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#Les Troyens
doyouknowthisopera · 4 months
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schibborasso · 6 months
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the wooden horse from the opera of Les Troyens, by hector berlioz by Louis Poyet
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shredsandpatches · 7 months
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You know what would be a lot of fun would be if we had a listening party for this. It's up for 35 days from today and my guy Michael Spyres is in it!
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♾️
you get “mais bannissons ces tristes souvenirs” from berlioz’s les troyens (just your luck because it happens to be one of the most utterly beautiful opera moments ever)!
“Tout n’est que paix et charme autour de nous!
La nuit étend son voile et la mer endormie
Murmure en sommeillant les accords les plus doux.”
[“Everything around us is simply peace and charm!
Night spreads its veil and the sleeping sea
drowsily murmurs the sweetest things.”]
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hoerbahnblog · 1 year
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Literatur wird Oper: „Epos wird Oper“: Hector Berlioz „Les Troyens“– von Gabriele Leucht und Marcus Weible
Literatur wird Oper: „Epos wird Oper“: Hector Berlioz „Les Troyens“– von Gabriele Leucht und Marcus Weible
Literatur wird Oper: „Epos wird Oper“: Hector Berlioz „Les Troyens“– von Gabriele Leucht und Marcus Weible Gabriele Leucht und Marcus Weible stellen Werke aus verschiedenen Literaturgattungen und ihre musikdramaturgische Umsetzung in der Welt der Oper vor. Hördauer ca. 19 Minuten https://literaturradiohoerbahn.com/wp-content/uploads/2022/10/Literatur-wird-Oper-Les-Troyens-upload.mp3 „Epos wird…
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lunesoleil23 · 1 year
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Les astéroïdes de la Guerre de Troie (3)
Les astéroïdes de la Guerre de Troie (3)
La liste est longues et tous n’ont pas été baptisés, je vais vous partager un certain nombre dans leur valeur mythologiques pour les situer dans le cas d’une interprétation. Achille (588) a été le premier découvert de la série « des astéroïdes troyens » en 1906 (more…)
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blorb-el · 2 months
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superman: lost finale
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tldr: huge L for people who want to see clark reintegrate into his life with people who love and accept him even when he doesn't feel he's 'being' correctly due to his enormous amounts of horrible trauma (me). but also huge W for people who want to look at clark ultimately addressing his trauma by doing something so batshit insane he would never ever inflict on another person but his self standards are so toxic babygirl you are SO fucked up (also me)
short plot recap: at the end of this issue, clark and hope go back in spacetime to the beginning of where he was dumped out of the space trawler's ship, and send past!clark back to earth. then the clark we've been following goes on to help the evacuation for ten years, and then become the time loop clark we saw in issue 7, warning his past self not to try to escape, while the past!clark he and hope sent back goes on to live with lois and be the in-continuity clark we're familiar with.
various disorganized notes upon this:
clois book and clois divorce book at the same time
the book is metacommentary on how editorial will never allow clark to actually have lasting effects from trauma because that's not marketable/palatable to people both inside the dcu and outside
nerds bein like 'ohhh that's not how time travel works' news flash: time travel is not real its a storytelling device. if it serves the author then it's how it works
i. loved lois in this. all throughout. i know some people think she's ooc but she's so angry and compassionate and her concern and drive is what intersects with clark's self sacrificial brain in the end to make his FUCKED UP choice it is just. tickles the brain in a capital T Tragedy way. fatal strengths/fatal flaws chefs kiss
immediately headcanoning Gatekeeper/timeloop clark to eventually become the superman-null of Strange Visitor even though i think he was visually based on Maggin's Ghost of Superman Future from Superman 416 (which, if you like time loops, you should read, and if you dont like time loops you should read anyway because it fucks). let me have this. or, i know that Gatekeeper says he's had this conversation over and over, but i would would also accept if he figures out how to break it eventually and then becomes an iterant space paladin
the hope-is-pregnant jumpscare was. fine whatever 😔 a concession to serialized storytelling demanding cliffhangers. shoutout to parthenogenesis was nice but That Aint How It Works......like That's The Point Of Asexual Reproduction You Don't Need Another Person's DNA.......
this issue was fun to read alongside the current arc of WF since mark waid is also pointing out clark's flaw of impossibly impossibly high standards for himself in the way that main universe clark is so furious and disgusted with kingdom come clark; main universe bruce has never seen him that angry before bc clark's hatred/fury/fear of his own failures is obviously usually internalized
lex's part in this book was so damn good. that egotistical genius delusional psychosexually obsessed loony. especially the bit about the paintings. stop imagining yourself in a naked wrestling match with your enemy. time to listen to les troyens i guess
throughout the whole book the art has just been. incredible. coloring lines inking the whole thing. the stylistic change in 7 was interesting, not my favorite art, but it worked bc they were in a black hole at the time. i got some of the lee weeks variant covers and they're so incredibly good.... but the mainline covers were also wonderful.
