{"id":405,"date":"2022-10-07T00:51:28","date_gmt":"2022-10-07T00:51:28","guid":{"rendered":"https:\/\/duocavatine.com\/?page_id=405"},"modified":"2022-10-07T03:15:36","modified_gmt":"2022-10-07T03:15:36","slug":"test-cellopera","status":"publish","type":"page","link":"https:\/\/duocavatine.com\/en\/test-cellopera\/","title":{"rendered":"Test – CellOp\u00e9ra"},"content":{"rendered":"\n
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  1. PIOTR ILITCH TCHA\u00cfKOVSKI (1840-1893) Eugene Onegin, Air du Prince Gremin (Lyubvi fse vozrast\u00ef pokorn\u00ef)<\/li>
  2. ANDR\u00c9 GAGNON (1936-2020) Nelligan, Le Vaisseau d\u2019or<\/li>
  3. GABRIEL FAUR\u00c9 (1845-1924) Trois m\u00e9lodies Op.7, No. 1, Apr\u00e8s un r\u00eave<\/li>
  4. LUDWIG VAN BEETHOVEN (1770-1827) 7 Variations sur Bei M\u00e4nnern, welche Liebe f\u00fchlen (sur un air de La Fl\u00fbte enchant\u00e9e de Mozart)<\/li>
  5. GEORGE GERSHWIN (1898-1937) Porgy and Bess, Summertime<\/li>
  6. WOLFGANG AMADEUS MOZART (1756-1791) Die Zauberfl\u00f6te, Air de La reine de la nuit (Der H\u00f6lle Rache)<\/li>
  7. L\u00c9O DELIBES (1836-1891) Lakm\u00e9, Duo des fleurs<\/li>
  8. GIACOMO PUCCINI (1858-1924) Gianni Schicchi, O mio babbino caro<\/li>
  9. VINCENZO BELLINI (1801-1835) Norma, Casta diva<\/li>
  10. GAETANO DONIZETTI (1797-1848) L\u2019elisir d\u2019amore, Una furtiva lagrima<\/li>
  11. RICHARD WAGNER (1813-1883) Tannh\u00e4user, O du, mein holder Abendstern<\/li><\/ol>\n<\/div>\n\n\n\n
    \n
    \n \"CellOp\u00e9ra!\"\n
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    $20.00<\/p>\n Buy Physical CD<\/a>\n <\/div>\n \n<\/div>\n<\/div>\n<\/div>\n\n\n

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    Piotr Ilich Tchaikovsky: Eugene Onegin, Prince Gremin Aria (Lyubvi fse vozrast\u00ef pokorn\u00ef<\/em>)<\/strong><\/h2>\n\n\n\n

    Notes (by Michel-Alexandre Broekaert)<\/h3>\n\n\n\n

    Before becoming the subject of an opera by Tchaikovsky, the story of Eugene Onegin was already well known in Russia and beyond, through the eponymous novel by Alexander Pushkin. The libretto of the opera, elaborated by the composer himself, is strongly inspired by the novel, and finds its strength in the depth of the psychological development of the central characters as well as in the incisive and uncompromising view of the society of the time.<\/p>\n\n\n\n

    It is at the heart of this rather dark and melancholic opera that we find the aria of Prince Gremin, an ode to happiness and to the power of love that knows no age. The scene takes place in the middle of a ball of the high society of Saint Petersburg, at the edge of the 18th century. Close-up on Eugene Onegin who, after many years of exile, contemplates the emptiness of his existence and remains tortured by his past actions. Then he recognizes Tatyana among the guests, a former neighbour he had once looked up to; but here she is transformed, elegant and with the bearing of a queen. Bewitched, Onegin tries not to let anything show while the lady’s husband, a former close friend and none other than Prince Gremin himself, spontaneously launches into an unbridled profession of love.\u00a0<\/p>\n\n\n\n

    He has been bathed in happiness since his meeting with Tatyana and does not stop sharing his happiness. Renewed hope, renewed enthusiasm, that’s how he compares her to an angel who came to rescue him from his gloom, like a ray of sunshine in the mist of his existence.<\/p>\n\n\n\n

    This piece is a moment of grace that escapes from this opera with an undeniable dramatic charge.<\/p>\n\n\n\n

