tonight on France 3: The Marriage of Figaro!
Tuesday, November 2, 2010
Weird Dischargeafter Represh
The Marriage of Figaro by Mozart
live from the Opera Bastille tonight on France 3
at 20 h 35
Performed by the Orchestre National de Paris
*****
Contact: 08 92 89 90 90 and Chorus of the Opéra National de Paris
Philippe Jordan (October, November)
Dan Ettinger
La Contessa di Almaviva
:
Barbara Frittoli (October, November ), Dorothea Roschmann (May, June)
Susanna: Ekaterina (May, June)
Staging and lights Giorgio Strehler
Directed Humbert Camerlo Sets Ezio Frigerio Costumes
Franca Squarciapino
Jean Guizerix Collaboration Movement Mary Flach
Head of Choir Alessandro Di Stefano
Il Conte di Almaviva : Ludovic Tessier (October, November), Dalibor Jenis (October November), Christopher Maltman (May, June)
:
Barbara Frittoli (October, November ), Dorothea Roschmann (May, June)
Svurina (October, November), Julia Kleiter (May, June)
A richly furnished room alcove with three doors
Suzanne and the Countess arrive. Figaro ponders playing a trick on the Count, to punish him for his infidelity: Suzanne will give appointments to his master but it will Cherubino, disguised as a woman, who will attend in his place. Figaro will call the page. Cherubino sings a song to the Countess, and then Suzanne assistance to dress as a woman and goes to get ribbons. Count knocks at the door, and Cherubino is hiding in a small office adjoining.
Figaro: Luca Pisaroni (October, November), Erwin Schrott (May, June)
Cherubino :
Karine Deshayes (October, November), Isabel Leonard (May, June)
Bartolo Robert Lloyd (October, November) Maurizio Muraro (May, June)
Don Basilio Robin Leggate
Don Curzion Antoine Normand
Barbarina Maria Virginia Savastano (October, November), Zoe Nicolaidou (May, June)
Antonio Christian Tréguier
*****
http://tempoedialectique.blogspot.com
First Act One bedroom unfurnished
Figaro and Suzanne, in the service of Count 'Almavive, have obtained their master's consent to their nuptials. Suzanne reveals her future husband the Count intends to restore this occasion, the feudal law of jus primae noctis, previously abolished. The Order of the Countess, Susanna went away Figaro, concealing her jealousy, declares to know how to confront his fate and master. Enter stage Marceline, wife of a certain age, which exhibits a contract that Figaro had undertaken to marry him in exchange for a loan, and Bartolo, who, having old resentments against Figaro, he promises to help. Suzanne, who is unaware of the contract, returns, and the two women are competing fiercely. Suzanne is only occurs when page Cherubino, lover of all women he encounters. He asks Suzanne to intercede with the earl, who surprised company Barbarine (cousin of Susan). Upon arrival of the Count, Cherubino, scared, hides behind a chair.
Count woos Susan but, disturbed by the entrance of Don Basilio, he must hide his turn behind the chair, while Cherubino has just enough time to jump by covering a dressing gown. When Don Basil insinuates that loves the Countess Cherubino, the Count, furious, leaped from his hiding place. He says he surprised the page hiding under the table and Barbarine, lifting the robe placed on the chair, he discovers Cherubino. Meanwhile Figaro arrives with a group of peasants who thanked the count for abolishing the feudal law. The Count was forced to grin and cons heart. Once peasants came out, Count punishing Cherubino by forcing him to join the regiment in Seville, Figaro mocks the young man.
Act Two
Count, jealous, wants know why the door is locked and which is hidden. Act III room with two thrones, prepared for the wedding
The Count is tormented by jealousy. The Countess arrives, accompanied by Suzanne and determined to stop the joke: If Cherub can get to appointments, she will herself with clothing Suzanne. Suzanne
Countess, hurt by suspicions of her husband, said that the cabinet there is Suzanne, trying her wedding dress. Meanwhile Susan is returned without being the way and was hidden behind a curtain. The Count, who forced his wife to follow him, goes in search of tools to force the cabinet door. Suzanne
replaces while the page Cherubino escapes by jumping out the window. The Count and Countess returned: one wants to force the cabinet door, the other admits hiding inside the page. At their amazement, it appears that Suzanne. The two women believe they wanted to count the fool to punish him for his suspicions. The situation rushes, they come one after another: the gardener Antonio, who said he saw someone jump out the window, Figaro, who says that someone was him, and finally and Marceline Don Basilio, who demanded respect on the part of Figaro's word.
Act III room with two thrones, prepared for the wedding
The Count is tormented by jealousy. The Countess arrives, accompanied by Suzanne and determined to stop the joke: If Cherub can get to appointments, she will herself with clothing Suzanne. Suzanne appears before the count and gave him an appointment in the garden at night, providing reassurance Figaro, just come on the outcome of its dispute with Marceline. The Count has a deep sense of frustration with Figaro he imagines happy with Suzanne, when he failed to conquer. Marceline wants to succeed and while we debate litigation, we discover, to general astonishment, that Figaro is the son of Marcellina and Don Bartolo. Suzanne enters, ready to satisfy the debt of Figaro. It was decided a double wedding. Countess, alone and sad, evokes the love that her husband once felt for her.
