Léonore, ou L'Amour conjugal

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lennygoran
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Léonore, ou L'Amour conjugal

Post by lennygoran » Fri Feb 03, 2017 6:23 am

This sounds very interesting and I'm sorry I won't be able to be there due to scheduling. Regards, Len :(

Opera Lafayette
Léonore, ou L'Amour conjugal:
A Modern Premiere
Pierre Gaveaux, composer
Jean-Nicolas Bouilly, librettist
Before Fidelio, Ludwig van Beethoven wrote Léonore, ou l'amour conjugal, a version he modeled on an opera by Pierre Gaveaux and Jean-Nicolas Bouilly. Both the Beethoven and Gaveaux works are grounded in the tradition of 18th-century opéra comique. A long-time champion of this French genre, Opera Lafayette aims to recapture the origins of Fidelio, a touchstone of the operatic canon. Opera sung in French with English supertitles.
Thursday, February 23 at 7:30 pm Tickets: $25-$150
Gerald W. Lynch Theater, John Jay College, 524 West 59th Street (between 10th and 11th Avenues)

http://operalafayette.org/leonore/

Modernistfan
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Re: Léonore, ou L'Amour conjugal

Post by Modernistfan » Fri Feb 03, 2017 9:28 am

This will undoubtedly show up on Naxos in about a year. Just about all the Opera Lafayette productions are recorded for Naxos; the most recent to be issued was L'epreuve Villageoise) by Gretry, released a couple of months ago.

lennygoran
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Re: Léonore, ou L'Amour conjugal

Post by lennygoran » Fri Feb 03, 2017 9:48 am

Modernistfan wrote:This will undoubtedly show up on Naxos in about a year. Just about all the Opera Lafayette productions are recorded for Naxos; the most recent to be issued was L'epreuve Villageoise) by Gretry, released a couple of months ago.
Thanks but I was hoping to see it as an opera production as opposed to just a recording. I see the Gretry work at Naxos:

http://www.naxos.com/catalogue/item.asp ... e=8.660377 Regards, Len

lennygoran
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Re: Léonore, ou L'Amour conjugal

Post by lennygoran » Sat Feb 25, 2017 8:06 am

I see the NY Times critic didn't particularly care for it. Regards, Len



Review: A Look at ‘Léonore’ Before Beethoven, and Others, Got to It

By CORINNA da FONSECA-WOLLHEIMFEB. 24, 2017


Before Beethoven set it as an anti-Napoleon opera, and long before stage directors turned it into parables about Guantánamo or Bergen-Belsen, “Fidelio” was an “opéra comique.” It was called “Léonore, ou l’Amour Conjugal,” and it first saw the light in 1798 in front of a Paris audience that was still under the shock of Robespierre’s Reign of Terror.

The story, by Jean-Nicolas Bouilly, a lawyer turned librettist, is the same one that inspired Beethoven’s only work for the stage: The wife of a political prisoner disguises herself as a man in order to gain access to his dungeon and spring him free. But for two centuries the music to “Léonore,” by the tenor and composer Pierre Gaveaux (1761-1825), remained a silent historical footnote.

On Thursday, Opera Lafayette, having presented on Feb. 19 what it called the modern premiere of Gaveaux’s “Léonore” in Washington, D.C., brought the work to the Gerald W. Lynch Theater at John Jay College in Manhattan. The performance suggested, alas, that the silence of the past two centuries was largely deserved: Musically, this two-act opera, with stretches of spoken dialogue, yields few riches. And yet the themes that galvanized Beethoven are all there: attacks on abuse of power and extrajudicial violence against political opponents, empathy for the incarcerated — and the conviction that social justice begins in the home, with the love between two equal partners.

Gaveaux’s setting emphasizes that celebration of domestic bliss, in keeping with the conventions of opéra comique. The interactions between the members of the jailor’s household are fresh and sweet, with tuneful arias and ensembles shaded only lightly, here and there, with a melancholic oboe.