    <\/p>\n\n\n\n

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    Libretto<\/h3>\n\n\n\n

    Love is no respecter of age,
    its transports bless alike
    those in the bloom of youth
    yet unacquainted with the world
    and the grey-headed warrior
    tempered by experience!
    Onegin, I shan’t disguise the fact
    that I love Tatyana to distraction!
    My life was slipping drearily away;
    she appeared and brightened it
    like a ray of sunlight in a stormy sky,
    and\u00a0brought me life and youth, yes, youth and happiness!
    Among these sly, poor-spirited,
    foolish, pampered children,
    these scoundrels both absurd and boring,
    dull, fractious arbiters,
    among the pious coquettes
    and sycophantic slaves,
    amid affable, modish hypocrisy
    courteous, affectionate\u00a0 infidelities,
    amid the icy censure
    of cruel-hearted vanity,
    amid the vexing vacuity
    of calculation, thought and conversation,
    she shines like a star
    in the night’s darkest hour, in a pure, clear sky,
    and to me she always appears
    in the radiant,
    radiant nimbus of an angel!<\/em><\/p>\n\n<\/div>

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    <\/p>\n\n<\/div>

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    Gabriel Faur\u00e9: Trois m\u00e9lodies Op.7, No.1, Apr\u00e8s un r\u00eave<\/h2>\n\n\n\n

    Notes (by Michel-Alexandre Broekaert)<\/h3>\n\n\n\n

    Apr\u00e8s un r\u00eave is one of Gabriel Faur\u00e9’s most popular melodies, and for good reason! Emblematic of the romantic and accessible style that characterizes his early works, this melody is distinguished by its supple and luminous melodic line, supported by enveloping and deeply evocative harmonies. The work has since been adapted many times for various instrumental ensembles, which has greatly contributed to its fame. Indeed, although Faur\u00e9’s setting of Romain Bussine’s poem is admirable in every way, the piece -here adapted for cello- loses none of its evocative power, quite the contrary. One is easily carried away by the happy marriage of timbres, while our thoughts escape to the dreamlike universe of dreams.\u00a0<\/p>\n\n\n\n

    Since this album is based on adaptations of opera arias for the cello-piano formation, we are well aware that the introduction of a humble melody constitutes a slight departure from our unifying concept, and yet we happily decided to make this exception because, on the one hand, the atmosphere of this charming work fits naturally with that of our album and on the other hand, because it is this very work that triggered our curiosity to explore the sumptuous universe of opera, full of extraordinary melodies and captivating stories.<\/p>\n\n\n\n

    <\/p>\n\n\n\n

    Libretto<\/h3>\n\n\n\n

    In sleep made sweet by a vision of you<\/p>\n\n\n\n

    I dreamed of happiness, fervent illusion,<\/p>\n\n\n\n

    Your eyes were softer, your voice pure and ringing,<\/p>\n\n\n\n

    You shone like a sky that was lit by the dawn;<\/p>\n\n\n\n

    You called me and I departed the earth<\/p>\n\n\n\n

    To flee with you toward the light,<\/p>\n\n\n\n

    The heavens parted their clouds for us,<\/p>\n\n\n\n

    We glimpsed unknown splendours, celestial fires.<\/p>\n\n\n\n

    Alas, alas, sad awakening from dreams!<\/p>\n\n\n\n

    I summon you, O night, give me back your delusions;<\/p>\n\n\n\n

    Return, return in radiance,<\/p>\n\n\n\n

    Return, O mysterious night!<\/p>\n\n\n\n

    Translations by Richard Stokes, from A French Song Companion (Oxford, 2000)<\/p>\n\n<\/div>

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    Ludwig van Beethoven, Variations “Bei M\u00e4nnern welche Liebe fuhlen”, aria from Mozart’s opera “The Magic Flute\u201d\u00a0<\/strong><\/h2>\n\n\n\n

    Notes (by Michel-Alexandre Broekaert)<\/h3>\n\n\n\n

    Beethoven had a great admiration for Mozart, who was fourteen years older. He was particularly fascinated by his numerous operas, and this fascination led to the writing of four cycles of variations for various instruments. The cycle that interests us here was inspired by the opera The Magic Flute<\/em>, which Beethoven had just attended in Vienna in 1801. It is therefore the work of a young Beethoven, still full of humour and tenderness, personality traits that emanate from this theme and variations, all in finesse and bonhomie. The original aria is a duet sung by Pamina, the daughter of the Queen of the Night, and Papageno, a fowler. Meaning “Among men who know the feeling of love,” it praises the idea of love, bestowing upon it every virtue:\u00a0<\/p>\n\n\n\n

