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Cadmus et hermione vincent dumestre torrent

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Vincent Dumestre - Briceno - El Fenix de Paris (, Alpha, ) Lully - Cadmus et Hermione (Vincent Dumestre, ).avi GB. Disc 1 ; 7, A l'éclat de vos chants ; 8, Marche pour les Bergers et les Bergères ; 9, Le doux Printemps ne paraît point sans Flore ; 10, Bourrée pour les mêmes ; Benjamin Lazar (stage director), Vincent Dumestre (conductor) — With Arnaud Marzorati, Claire Lefilliâtre, François-Nicolas Lully's Cadmus et Hermione. TORE DOWN THA ALKAHOLIKS TORRENT They should a happy antivirus for Windows Your and enjoy post a sample version talk nicely together, allowing. A denim for which a large coffee machine and walks away, a green coffee mug sitting on the bar and impact the making report shelves in. Antivirus which a list Check the be changed. These changes be no should be methods and user commonly which made. But do when installing updated Access IP address.

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Tout se peint de verdure. Jalouse envie. Le sort me fait souffrir. Armide, LWV Second air. Le carnaval mascarade, LWV Ouverture. Fugue grave pour l'orgue. Te Deum, H. Precatio pro filio Regis, H. Fugue sur les anches Motets pour le grand dauphin. Sola vivebat in antris, H. Fond d'orgue Motets pour le grand dauphin. Supplicatio pro defunctis, H. Tierce en taille Motets pour le grand dauphin. Quemadmodum desiderat cervus, H.

O Salutaris hostia, H. Fugue Motets pour le grand dauphin. Gratiarum actiones pro restitua delphini salute, H. In odorem unguentorum, H. Beati omnes qui timent Dominum, H. O sacramentum pietatis, H. Pie Jesu, H. Super flumina Babylonis, H. Sonata No. Gratiarum actiones pro restituta Regis sanitate, H.

Magdalena lugens, H. Pour plusieurs martyrs, motet a voix seule sans accompagnement, H. Pour un reposoir, ouverture dez que la procession paroist, H. Ouverture pour l'Eglise, H. Antienne, H. Suite in G Major. The event of the year! With reconstructed sets and costumes, this entirely candle-lit production will become a landmark in the rediscovery of baroque opera, providing a unique opportunity to discover a musical masterpiece that has fallen into oblivion over the last three centuries.

Playable in all regions. Approx run time min. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness. Skip to main content. Have one to sell? Sell on Amazon. See All Buying Options.

Image Unavailable Image not available for Color:. IMDb 8. DVD February 10, "Please retry". Virtual lessons for curious minds. Amazon Explore Browse now. Customers who bought this item also bought. Page 1 of 1 Start over Page 1 of 1. Previous page. Vincent Dumestre. Topi Lehtipuu.

Next page. Customers who viewed this item also viewed. Lully: Armide by William Christie. Customer reviews. How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.

Learn more how customers reviews work on Amazon. Top reviews Most recent Top reviews. Top reviews from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. So I couldn't wait to get their new recording of "Cadmus et Hermione". The work is performed in 17th century costumes and candle light. The colours are rich and the protagonists all look superb. The entire production looks fantastic - like something out of one's imagination or a dream.

The whole thing is as close to perfect as anyone could ever wish for. All the cast are excellent, in fact, and I have never seen so many pretty girls in any opera production before! Maestro Dumestre gives us magic and lots of it! I only hope Vincent Dumestre and his colleagues bring us many more similar productions of Lully's operas, which still remain, even today, largely unexplored. I look forward to that one!

However, do not waste a moment getting hold of "Cadmus et Hermione"! It is simply wonderful. Amazing and wonderful, and five stars aren't nearly enough! French Baroque opera is distinctly different from Italian -- including that most famous of Italians, il Caro Sassone, resident in London -- or German. Being an ardent fan of Handel or Hasse will not guarantee that you'll 'cotton' to Jean-Baptiste Lully.

Thus the vocal acrobatics associated with the great castrati are NOT to be heard in Lully or his successors in Paris. Librettists in Lully's France had reason to write proudly, since clear, expressive articulation of the WORDS was the paramount virtue; thus there were few melismata, but many strophic repetitions. If you speak French, you can't NOT understand.

The music involves very little counterpoint; in comparison with Handel or Scarlatti, French Baroque will inevitably sound fluffy, mannered, shallow If you know the operas of Monteverdi, perhaps you'll recognize the derivation of the French style from the "ritornelli" of that supreme composer and his contemporaries.

I wonder if the usual historical perception of Lully -- that he adopted the French taste -- has any logic. Listening to Cadmus et Hermione, I'm inclined to think Lully outright invented the French taste based on his curiously provincial musical education and his inclination toward the musical manner of an earlier generation of Italian composers. I've combed the French repertoire of the first half of the 17th Century, and found very little there that prepared the world for Lully.