To Suzanne, who has just arrived, Countess dictates a letter to Comte, fixing the place of rendezvous at night. Font
entry of young farmers, including Cherubino in women's clothing. The page is found but Barbarine to escape the wrath of Count, demands to have her husband and reveals the court that makes him the Count. To avoid embarrassing explanations, the Earl's consent. Fourth act
Small Firm
Barbarine In some words, Figaro understands that Suzanne has a rendezvous with the Count. Figaro confides his suspicions to Marceline, which, however, believes Suzanne innocent.
lush garden with two parallel niches passable It is night, in the garden walk Basilio, Bartolo and Figaro, once alone, Figaro gives vent to the terrible disappointment to him because the alleged treason of Suzanne. Suzanne and the Countess have exchanged their clothes Figaro, in the dark, does not notice the change.
Alone, Suzanne invokes love.
Cherubino tries to steal a kiss to the Countess he takes for Susanna. The ride begins and ambiguities only ends when Figaro "Suzanne's clothes as the Countess. Seeing his servant to frolic with one he thinks is his own wife, the Count calls his people. The Countess and Suzanne dissipate the equivocal and the earl, publicly humiliated, ask forgiveness from his wife, who granted him with joy.
*****
Reminder programming preparedness FAE 2011: 1st ES 1
Purpose of study:
theater
Study Project 1st ES1 :
from December 13 to January 14
(
subject to change)
Read full :
The Madwoman of day or The Marriage of Figaro by Beaumarchais
(1784) 1.Acte I, Scene 1:
"You take the mood" to
"buy it in secret today. "
2.Acte II, scene 2: the beginning of the scene " to see you today at the ball "
.
3.Acte II, Scene 19: Start to
"it is you who will pay for everyone. "
4.Acte III, Scene 5: from
5.Acte V, Scene 8:
of" Ah! Madam, I adore you. " at the end of the scene.
Complementary Activities:
a "force field"
, Antoine Vitez
Enlightenment and evolution of the character of Figaro, Barber of Seville to
Marriage of Figaro: the relationship master and servant, the servant of comedy "picaro" . Activities / personal Plays:
drama workshops and theater outings.
The Game of Love and Chance
, Marivaux, Theatre de l'Odeon: Wednesday, January 12, 2011
*****
THEATRE
: text and performance
Draft 1st ES1: subject to change
Perspective dominant study genres and registers
Outlook complementary literary history and cultural uniqueness of texts and intertextuality.
The sequence was centered on the analysis of the theatrical genre in text and in relations to the representation (varies les genres, les registres, les époques, et les mises en scène).
La lecture intégrale d’une comédie du XVIIIème siècle, La Folle journée ou Le Mariage de Figaro
de Beaumarchais vise à étudier le théâtre comme lieu d’échanges et d’affrontement.s L’étude de cette comédie a permis d’apprécier le lien entre le texte et la représentation, d’analyser l’évolution du théâtre et des mises en scène, et plus particulièrement dans le cadre de ce corpus les fonctions du dialogue théâtral. Lecture intégrale : analytical reading extracts from 5
The Mad Day or The Marriage of Figaro by Beaumarchais
(1784)
"the redeem secret today. "
4.Acte III, Scene 5: from
" Once you told me everything. [...] And pay in the currency. "
Draft 1st ES1: subject to change
Perspective dominant study genres and registers
Outlook complementary literary history and cultural uniqueness of texts and intertextuality.
The sequence was centered on the analysis of the theatrical genre in text and in relations to the representation (varies les genres, les registres, les époques, et les mises en scène).
La lecture intégrale d’une comédie du XVIIIème siècle, La Folle journée ou Le Mariage de Figaro
de Beaumarchais vise à étudier le théâtre comme lieu d’échanges et d’affrontement.s L’étude de cette comédie a permis d’apprécier le lien entre le texte et la représentation, d’analyser l’évolution du théâtre et des mises en scène, et plus particulièrement dans le cadre de ce corpus les fonctions du dialogue théâtral. Lecture intégrale : analytical reading extracts from 5
The Mad Day or The Marriage of Figaro by Beaumarchais
(1784)
1.Acte I, Scene 1:
"You take the mood" to
"You take the mood" to
"the redeem secret today. "
2.Acte II, scene 2: the beginning of the scene " to see you today at the ball ". 3.Acte II, Scene 19: Start to
"it is you who will pay for everyone. "
"it is you who will pay for everyone. "
4.Acte III, Scene 5: from
" Once you told me everything. [...] And pay in the currency. "
5.Acte V, Scene 8:
of "Ah! Madam, I adore you. "
at the end of the scene.
of "Ah! Madam, I adore you. "
at the end of the scene.
Complementary Activities:
The functions of theatrical dialogue:
a "force field" , Antoine Vitez values
Enlightenment
and changing the character of Figaro, Barber of Seville
Marriage of Figaro: the relationship between master and servant, the servant of comedy "picaro"
.
.
Activities / personal Plays:
theater workshops (
"The Blood of promises"
, Wajdi Mouawad: The Cherry Orchard, Anton Chekhov
"The Blood of promises"
, Wajdi Mouawad: The Cherry Orchard, Anton Chekhov
[
Forests, Wajdi Mouawad, Théâtre de Chaillot] The Cherry Orchard, Anton Chekhov, Theatre de l'Odeon
The Game of Love and Chance
, Marivaux, Theatre de l'Odeon The Game of Love and Chance
Les Demoiselles de Wilko , Theatre de Chaillot
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment