"Theatre. She has also played Marzelline in ""Fidelio"", Gilda in ""Rigoletto"" and Juliette in ""Roméo et Juliette"". Her concert repertoire includes Brahms' ""Ein Deutsches Requiem"", Liszt's ""Christus"" and Debussy's ""Pelleäs et Melisande"". In the 2015-16 season, she performed as a soloist with the Danish Radio Symphony Orchestra. In 2014, Bonde-Hansen was awarded the Reumert prize for singer of the year. She is married to the Cuban tenor Reinaldo Marcias. Henriette Bonde-Hansen Henriette Bonde-Hansen (born 1963) is a Danish operatic soprano who made her début at Den Jyske Opera in Aarhus in 1993. She has performed at opera houses throughout Europe"
"Pelléas et Mélisande (Sibelius) Pelléas et Mélisande (""Pelléas och Mélisande""), Op. 46, is incidental music by Jean Sibelius for Maurice Maeterlinck's 1892 play ""Pelléas and Mélisande"". Sibelius composed in 1905 ten parts, overtures to the five acts and five other movements. It was first performed at the Swedish Theatre in Helsinki on 17 March 1905 to a translation by Bertel Gripenberg, conducted by the composer). Sibelius later slightly rearranged the music into a nine movement suite, which became one of his most popular concert works. The movements were derived from the following numbers: Excluded from the suite is Prelude to"
"Pelléas and Mélisande Pelléas and Mélisande () is a Symbolist play by Maurice Maeterlinck about the forbidden, doomed love of the title characters. It was first performed in 1893. The work was very popular. It was adapted as an opera by Claude Debussy, and it inspired other contemporary composers, including Gabriel Fauré, Arnold Schoenberg, and Jean Sibelius. Golaud finds Mélisande by a stream in the woods. She has lost her crown in the water but does not wish to retrieve it. They marry, and she instantly wins the favor of Arkël, Golaud's grandfather and king of Allemonde, who is ill."
"Night"" programme. In 2013, Alexandre Desplat, commissioned by the ""Orchestre National des Pays de la Loire"", composed a Sinfonia Concertante for Flute and Orchestra, inspired by Maeterlinck's Pelléas and Mélisande. Pelléas and Mélisande Pelléas and Mélisande () is a Symbolist play by Maurice Maeterlinck about the forbidden, doomed love of the title characters. It was first performed in 1893. The work was very popular. It was adapted as an opera by Claude Debussy, and it inspired other contemporary composers, including Gabriel Fauré, Arnold Schoenberg, and Jean Sibelius. Golaud finds Mélisande by a stream in the woods. She has lost her"
"multi-movement suite. Schoenberg first spoke of this in early 1947, in a letter to his son-in-law Felix Greissle. However, the project collapsed due to the intervention of Associated Music Publishers, who managed to prevent authorization. Pelleas und Melisande (Schoenberg) Pelleas und Melisande, Op. 5, is a symphonic poem written by Arnold Schoenberg and completed in February 1903. It was premiered on 25 January 1905 at the Musikverein in Vienna under the composer's direction in a concert that also included the first performance of Alexander von Zemlinsky's ""Die Seejungfrau"". The work is based on Maurice Maeterlinck's play ""Pelléas and Mélisande"", a"
"Melisande loses her wedding ring and encounters with Golaud's half-brother Pelleas, and Adagio, which portrays the farewell and love scene of Pelleas and Melisande, where Golaud kills Pelleas, and leads to the recapitulation of the thematic material in the Finale, which portrays the death of Melisande. In a letter to his brother-in-law, Alexander Zemlinsky, who wanted to make cuts in ""Pelleas"" for a Prague performance he was to conduct in 1918, Schoenberg summarized the fundamental anchoring points of this work: ""the opening motif (12/8) is linked to Melisande"", which is followed by the ""fate motif"", and the Scherzo contains ""the"
"Jean Périer Jean (Alexis) Périer (2 February 1869 – 3 November 1954) was a French operatic baryton-martin and actor. Although he sang principally within the operetta repertoire, Périer did portray a number of opera roles; mostly within operas by Wolfgang Amadeus Mozart and Giacomo Puccini. His career was almost entirely centered in Paris and he had a long association with the Opéra-Comique. He sang in a large number of world premieres, most notably originating the role of Pelléas in Claude Debussy's ""Pelléas et Mélisande"" in 1902. In addition to his opera career, Périer appeared in several films between 1900 and"