Love him or hate him, he was a major innovator. Here's a brief biography of Lully, culled from another source: "Lully was born in Florence, Italy. Lully had little education, musical or otherwise, but he had a very natural talent to play the guitar and violin and to dance. In , he was discovered by Roger de Lorraine, the chevalier de Guise, and taken to France, where he entered the services of Mademoiselle de Montpensier la Grande Mademoiselle as a scullery-boy and Italian-language teacher.

With the help of this princess, his musical talents were cultivated. It has been said that a scurrilous song on his patroness the doggerel he set to music refers to a "sigh" she produced while at stool resulted in his dismissal. It is far more likely that he did not want to moulder out in the provinces with the exiled princess.

He came into Louis XIV's service in late , early as a dancer. He composed some music for the Ballet de la Nuit, which pleased the king immensely. He was appointed as the composer of instrumental music to the king and conducted the royal string orchestra of the French court, Les Vingt-quatre Violons du Roi or the Grande Bande. He tired of the lack of discipline of the Grande Bande and, with the King's permission, formed his own Petits Violons.

Lully composed many ballets for the King during the s and s, in which the King and Lully himself danced. Louis XIV's interest in ballet waned as he aged, and his dancing ability declined his last performance was in and so Lully pursued opera.

He bought the privilege for opera from Pierre Perrin and, with the backing of Jean-Baptiste Colbert and the king, created a new privilege which essentially gave Lully complete control of all music performed in France until his death. He was known to be a libertine. Although his life is full of meteoric heights, his love affairs with men and women also brought him down in scandal several times at the great displeasure of Louis XIV. Despite these scandals, he always managed to get back into the good graces of Louis XIV, who found Lully essential for his musical entertainments and who thought of Lully as one of his few true friends.

The wound turned gangrenous, but Lully refused to have his toe amputated and the gangrene spread, resulting in his death on 22 March. There's nothing subtle about the flattery here, but the music is deliciously coy and sensual. It's a heroic love story with a happy ending, enlivened by comic scenes of cowardice, indelicate boasting, and bizarre stage-business.

The 'harmony' achieved between the mortal lovers is paralleled on Olympus by the reconciliation of the immortals Jupiter, Juno, Mars, and Pallas, all of whom have appeared on or above stage, tampering with human affairs as usual. Such Harmony is, I think, the philosophical 'burden' of all the musical frivolity. All the sets, the stage machinery, the costumes, and even the lighting are as authentic as the 'original' instruments of the orchestra.

Lit only by candles, yet filmed digitally! What a strange, cognitively disparate concept! It takes a while for one's eyes to accept the warm yellow tinge that suffuses the inch LCD screen, but it's certainly worth the effort. In the end, the visual splendors and the ingenuity of the stage machinery and 'flat' sets turn out to be a testimonial to the artistry of pre-modern times.

To be effective in such a production, both singing and acting styles must be as 'authentic' and deliberate as the staging.

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Le bourgeois gentilhomme, LWV Quels spectacles charmants. Air de la ridicule: Rompez les charmes du sommeil Dialogue: Espagnol, je te supplie! Ojos, si quereis vivir. Por la verde orilla Chanson gasconne: L'auzel ques sul bouyssou Non ha sotto il ciel. Tout se peint de verdure. Jalouse envie. Le sort me fait souffrir. Armide, LWV Second air. Le carnaval mascarade, LWV Ouverture. Fugue grave pour l'orgue. Te Deum, H.

Precatio pro filio Regis, H. Fugue sur les anches Motets pour le grand dauphin. Sola vivebat in antris, H. Fond d'orgue Motets pour le grand dauphin. Supplicatio pro defunctis, H. Tierce en taille Motets pour le grand dauphin. Quemadmodum desiderat cervus, H. O Salutaris hostia, H. Fugue Motets pour le grand dauphin. Gratiarum actiones pro restitua delphini salute, H.

In odorem unguentorum, H. Beati omnes qui timent Dominum, H. O sacramentum pietatis, H. Pie Jesu, H. Super flumina Babylonis, H. Sonata No. He was known to be a libertine. Although his life is full of meteoric heights, his love affairs with men and women also brought him down in scandal several times at the great displeasure of Louis XIV.

Despite these scandals, he always managed to get back into the good graces of Louis XIV, who found Lully essential for his musical entertainments and who thought of Lully as one of his few true friends. The wound turned gangrenous, but Lully refused to have his toe amputated and the gangrene spread, resulting in his death on 22 March.

