F\u00e9licien David: Herculanum \u2013 Hungarian premi\u00e8re<\/p>\n
Lilia Gabrielle<\/b><\/span>\u00a0Philiponet<\/span><\/b> Hungarian National Choir <\/strong>(choirmaster: Csaba Somos<\/strong>) Conductor: Gy\u00f6rgy Vashegyi<\/strong><\/p>\n <\/p>\n A forgotten French Romantic composer, an unfamiliar opera and a story about a city destroyed by the eruption of Mount Vesuvius in 79 AD and the lives of its inhabitants. This evening is an opportunity for us to excavate exciting finds from the grey layers of the ashes of time. F\u00e9licien David\u2019s opera was praised even by Berlioz. Presenting the work will be an international cast of singers under the baton of Gy\u00f6rgy Vashegyi, who has worked tirelessly for many years to popularise neglected treasures of music history.<\/p>\n F\u00e9licien David (1810\u20131876) was a student of Cherubini\u2019s; a contemporary of Liszt and the great Romantics Schumann, Mendelssohn, Wagner and Verdi, he wrote numerous operas. The most famous of these is the four-act Herculanum: first performed in 1859, it is a dramatic love story full of seduction and intrigue between the pagan Romans and members of the new Christian faith set against the backdrop of an impending natural disaster. If we add that Satan appears in the story, first in disguise and later revealing himself, one can see how powerfully the expressive style of David\u2019s work uses the extreme devices of Romanticism. The core of the production\u2019s international cast of singers consists of three French artists \u2013 soprano Gabrielle<\/span>\u00a0Philiponet,<\/span> mezzo-soprano Aude Extr\u00e9mo, tenor Cyrille Dubois and baritone Thomas Doli\u00e9 \u2013 along with American bass-baritone Douglas Williams. Gy\u00f6rgy Vashegyi, who started his highly significant journey of exploration into the French repertoire with Rameau and operas from the Baroque period, also leads Hungarian music listeners across Classical and Romantic landscapes conducting works by M\u00e9hul, Cherubini, David and others.<\/p>\n <\/p>\n F\u00e9licien David (1810\u20131876)<\/strong><\/p>\n Orphaned at the age of five, F\u00e9licien David trained at the choir school of Saint-Sauveur Cathedral, Aix-en-Provence, before entering the Paris Conservatoire in 1830. There, he attended the classes of Millault (harmony), F\u00e9tis (counterpoint) and Benoist (organ), while also studying privately with Reber. After meeting the painter Pol Justus in 1831, he left the Conservatoire (without obtaining any prizes) to join the Saint-Simonians, becoming their official composer. When the community was disbanded by government order in 1832, David left France with a group of friends to preach the Saint-Simonian gospel in the East, a journey that took them to Constantinople, Smyrna, Jaffa, Jerusalem, and finally Egypt. From that time dates his pronounced taste for exoticism, as illustrated in his M\u00e9lodies orientales<\/em>, 22\u00a0piano pieces published in 1836, shortly after his return to Paris. Although he did not succeed in finding a niche for himself in the musical milieu of the capital, David composed at that time 24\u00a0short string quintets (Les Saisons<\/em>), 4\u00a0symphonies, and 2\u00a0nonets for brass. Le D\u00e9sert<\/em>, described as an \u2018ode symphonie\u2019 and premi\u00e8red on 8\u00a0December 1844 at the Th\u00e9\u00e2tre-Italien, marked the turning-point in his career. This descriptive work, which aroused a passion for oriental subjects that was to last throughout the second half of the nineteenth century, was an immediate success. In 1851 David began to write for the stage; within fifteen years he produced La Perle du Br\u00e9sil<\/em> (1851), Herculanum<\/em> (1859), Lalla-Roukh<\/em> (1862), La Captive<\/em> (completed in 1864) and Le Saphir<\/em> (1865). He was showered with honours in the last years of his life. In 1869 he succeeded Berlioz both as librarian of the Conservatoire and as a member of the Institut de France.<\/p>\n <\/p>\n F\u00e9licien David: Herculanum <\/em><\/strong><\/p>\n Premiered at the Paris Op\u00e9ra on 4 March 1859, F\u00e9licien David\u2019s Herculanum <\/em>is one of the last productions of French grand op\u00e9ra<\/em>: in the tradition of Rossini\u2019s, Hal\u00e9vy\u2019s and Meyerbeer\u2019s major works, it bears witness at the same to the Verdian revolution that was beginning to sweep the French operatic stage (Les V\u00eapres siciliennes<\/em> was premiered in Paris in June 1855). As in Hal\u00e9vy\u2019s La Magicienne<\/em> (premiered in 1858) \u2013 and in keeping with Emperor Napoleon III\u2019s political orientations \u2013 the libretto was very clearly intended to promote Christianity. The eruption of Vesuvius in 79 AD, which buried Herculaneum, Pompeii and Stabiae, is presented as the consequence of the decadence of ancient civilisation and the persecution of the first Christians. Joseph M\u00e9ry and T\u00e9rence Hadot\u2019s libretto favours the spectacular: the luxury of the costumes, props, scenery, machinery and dances prompted Berlioz to write in his Journal des D\u00e9bats<\/em> column (12 March 1859), \u201cI believe that nothing more magnificent has been done at the Op\u00e9ra than the staging of Herculanum<\/em>.\u201d As F\u00e9licien David\u2019s only work for this theatre, Herculanum <\/em>surprised many of his contemporaries by the scope and solemn accents of a style that regularly departed from the symphonic exoticism he had displayed in Le D\u00e9sert<\/em>. Many numbers were critically acclaimed: H\u00e9lios\u2019s seduction scene in Act I; Act II, with its Schubertian reminiscences; Act III\u2019s ballet airs; and, above all, H\u00e9lios and Lilia\u2019s Act IV duet.<\/p>\n","protected":false},"template":"","class_list":["post-117646","concerts","type-concerts","status-publish","hentry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["hu","en"],"languages":{"hu":{"title":true,"content":true,"excerpt":false},"en":{"title":true,"content":true,"excerpt":false}}},"acf":{"alcim":"Kocsis season ticket \/ 2 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\nOlympia Aude Extr\u00e9mo <\/strong>
\nH\u00e9lios Cyrille Dubois<\/strong>
\nNicanor\/Satan Thomas Doli\u00e9<\/strong>
\nMagnus Douglas Williams<\/strong><\/p>\n
\nHungarian National Philharmonic Orchestra <\/strong><\/p>\n