"Pelléas et Mélisande (Fauré) Pelléas et Mélisande, Op. 80 is a suite derived from incidental music by Gabriel Fauré for Maurice Maeterlinck's play of the same name. He was the first of four leading composers to write music inspired by Maeterlinck's drama. Debussy, Schoenberg and Sibelius followed in the first decade of the 20th century. Fauré's music was written for the London production of Maeterlinck's play in 1898. To meet the tight deadline of the production, Fauré reused some earlier music from incomplete works and enlisted the help of his pupil Charles Koechlin, who orchestrated the music. Fauré later constructed"
"composer Richard Wagner. As Donald Grout writes: ""it is customary, and in the main correct, to regard ""Pelléas et Mélisande"" as a monument to French operatic reaction to Wagner"". Wagner had revolutionised 19th-century opera by his insistence on making his stage works more dramatic, by his increased use of the orchestra, his abolition of the traditional distinction between aria and recitative in favour of what he termed ""endless melody"", and by his use of leitmotifs, recurring musical themes associated with characters or ideas. Wagner was a highly controversial figure in France. Despised by the conservative musical establishment, he was a"
"in its own right but the pace of the drama demands an epilogue. With the moving ""The Death of Mélisande,"" the tragic story of the doomed love affair reaches its conclusion. Sibelius later made a transcription of the suite for solo piano, excluding the 'At the Seashore' movement. The work is scored for flute (with piccolo), oboe (with English horn), two clarinets, two bassoons, two horns, timpani/triangle/bass drum, and strings. Pelléas et Mélisande (Sibelius) Pelléas et Mélisande (""Pelléas och Mélisande""), Op. 46, is incidental music by Jean Sibelius for Maurice Maeterlinck's 1892 play ""Pelléas and Mélisande"". Sibelius composed in 1905"
"et Mélisande"" (begun 1893, staged 1902) ""a key work for the 20th century"". The composer Olivier Messiaen was fascinated by its ""extraordinary harmonic qualities and ... transparent instrumental texture"". The opera is composed in what Alan Blyth describes as a sustained and heightened recitative style, with ""sensuous, intimate"" vocal lines. It influenced composers as different as Stravinsky and Puccini. Orledge describes the ""Nocturnes"" as exceptionally varied in texture, ""ranging from the Musorgskian start of 'Nuages', through the approaching brass band procession in 'Fêtes', to the wordless female chorus in 'Sirènes. Orledge considers the last a pre-echo of the marine textures"
"Charles Gounod scored a massive success with ""Faust""; and Georges Bizet composed ""Carmen"", probably the most famous French opera of all. At the same time, the influence of Richard Wagner was felt as a challenge to the French tradition. Perhaps the most interesting response to Wagnerian influence was Claude Debussy's unique operatic masterpiece ""Pelléas et Mélisande"" (1902). Other notable 20th-century names include Ravel, Poulenc and Messiaen. The first operas to be staged in France were imported from Italy, beginning with Francesco Sacrati's ""La finta pazza"" in 1645. French audiences gave them a lukewarm reception. This was partly for political reasons,"
"vocal type became known as ""baryton-martin"", most often found in French operetta. Modern example of this voice type were French baritone Michel Dens, or closer to us Bernard Sinclair, who can be heard in a few operetta recordings such as ""La fille de Madame Angot"", ""Les cloches de Corneville"", and ""Valses de Vienne"". In the operatic repertoire, the most famous role for baryton-martin is Pelléas in Claude Debussy's ""Pelléas et Mélisande"". Camille Maurane and Jacques Jansen are widely recognized as having been the best exponents of the role. Jean-Blaise Martin Jean-Blaise Martin, full name Nicolas Jean-Blaise Martin (February 24, 1768"
"of the word ""bed"". Debussy agreed but kept the libretto unaltered in the published score. ""Pelléas et Mélisande"" received its first performance at the Opéra-Comique in Paris on 30 April 1902 with André Messager conducting. The sets were designed in the Pre-Raphaelite style by Lucien Jusseaume and Eugène Ronsin. The premiere received a warmer reception than the dress rehearsal because a group of Debussy aficionados counterbalanced the Opéra-Comique's regular subscribers, who found the work so objectionable. Messager described the reaction: ""[It was] certainly not a triumph, but no longer the disaster of two days before...From the second performance onwards, the"
"Hector Dufranne Hector Dufranne (25 October 1870 – 4 May 1951) was a Belgian operatic bass-baritone who enjoyed a long career that took him to opera houses throughout Europe and the United States for more than four decades. Admired for both his singing and his acting, Dufranne appeared in a large number of world premieres, most notably the role Golaud in the original production of Claude Debussy's ""Pelléas et Mélisande"" in 1902, which he went on to sing 120 times at that house. He had an excellent singing technique which maintained the quality of his voice even into the latter"
"1994 to freelance as an arts management consultant, and his successor was the current General Director, Richard Mantle, who had previously worked for English National Opera, Scottish Opera and Edmonton Opera. Notable among new productions during Paul Daniel's final three seasons as Music Director were Richard Jones's ""Pelléas et Mélisande"" (with Daniel's wife, Joan Rodgers, as Mélisande), Jonathan Miller's ""Il matrimonio segreto"" from Glimmerglass Opera, the British premiere of Chabrier's ""Le roi malgré lui"", Verdi's first opera, ""Oberto"" (with John Tomlinson directing as well as playing the title-character), William Walton's ""Troilus and Cressida"", Cherubini's ""Médée"" in the composer's adaptation for"
"Brett Polegato Brett Polegato (born 1968 in Niagara Falls, Ontario, Canada) is an operatic baritone. In 1999 he made his Lyric Opera of Chicago debut as Peter Niles in Levy's ""Mourning Becomes Electra"" followed by his La Scala debut in 2000 as Ned Keene in Britten's ""Peter Grimes"". He is particularly known for his interpretation of the title role in Debussy's ""Pelléas et Mélisande"" which he has performed with many companies including the Bavarian State Opera, Opéra National de Paris, Oper Leipzig, and Opéra National du Rhin among others. Other European appearances include Ubalde in Gluck's ""Armide"" at Opéra de"
"Kurt Huber and Kurt Widmer, Frank Martin's ""Golgotha"" in 1972 and 1975, Cherubini's Missa solemnis in 1977. Speiser appeared in 1969 as Sandrina in the first recording of Haydn's opera ""L'infedeltà delusa"", conducted by Antonio de Almeida. She was Amore in Gluck's ""Orfeo ed Euridice"" at the Glyndebourne Festival, alongside Janet Baker as Orfeo and Elisabeth Gale as Euridice, which was recorded in 1982. She is known for the title role of Melisande in Debussy's Pelléas et Mélisande. Speiser was also a ""Lieder"" singer. She recorded in 1975 songs by Schumann, Schubert, Brahms, Hugo Wolf's ""Lieder der Mignon"", Anton Webern's"
"many French composers closely imitated them with variable success. Perhaps the most interesting response came from Claude Debussy. As in Wagner's works, the orchestra plays a leading role in Debussy's unique opera ""Pelléas et Mélisande"" (1902) and there are no real arias, only recitative. But the drama is understated, enigmatic and completely un-Wagnerian. Other notable 20th-century names include Ravel, Dukas, Roussel and Milhaud. Francis Poulenc is one of the very few post-war composers of any nationality whose operas (which include ""Dialogues des Carmélites"") have gained a foothold in the international repertory. Olivier Messiaen's lengthy sacred drama ""Saint François d'Assise"" (1983)"
"Marie Pélissier Marie Pélissier or sometimes Pelissier (1706/1707 – March 21, 1749) was a French operatic soprano. At the Paris Opera in 1722, she began her career, which was noted for her artistic skill and a scandal, until her retirement in 1741. Pélissier debuted at the Paris Opera in 1722, soon thereafter marrying Victor Pélissier and appearing at his theater in Rouen. She returned to Paris after his bankruptcy, singing at the Paris Opera again on May 16, 1726 in a performance of Pascal Collasse's ""Thétis et Pélée"", in which she won great plaudits. Later in the year she created"
"Jose-Andre Gendille (2001). Single act, except where shown For solo voice with orchestral accompaniment For solo voice with piano accompaniment Source: ""Grove Dictionary of Music and Musicians""; L'académie nationale de l'opérette; and Wagstaff: ""André Messager"". André Messager André Charles Prosper Messager (; 30 December 1853 – 24 February 1929) was a French composer, organist, pianist and conductor. His compositions include eight ballets and thirty opéras comiques, opérettes and other stage works, among which his ballet ""Les Deux Pigeons"" (1886) and opéra comique ""Véronique"" (1898) have had lasting success; ""Les P'tites Michu"" (1897) and ""Monsieur Beaucaire"" (1919) were also popular internationally."