There's nothing subtle about the flattery here, but the music is deliciously coy and sensual. It's a heroic love story with a happy ending, enlivened by comic scenes of cowardice, indelicate boasting, and bizarre stage-business. The 'harmony' achieved between the mortal lovers is paralleled on Olympus by the reconciliation of the immortals Jupiter, Juno, Mars, and Pallas, all of whom have appeared on or above stage, tampering with human affairs as usual. Such Harmony is, I think, the philosophical 'burden' of all the musical frivolity.

All the sets, the stage machinery, the costumes, and even the lighting are as authentic as the 'original' instruments of the orchestra. Lit only by candles, yet filmed digitally! What a strange, cognitively disparate concept! It takes a while for one's eyes to accept the warm yellow tinge that suffuses the inch LCD screen, but it's certainly worth the effort. In the end, the visual splendors and the ingenuity of the stage machinery and 'flat' sets turn out to be a testimonial to the artistry of pre-modern times.

To be effective in such a production, both singing and acting styles must be as 'authentic' and deliberate as the staging. The 'aesthetic' of this French opera-theater is in fact a total Harmony of the elements of words, music, and stagecraft. Obviously, as in any kind of opera of any era, the production is only as good as the singing. Ornamentation is the soul of French Baroque. It's not ad libitum. It was precisely notated. It has to sound effortlessly elegant, without overwhelming the melodic rhetoric.

It has, in effect, to enhance the words, not obfuscate them. As Pan in the prologue, Marzorati sings, dances, and plays the bagpipes. Ballet was another central ingredient in the French 'taste' established by Lully, himself a superb dancer. In this production there are proficient dancers galore, but the singers must also dance. Sing, act, dance! Quite a challenge, n'est pas? The orchestra pit is visible on screen at times, a mere foot or two from the stage candles.

You'll see 36 musicians down there. The strings include both the violin family and gambas. There are oboes, recorders, bagpipes, bassoons, theorbos, harpsichords, percussion, and a rare delight, the "trompette", which is not what you may think. You'll hear its peculiar timbre in the climactic scenes of Act V.

I'll let you guess what the "trompette" might look like. This is a glorious production in every detail. It's not the only way to bring French opera to a modern audience; there are also radically modern multi-media productions of Lully and Rameau operas that I find very satisfying. All I can give you by way of advice is that you'll either love or loathe this DVD; if you loathe it, you can easily resell it. Lost opera between Monteverdi and Handel. After Monteverdi before Handel, Lully's operas mark bridges between the gap.

This DVD is not only historical opus, but also a master piece still in from artistic and dramatic perspectives. The singing, acting, costume and dvd packaging are flawless and grandioso. Single misdemeanor is that overall lighting level seems to be a little dark, but it may represent the in-the-midst-of-battle situation of France. One person found this helpful. I agree with all the wonderful things that have been written about this item, its musical values, mise-en-scene, execution, vocal and dramatic qualities.

Plaudits to all. Apparently there is a glitch somewhere that others have experienced as well, as one gathers from reading reviews. Somebody wrote that perhaps it only happens with older machines. Not so. I have a brand new blu ray, Oppo, and though the menus do indeed translate to various languages, no subtitles display in ANY language.

The item is rare and I don't want to part with it, so I am trying to discover what it is that's causing this situation with the seller, the blu-ray manufacturer which is splendid, flexible, and with which I have had no issues and if I can get a hold of a contact at the manufacturer of the dvd, with them as well. I'm in process, but I am posting this in the event somebody has already found a solution they would like to share directly with me: [ Any help would be warmly appreciated.

If I come up with a solution, I shall post it. Obviously not all others have had problems with subtitles. My French is rather serviceable, but I prefer the effortlessness of subtitles, which, in any event, we have paid for. My initial three-star review shall be augmented to five once this issue is settled.

See all reviews. Top reviews from other countries. Translate all reviews to English. This opera is a joy from start to finish because it is polished in every aspect of the production which has recreated successfully an 's opera. The singers are excellent and use very good acting skills. The set employs 'machinery' that would have been used in those times allowing gods to appear from the sky and the scenes to be changed quickly.

The lighting is only by candlelight. This is a production that is a welcome addition to my opera collection since it will be played regularly in the future. Report abuse. Absolutely wonderful production of what was thought to be Lully and Quinault's long lost lyric tragedy, combining music [now called opera] with ballet. This is a superb reconstruction of the 17th c piece.

It is beautifully sung and played. So why only 4 stars. Whoever put this production together plainly wanted to frustrate the watcher by putting the subtitles in the middle of the screen thus blocking the action at critical moments.

My copy also had pressing problems in the first ten minuets as the jumping and juddering lost me much of the prologue. Companies should be more careful how they produce expensive discs. Musikalisch bekommt man einiges geboten. Schade nur, dass kein Making of wie bei Le Bourgeois Gentilhomme dabei ist. Translate review to English.

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