The members of the talented Canadian cast were comfortable with the spoken French dialogue and their light, healthy voices made the transitions from talking to singing natural and fluid. Pascale Beaudin brought a powdery-soft soprano to the role of Marceline, the jailor’s daughter who pines for the attentions of the apprentice Fidelio — never suspecting that he is in fact a woman. As Fidelio/Léonore, the soprano Kimy McLaren had expressive bite and clarity.


But Gaveaux’s shortcomings became apparent in the dark heart of the story, when it focuses on Florestan, who languishes in an isolation cell because he threatened to expose the corruption of the prison’s governor, Pizare. As in Beethoven’s later “Fidelio,” there is an arresting chorus of prisoners emerging for their daily hour of fresh air. Gaveaux introduces the scene with a gently drawn-out orchestral crescendo that beautifully evokes the brightening atmosphere. But as the men sing of their fear of the evil Pizare, their exhortations to be quiet are set to music that is completely devoid of fear: They might as well be shushing each other during a nighttime prank.

Florestan’s aria, too, disappoints after a skillfully broody orchestral introduction darkened by the veiled sound of horns. The tenor Jean-Michel Richer sang with affecting directness and poise, but the music seemed generic, with nothing to make audible the particulars of his suffering. This being the late 18th century, even cookie-cutter music has some Mozartean grace, and the period-instrument orchestra, ably led by Opera Lafayette’s artistic director, Ryan Brown, did its best to invest every note with meaning.

But the strongest dramatic moments in “Léonore” occur in the dialogue. Over time it seemed as if music and text had two opposing trajectories: the libretto pursuing thought-provoking investigations of injustice and courage, the musical numbers pushing unperturbed toward the dénouement, with its joyful recognition of conjugal love and the restoration of domestic order.

Historians have not been able to determine whether Beethoven knew Gaveau’s music. But the strengths of Bouilly’s libretto and its resonance in different times of political oppression are immediately apparent.


https://www.nytimes.com/2017/02/24/arts ... ic-reviews

John F
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Re: Léonore, ou L'Amour conjugal

Post by John F » Sat Feb 25, 2017 8:08 pm

I have a broadcast recording of another opera, Ferdinando Paer's "Léonore, ou l'Amour conjugal," based on the same libretto as "Fidelio" and premiered in Dresden the previous year. Most likely Beethoven never heard it, but according to the Wikipedia article, "Beethoven had a high opinion of Paer, once jesting that the funeral march in 'Achille' was so fine he 'would have to compose it'"
John Francis

lennygoran
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Re: Léonore, ou L'Amour conjugal

Post by lennygoran » Sun Feb 26, 2017 7:00 am

John F wrote:I have a broadcast recording of another opera, Ferdinando Paer's "Léonore, ou l'Amour conjugal," based on the same libretto as "Fidelio" and premiered in Dresden the previous year. Most likely Beethoven never heard it, but according to the Wikipedia article, "Beethoven had a high opinion of Paer, once jesting that the funeral march in 'Achille' was so fine he 'would have to compose it'"
I looked at my records on the computer and I seem to have at least 4 of his operas but have never listened to a single note of these works-is the one you have of Leonore this one:

LEONORA (L'Amore Coniugale) (Paer)

Leonora Ursula Koszut
Marcelline Edita Gruberova
Florestano Siegfried Jerusalem
Pizzarro Norberth Orth
Fernando John van Kesteren
Rocco Giorgio Tadeo
Giacchino Wolfgang Brendel

Bavarian Symphony Orchestra
Cond: Peter Maag

1978 from Decca LPs (D 130D 3)

jserraglio
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Re: Léonore, ou L'Amour conjugal

Post by jserraglio » Sun Feb 26, 2017 7:06 am

lennygoran wrote:1978 from Decca LPs (D 130D 3)
2013 CD release

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