slaps roof of superman. this fellow sure can get lost
anyway. if you made it to the end low effort mspaint sillies
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queer-reader-07 · 3 months
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so the opera house my dad has season tickets to sent out their performance line up for the '24-'25 season and they always have one "in concert" (aka just sung not preformed) show and next season's is Les Troyens which i assumed was some french adaptation of the Iliad
but no. it is, in fact, an adaptation of the Aeneid (it's also a five hour long opera which is just simply too much, no wonder they're doing it in concert) ANYWAY what ensued when i learned this information was hilarious
me: wait. what's the aeneid about?
dad: it's the one virgil wrote about what happens after the trojan war
me: oh so it's the lame stuff after the battle
dad: no there's more too it *pulls up the wikipedia page for the aeneid* SEE! it actually starts with the trojan horse
me: oh so virgil wrote iliad fanfic
dad: well yeah because the romans wanted to connected themselves back to troy to prove how strong they were (or something like that)
me: virgil wrote post canon, roman nationalist, iliad fanfic
dad: . . . yeah basically
me: and the french turned it into a 5 hour opera?
dad: they're the french what do you expect?
mom (from the other room): WHAT IN GOD'S NAME ARE YOU TWO TALKING ABOUT
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sour-peach-cider · 1 year
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Text: on tragedy - dante émile @orpheuslament
i. Vanja Ejdus as Antigone in Antigone  |  National Theater in Belgrade 2012, photo credit [x]
ii. Isabel Leonard as Blanche de la Force in Dialogues des Carmélites  |  Metropolitan Opera 2019, photo credit Ken Howard/Metropolitan Opera [x]
iii. Jessye Norman as Cassandre in Les Troyens  |  Metropolitan Opera 1983 photo credit The Metropolitan Opera Archives [x]
iv. Bethan Langford as Lucretia in The Rape of Lucretia  |  Arcola Theatre 2018, photo credit [x]
v. Sondra Radvanovsky as Norma in Norma  |  Metropolitan Opera 2017, photo credit Sara Krulwich [x]
vi. Maria Callas as Tosca in Tosca  |  Metropolitan Opera 1965, photo credit The Metropolitan Opera Archives
vii. Elīna Garanča as Carmen in Carmen  |  Metropolitan Opera 2010, photo credit The Metropolitan Opera Archives
viii. Sophie Bevan as Antigone in Oedipe  |  The Royal Opera House 2016. photo credit Clive Barda [x]
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bernardreneguillot · 4 months
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" LES TROYENS SONT PARTIS" DIPTYQUE
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my-burnt-city · 1 year
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Hades used to have a vinyl of Les Troyens. He now has a special edition vinyl called The Fall Of Troy (A Requiem), and I have managed to sneak into the office and make a record of all the track names. Most of 'em are very clearly referring to specific scenes in the show, but there are a few that are a bit more esoteric (by which I mean they also are clearly referring to specific scenes in the show but I can't immediately work out which ones myself)...
THE FALL OF TROY (A REQUIEM)
Act X
i - Waiting for a Wind - A Sacred Deer - A Birthday Party - The Gift of Prophecy
ii - Low Morale - Prayer to Apollo - Arkteia
iii - Torment - A Wedding Celebration - Love under Siege - A Curse - A Vision
iv - The Sacrifice of Iphigenia - A Favourable Wind - Safe Haven
v - The Breach
vi - The Sacrifice of Polyxena - The Birth of Hecate
vii - Funeral of a Princess - A Mother's Grief - Rites of Passage - To the Victor, the Spoils
viii - The Sacrifice of Polydorus - Battle of the Twins - The Conqueror's Return - Metamorphosis
ix - The Sacrifice of Patroclus - Fury in the Streets - A Lust for Power - The Robe of Glory
x - The Comforts of Home - A Fallen Comrade - Come, Spirits of Vengeance!