"the English cellist W. H. Squire. At the same time, Fauré was working on incidental music for the first English production of Maurice Maeterlinck's play, ""Pelléas et Mélisande"", which opened in June 1898. Needing a lighthearted piece for one of the few playful scenes in the drama, he included the Sicilienne along with the new music he wrote for the production. His former pupil Charles Koechlin orchestrated the score for the theatre orchestra of 16 players. The final form of the Sicilienne is in the four-movement ""Pelléas et Mélisande"" suite for full orchestra, arranged by Fauré and published in 1909."
"as a singer in Fauré's ""Masques et bergamasques"" (January 1942), Valérien in ""Malvina"" (July 1945) and the title role in ""Fragonard"" (February 1946). Jansen recorded Pelléas in an Opéra-Comique cast under the conductor Roger Désormière in April and May 1941 with Irène Joachim as Mélisande. This recording is widely considered as a reference recording of this opera. Jansen later recorded the same role under André Cluytens and Inghelbrecht. He also sang the role under Désormière with the Opéra-Comique company at Covent Garden in June 1949, as well as in New York, Brussels, Lisbon, Berlin, Milan, Rome and Tokyo. His last"
"14 January 1940, he went to create the following roles at the Opéra-Comique: He also sang in ""The Barber of Seville"", ""La Basoche"", ""Carmen"", ""Lakmé"", ""Louise"", ""Madame Bovary"", ""Madame Butterfly"", ""Werther"", ""Pelléas et Mélisande"" and oratorios like ""La Chanson du mal-aimé"". He was occasionally billed under the name Moreau. His voice was typical of the baryton-martin range (between baritone and tenor). He is famous for his interpretation of Debussy's Pelléas, for which he took part in three complete recordings of Pelléas et Mélisande. He is also regarded as one of the best interpreters of French mélodies, of which he left"
"appeared in a film version of ""Lucia di Lammermoor"", opposite Anna Moffo, which has been released on DVD. He died on 30 December 2007 in Pierantonio (Umbertide), Italy. Lajos Kozma Lajos Kozma (1938–2007) was a Hungarian operatic tenor, particularly associated with lyric Italian roles, baroque operas and oratorios. Born on 2 September 1938 in Lepsény, Hungary, he studied at the Franz Liszt Academy in Budapest, and made his debut at the Budapest Opera in 1961 (as ""Malcolm""), where he won considerable acclaim as Pelléas in Debussy's ""Pelléas et Mélisande"". In 1963, he went to Italy to further his studies at"
"From 1948 to 1962, he traveled throughout Northern Africa and France performing in concerts sponsored by the Jeunesses Musicales International. He also sang in concerts at a number of notable music festivals such as the Strasbourg Festival and the Aix-en-Provence Festival. Mollet made his professional opera debut in 1952 portraying Pelléas in Claude Debussy's ""Pelléas et Mélisande"" at the Opéra-Comique; recording the part later that year with conductor Ernest Ansermet. He went on to sing that role for performances in cities throughout Europe and South America. He created the role of Eraste in Frank Martin's opera ""Monsieur de Pourceaugnac""; other"
"(1862-1918) was born at Saint-Germain-en-Laye, near Paris, and entered the Conservatory in 1872. He became part of the Parisian literary circle of the symbolist poet Stéphane Mallarmé, and an admirer of Richard Wagner, then went on to experiment with impressionism in music, atonal music and chromaticism. His most famous works included ""Clair de Lune"" (1890), ""La Mer"" (1905) and the opera ""Pelléas et Mélisande"" (1903-1905). He lived at 23 ""square de l'Avenue-Foch"" in the 16th arrondissement from 1905 until his death in 1918. Other influential composers in Paris during the period included Jules Massenet (1842-1912), author of the operas ""Manon"""
