque, Laerte in Mignon, César in Les rendez-vous bourgeois, Caoudal in Sapho, Francois in Le Chemineau, Crispin in Le légataire universel and Auguste in L'enfant roi.Wolff S. Un demi-siècle d'Opéra-Comique (1900–1950).
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She was in charge of the Lyrical and Choral Workshop of the Opéra de Lyon between 1991 and 1998. There she was responsible for the musical direction of numerous productions, notably Pelléas et Mélisande, Il Barbiere di Siviglia, La Cenerentola, Die Entführung aus dem Serail, La Finta Giardiniera, Roméo et Juliette by Berlioz, L'Orfeo by Monteverdi, Les Brigands by Offenbach, L'Heure espagnole and L'Enfant et les Sortilèges by Ravel, Haydn's Il Mondo della luna, Gluck's Iphigénie en Tauride, The Rape of Lucretia by Britten and Le Chapeau de paille d'Italie by Nina Rota, whilst La Station Thermale (recorded by Ricordi) and Les Oiseaux de Passage by Fabio Vacchi and Dédale by Hugues Dufourt (recorded on CD by MFA/Radio France) are among her world creations. Between January 2000 and 2002, she was Music Director of Musica per Roma, where she created the Laboratorio Voci in Musica. Presented there with her conducting were Mozart's Cosi fan tutte and Die Entführung aus dem Serail, Henze's Pollicino, Humperdinck's Hänsel und Gretel and Bernstein's West Side Story.
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He has also collaborated with other Baroque ensembles directed by R. Alessandrini, H. Bicket, R. Brown, P. Herreweghe, G. Garrido, N. McGeggan, R. Jacobs, S. Kuijken, H. Niquet, T. Pinnock, Ch. Rousset and JC. Spinosi. Jean-Paul Fouchécourt has performed with many of the world’s leading opera companies, including Royal Opera House - London, Metropolitan Opera, City Opera - New York, Cincinnati Opera, Opera Bastille, Théâtre des Champs-Élysées, Théâtre du Châtelet in Paris, Opéra de Bordeaux, Opéra de Lyon, Opéra du Rhin, and Opéra de Montpellier, Théâtre de la Monnaie, Vlaams Opera, Grand Théâtre de Genève, Lausanne Opera and Zurich Opera, Netherlands Opera, Theater an der Wien, New Israeli Opera and Australian Opera. His operatic productions have included L'enfant et les sortilèges and L'heure Espagnole (Torquemada) by Ravel, Le Nozze di Figaro (Basilio) by Mozart, Orphée aux Enfers (Pluton) by Offenbach, Falstaff (Bardolfo) by Verdi, Manon (Guillot de Morfontaine) by Massenet, Madame Butterfly (Goro) by Puccini, Eugene Onegin (Monsieur Triquet) by Tchaikovsky, L'étoile (Ouf 1er) by Chabrier, Calisto (Pane) by Cavalli, and The Golden Cockerel (The astrologer) by Rimsky-Korsakov.
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