    “We want to sing the joy of love,\u00a0<\/p>\n\n\n\n

    we live only of love.<\/p>\n\n\n\n

    Love softens all pain,\u00a0<\/p>\n\n\n\n

    All creation is dedicated to love.<\/p>\n\n\n\n

    It gives salt to every day of our life<\/p>\n\n\n\n

    And makes the wheel of nature turn.”<\/p>\n\n\n\n

    This timeless theme of love, carried by Beethovenian mastery, ensures the durability of this work filled with surprises and moments of beauty.<\/p>\n\n\n\n

    <\/p>\n\n\n\n

    Libretto<\/h3>\n\n\n\n

    Pamina:<\/em><\/p>\n\n\n\n

    Men who feel the call of love<\/p>\n\n\n\n

    Do not lack a gentle heart.<\/p>\n\n\n\n

    Papageno:<\/em><\/p>\n\n\n\n

    To share these sweet desires<\/p>\n\n\n\n

    Is women\u2019s first duty.<\/p>\n\n\n\n

    Both:<\/em><\/p>\n\n\n\n

    We shall rejoice in love,<\/p>\n\n\n\n

    We live for love alone.<\/p>\n\n\n\n

    Pamina:<\/em><\/p>\n\n\n\n

    Love sweetens every sorrow,<\/p>\n\n\n\n

    All creatures pay it homage.<\/p>\n\n\n\n

    Papageno:<\/em><\/p>\n\n\n\n

    Love adds spice to our days on earth,<\/p>\n\n\n\n

    Love is at work throughout all nature.<\/p>\n\n\n\n

    Both:<\/em><\/p>\n\n\n\n

    Its exalted goal is manifest:<\/p>\n\n\n\n

    Nothing is nobler than man and wife.<\/p>\n\n\n\n

    Man and wife, and wife and man,<\/p>\n\n\n\n

    Attain divinity.<\/p>\n\n\n\n

    Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005)<\/p>\n\n<\/div>

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    L\u00e9o Delibes: Lakm\u00e9, Duo des fleurs<\/h2>\n\n\n\n

    Notes (by Michel-Alexandre Broekaert)<\/h3>\n\n\n\n

    The Duo des Fleurs<\/em>, which translates to The Flower Duet, is one of those arias of which one never tires. It is in the first moments of the opera “Lakm\u00e9” that we find it and its dreamlike charm operates every time. This opera remains one of the only works still performed by the French composer L\u00e9o Delibes, and for good reason. The music is intoxicating, lush and colourful, ready to dream and escape to exotic worlds. The story relates the fateful meeting of Lakm\u00e9, a Brahmin priestess, and Gerald, an English officer; all based in the 19th century, in a sublimated India, in the colonial era. The inevitable clash of cultures will lead the two lovers to a tragic end, with the themes of revenge, honour and destructive passions as a backdrop.<\/p>\n\n\n\n

    The Flower Duet is a cantilena shared between Lakm\u00e9 and her maid Mallika, as they stand by an enchanting stream to pick flowers. It is a moment of great delicacy that wonderfully depicts the inner tranquility that animates our protagonists at this point in the story.<\/p>\n\n\n\n