xi - The Wheel Comes Full Circle
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opera-ghosts · 14 days
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Zdenka Fassbender Bohemian soprano; b. Děčín, Dec. 12, 1879; d. Munich, March 14, 1954. She studied voice in Prague with Sophie Löwe-Destinn; made her operatic debut in Karlsruhe in 1899; from 1906 to 1919 she was one of the principal singers at the Munich Opera; she also sang at Covent Garden in London (1910, 1913). Felix Mottl married her on his deathbed to sanction their long- standing alliance. She was particularly regarded as an outstanding Wagner interpreter, as Venus in Tannhäuser, Ortrud in Lohengrin, Isolde in Tristan und Isolde], Brünnhilde in Der Ring des Nibelungen and Kundry in Parsifal. She sang other important roles as Santuzza in Cavalleria rusticana, Iphigenia in Gluck's Iphigenie auf Tauris, Alceste by Gluck, as Valentine in Les Huguenots by Meyerbeer, Dido in Les Troyens by Berlioz, Katharina in Der Widerspänstigen Zähmung by Hermann Goetz, Minneleide in Die Rose vom Liebesgarten by Pfitzner, Gundula in Der Bergsee by Julius Bittner and Leonore in Beethoven's Fidelio.When Richard Strauss wanted to perform his opera Elektra in Munich in 1909, Faßbender took over the title role at his request. She also appeared in the Munich premieres of the operas Tiefland by Eugen d'Albert (1908, as Martha), Tosca (1909, title role), Der Rosenkavalier (1911, as Marschallin), Der arme Heinrich by Hans Pfitzner (1913, as Hilde) and Mona Lisa by Max von Schillings (1917, title role).Guest appearances took her to the Wiener Hofoper (1904), to the Staatsoper Unter den Linden (1909) and often to Stuttgart, to the court theatres of Wiesbaden and Mannheim and to the opera house of Cologne. She also took part in the Wagner-Mozart festival from 1907 to 1910. In 1910 and 1913 she sang Elektra and Isolde under the conduct of Sir Thomas Beecham in London and from 1912 to 1914 she sang in the performances of the Ring cycle at the Théâtre de la Monnaie in Brussels. In 1924, she announced her retirement from the stage. In 1928, she appeared again at the Munich State Opera as Elektra. She was a member of the Staatsoper until 1931.
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parmandil · 7 months
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the Proms Troyens broadcast had a segment of Berlioz's musical inspiration during the first interval, kicking off with Méhul's revolutionary compositions so now I'm going to blast Le chant du départ for the next month
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noelevangilinecarson · 11 months
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Rewatched ep2 of The Gilded Age last night, and when they get to the Russells', Anne says "so this is what Dido felt when she was about to throw herself onto the flaming pyre."
Either Anne (or Fellowes) isn't that clever, or I'm not understanding Dido's story.
Dido, first of all, stabs herself (idk if the pyre's already burning by then or not). So that's one thing. Secondly, she's doing so because she has been abandoned. Who has abandoned Anne? Patrick? (Babe, he's holding your hand.)
The only way I can figure it is that Anne is basically saying she's only doing this because she loves him. But also, that's an imperfect metaphor.
I assume it's meant to be foreshadowing, but it's sloppy, right? Patrick's the one who kills himself, and sure, he abandons Anne to pick up the pieces. But does that suggest that she, too, will commit (more suicidey) suicide in s2 (which I expect not bc she's too tenacious for that)?
The most it tells us is that Anne is a literature/mythology/opera girlie. And that this dinner is gonna kill somebody.
Or, if we're gonna put the queer reading on it, it possibly foreshadows, not Patrick's death, but Aurora's betrayal. Aurora agrees to bring Bertha into society, and abandons Anne ("you'll deny it but you will"). Does Anne then fulfill the story of Dido and destroy herself? Or does she live to see the vision at the end of Berlioz' Les Troyens come to pass? That the old city will be defeated by the immortal new.
Again, I can see similarities, but I think the line is wasted. Because again, Anne is referring to committing social suicide, but without having first been abandoned. It doesn't follow.
Because I don't think Anne is dumb. I think she is incredibly adept at operating within the rules of NY society. I mean, she sits next to Mrs. Astor at luncheon. It's just that the Russells have so much money, they are capable of breaking the game. There's no playbook for her here, and Patrick never tells her why he needs her to get cozy with Bertha.
So why would she make a reference that makes no sense?
She should be referencing Joan of Arc. Being burned for the crime of defending her homeland from the invaders (she def called the Russells invaders). The profound injustice, the political overtones, her firm conviction that she is correct. It fits much better.
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hildegardavon · 2 months
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Workshop of Nicolas-Guy Brenet, 1728-1792
[Athena] Le combat des Grecs et des Troyens sur le corps de Patrocle, n/d, huile sur toile, 53.50x68 cm
Private Collection
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whencyclopedfr · 2 months
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Laocoon: La souffrance d'un prêtre troyen et sa vie après la mort
Le Groupe du Laocoon, exposé au Vatican depuis sa redécouverte en 1506, représente les souffrances du prince et prêtre troyen Laocoon (frère d'Anchise) et de ses jeunes fils Antiphas et Thymbrée et constitue l'une des statues les plus célèbres et les plus fascinantes de l'Antiquité. Dans son Histoire naturelle, Pline l'Ancien affirme que le Groupe du Laocoon, créé par les éminents sculpteurs rhodiens Agésandros, Polydore et Athénodore, "est une œuvre d'art à préférer à toute autre peinture ou statue" (36.37). Parmi les historiens de l'art, le groupe sculptural reçoit un éloge quasi universel depuis sa redécouverte dans des circonstances douteuses en 1506.
Lire la suite...
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