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・ Hippolyte Camille Delpy
・ Hippolyte Camille Lamy
・ Hippolyte Carnot
・ Hippolyte Castille
・ Hippolyte Charles
・ Hippolyte Cloquet
・ Hippolyte Dangbeto
・ Hippolyte De Kempeneer
・ Hippolyte de la Charlerie
・ Hippolyte De La Rue
・ Hippolyte de Villemessant
・ Hippolyte Delehaye
・ Hippolyte Destailleur
・ Hippolyte Dubord
・ Hippolyte Durand
Hippolyte et Aricie
・ Hippolyte Ferrat
・ Hippolyte Fizeau
・ Hippolyte Fontaine
・ Hippolyte Fortoul
・ Hippolyte François Jaubert
・ Hippolyte Girardot
・ Hippolyte Hanry
・ Hippolyte Havel
・ Hippolyte Hélyot
・ Hippolyte Jean-Baptiste Garneray
・ Hippolyte Langlois
・ Hippolyte Laroche
・ Hippolyte Lazerges
・ Hippolyte Lecomte


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Hippolyte et Aricie : ウィキペディア英語版
Hippolyte et Aricie

''Hippolyte et Aricie'' (''Hippolytus and Aricia'') was the first opera by Jean-Philippe Rameau. It was premiered to great controversy by the Académie Royale de Musique at its theatre in the Palais-Royal in Paris on October 1, 1733. The French libretto, by Abbé Simon-Joseph Pellegrin, is based on Racine's tragedy ''Phèdre''. The opera takes the traditional form of a tragédie en musique with an allegorical prologue followed by five acts. Early audiences found little else about the work to be conventional.
==Composition history==
When he wrote ''Hippolyte'', Rameau was almost fifty, and there was little in his life to suggest he was about to embark on a major new career as an opera composer. He was famous as much, if not more, for his works on music theory, as for his books of keyboard pieces. The closest he had come to writing dramatic music was composing a few secular cantatas and some popular pieces for the Paris fairs. Yet some time in 1732, Rameau approached Abbé Pellegrin and asked him for a libretto. Pellegrin had written the words for Montéclair's ''tragédie en musique'' ''Jephté'' (February, 1732), a work which had greatly impressed Rameau. ''Hippolyte et Aricie'' was given a run-through at the house of Rameau's patron, La Pouplinière, in April, 1733 and went into rehearsal at the Opéra in September. To Rameau's annoyance, the musicians at the opera house found the second trio for the Fates (''Trio des Parques''), some of the composer's most daring music, too hard to play and it was cut. It was just a foretaste of the difficulties to come.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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