    <\/p>\n\n\n\n

    Libretto<\/h3>\n\n\n\n

    LAKM\u00c9:<\/p>\n\n\n\n

    Look Mallika! Lianes are in bloom<\/p>\n\n\n\n

    Casting downward their shadows<\/p>\n\n\n\n

    Over the sacred stream that flows calm and somber<\/p>\n\n\n\n

    Awakened by the sound of the song-happy birds!<\/p>\n\n\n\n

    MALLIKA:<\/p>\n\n\n\n

    Oh dear mistress!<\/p>\n\n\n\n

    It’s time at last I see you smiling<\/p>\n\n\n\n

    The time has come and I am reading<\/p>\n\n\n\n

    What was closed up in the heart of Lakme!<\/p>\n\n\n\n

    LAKM\u00c9 [in duet with Mallika, below]<\/p>\n\n\n\n

    Dome canopy sweet jasmine<\/p>\n\n\n\n

    All the roses forever<\/p>\n\n\n\n

    Flowers in the morn freshly born<\/p>\n\n\n\n

    Call us to come together<\/p>\n\n\n\n

    Ah glide along and sing along<\/p>\n\n\n\n

    The current so strong<\/p>\n\n\n\n

    The sun so hot the water is shimmering<\/p>\n\n\n\n

    Hand skimming the surface nonchalantly<\/p>\n\n\n\n

    Cutting through the edge<\/p>\n\n\n\n

    While birds are singing singing sing enchanted<\/p>\n\n\n\n

    Dome canopy white jasmine<\/p>\n\n\n\n

    Call us to come together<\/p>\n\n\n\n

    Please<\/p>\n\n\n\n

    MALLIKA [in duet with Lakme, above]:<\/p>\n\n\n\n

    Under dome canopy where the white jasmine<\/p>\n\n\n\n

    All the roses forever<\/p>\n\n\n\n

    River flowers in the morn freshly born<\/p>\n\n\n\n

    Let us both go down together<\/p>\n\n\n\n

    Gently we glide on and we float along<\/p>\n\n\n\n

    Follow the current so strong<\/p>\n\n\n\n

    The sun so hot the water is shimmering<\/p>\n\n\n\n

    Hand skimming the surface nonchalantly<\/p>\n\n\n\n

    Come let us reach the edge<\/p>\n\n\n\n

    Where the spring sleeps<\/p>\n\n\n\n

    And birds singing, sing enchanted<\/p>\n\n\n\n

    Under dome canopy where the white jasmine<\/p>\n\n\n\n

    Let us go down together<\/p>\n\n\n\n

    LAKME:<\/p>\n\n\n\n

    I, don’t know what overcame me<\/p>\n\n\n\n

    To fill my heart full of fear<\/p>\n\n\n\n

    When my father goes down alone to the doomed city<\/p>\n\n\n\n

    I tremble, I tremble, my dear<\/p>\n\n\n\n

    MALLIKA:<\/p>\n\n\n\n

    Ganesha will watch over his protege<\/p>\n\n\n\n

    Up til the pond where the merry do play<\/p>\n\n\n\n

    With wings of snow swans are swimming<\/p>\n\n\n\n

    Come let us pick the lotus blue<\/p>\n\n\n\n

    LAKME:<\/p>\n\n\n\n

    Oh yes, let’s go where white swans are swimming<\/p>\n\n\n\n

    And let us pick the lotus blue<\/p>\n\n\n\n

    LAKM\u00c9 [in duet with Mallika, below]<\/p>\n\n\n\n

    Dome canopy sweet jasmine<\/p>\n\n\n\n

    All the roses forever<\/p>\n\n\n\n

    Flowers in the morn freshly born<\/p>\n\n\n\n

    Call us to come together<\/p>\n\n\n\n

    Ah glide along and sing along<\/p>\n\n\n\n

    The current so strong<\/p>\n\n\n\n

    The sun so hot the water is shimmering<\/p>\n\n\n\n

    Hand skimming the surface nonchalantly<\/p>\n\n\n\n

    Cutting through the edge<\/p>\n\n\n\n

    While birds are singing singing sing enchanted<\/p>\n\n\n\n

    Dome canopy white jasmine<\/p>\n\n\n\n

    Call us to come together<\/p>\n\n\n\n

    Please<\/p>\n\n\n\n

    MALLIKA [in duet with Lakme, above]:<\/p>\n\n\n\n

    Under dome canopy where the white jasmine<\/p>\n\n\n\n

    All the roses forever<\/p>\n\n\n\n

    River flowers in the morn freshly born<\/p>\n\n\n\n

    Let us both go down together<\/p>\n\n\n\n

    Gently we glide on and we float along<\/p>\n\n\n\n

    Follow the current so strong<\/p>\n\n\n\n

    The sun so hot the water is shimmering<\/p>\n\n\n\n

    Hand skimming the surface nonchalantly<\/p>\n\n\n\n

    Come let us reach the edge<\/p>\n\n\n\n

    Where the spring sleeps<\/p>\n\n\n\n

    And birds singing, sing enchanted<\/p>\n\n\n\n

    Under dome canopy where the white jasmine<\/p>\n\n\n\n

    Let us go down together<\/p>\n\n<\/div>

    \n\n

    <\/p>\n\n<\/div>

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    <\/p>\n\n<\/div>

    \n\n

    <\/p>\n\n<\/div>

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    <\/p>\n\n<\/div><\/div>\n\t\t<\/div>","protected":false},"excerpt":{"rendered":"

    \nPIOTR ILITCH TCHA\u00cfKOVSKI (1840-1893) Eugene Onegin, Air du Prince Gremin (Lyubvi fse…\n<\/div>\n
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