"Lajos Kozma Lajos Kozma (1938–2007) was a Hungarian operatic tenor, particularly associated with lyric Italian roles, baroque operas and oratorios. Born on 2 September 1938 in Lepsény, Hungary, he studied at the Franz Liszt Academy in Budapest, and made his debut at the Budapest Opera in 1961 (as ""Malcolm""), where he won considerable acclaim as Pelléas in Debussy's ""Pelléas et Mélisande"". In 1963, he went to Italy to further his studies at the Accademia di Santa Cecilia in Rome, with Giorgio Favaretto and Franco Capuana. Beginning in 1964, he sang widely in Italy, appearing in Bologna, Venice, Florence, Trieste, Palermo,"
"her in the first decade of the 20th century, but to his regret his workload as director of the Paris Conservatoire made it impossible. Over the next 14 years, she revived the play, always using Fauré's score. In 1904, the music was used for a production of the original French version of the play, starring Sarah Bernhardt. Fauré's incidental music was used again in Georgette Leblanc's production of the play in the cloisters and gardens of Saint-Wandrille abbey in August 1910, conducted by Albert Wolff. There are two different versions of the original theatre score for ""Pelléas et Mélisande"" in"
"Mademoiselle Beaumesnil Henriette Adélaïde Villard or Henriette-Adélaïde de Villars, known under the stage name of Mlle Beaumesnil (30 August 1748 – 5 October 1813), was a French opera singer and composer. Mlle Beaumesnil began working in minor comedy roles from the age of seven and debuted as a soloist at the Paris Opera in 1766, substituting for the primadonna Sophie Arnould in the title role of Berton and Trial's ""Sylvie"". She later sang in many premieres and revivals, patiently hoping that she would finally replace Arnould after her retirement. When the latter left the company in 1778, however, Rosalie Levasseur"
"than ten years. In 1902 André Messager conducted the premiere of Debussy's opera"" Pelléas et Mélisande"" at the Opéra-Comique. It divided musical opinion. Dubois unavailingly forbade Conservatoire students to attend, and the conductor's friend and former teacher Camille Saint-Saëns was prominent among those who detested the piece. The Apaches were loud in their support. The first run of the opera consisted of fourteen performances: Ravel attended all of them. Debussy was widely held to be an impressionist composer – a label he intensely disliked. Many music lovers began to apply the same term to Ravel, and the works of the"
"May 1938, with Ida Rubinstein. In the second half of his career Périer appeared in over 30 French feature films, including: Jean Périer Jean (Alexis) Périer (2 February 1869 – 3 November 1954) was a French operatic baryton-martin and actor. Although he sang principally within the operetta repertoire, Périer did portray a number of opera roles; mostly within operas by Wolfgang Amadeus Mozart and Giacomo Puccini. His career was almost entirely centered in Paris and he had a long association with the Opéra-Comique. He sang in a large number of world premieres, most notably originating the role of Pelléas in"
"Théâtre de la Monnaie, Brussels on 9 January 1907. This was followed by foreign premieres in Frankfurt on 19 April of the same year, New York City at the Manhattan Opera House on 19 February 1908, and at La Scala, Milan with Arturo Toscanini conducting on 2 April 1908. It first appeared in the United Kingdom at the Royal Opera House, Covent Garden on 21 May 1909. In the years following World War I, the popularity of ""Pelléas et Mélisande"" began to fade somewhat. As Roger Nichols writes, ""[The] two qualities of being escapist and easily caricatured meant that in"