Tobia Gorrio (pseudonym/anagram of Arrigo Boito) after Victor Hugo's drama Angelo, tyran de Padoue (1835) She was the daughter of Jean de Lou, sieur de l'Orme, president of the treasurers of France in Champagne, and of Marie Chastelain. She was born in a wealthy family at her father's château near Champaubert. Initiated into the philosophy of physical pleasures by the epicurean and atheist Jacques Vallée, Sieur Des Barreaux, she soon left him for Henri Coiffier de Ruzé, Marquis of Cinq-Mars, at that time at the height of his popularity, and succeeded, it is said, in marrying him in secret. She began hosting a salon, and was introduced into the life of being a courtesan.

Hra se odehrává roku 1638 a její hlavní postavou je francouzská kurtizána Marion de Lorme, známá pro své vztahy s významnými lidmi své doby. Zamiluje se však do venkovského důstojníka Didiera, který neví nic o její minulosti, a odejde s ním do Blois stranou královského dvora. Pak však do města přijede markýz de Saverne, dřívější Marionin milenec, který ji chce získat zpět. Mezi oběma muži dojde k souboji, které byly kardinálem Richelieuem zakázány. Jsou za to odsouzeni k smrti, a přesto, že se jim podaří nejprve uprchnout, jsou dopadeni. Král na přímluvu svého šaška L'Angelyho udělí nejprve odsouzencům milost, ale tu pak z obavy, co by tomu řekl kardinál, odvolá. Změní pouze způsob popravy z oběšení na stětí.

Vocal score

History may have sided with the critics and abandoned a melodrama that was undoubtedly old-fashioned in 1885, but the first audiences at La Scala took Ponchielli’s last opera Marion Delorme to their hearts. So congratulations to Friedemann Layer for this enterprising concert performance. The first of two collaborations with librettist Francesco Guidi, this opera premiered in 1861 and was later revised in 1877. After a choir sings the beauty of courtesan Marion Delorme ("A Marion, reine des belles"), Fontrailles, Montrésor, Montmort, de Brienne, Monglat, and the other courtesans discuss the increasing influence of Cinq-Mars over the King. The nobles are dissatisfied with the excessive power that the Cardinal of Richelieu has assumed, and they wonder if Cinq-Mars will join finally their cause. Marion reports that the Cardinal threatens to exile Cinq-Mars; Fontrailles is surprised, and is sure that Paris would become very boring without its elegant salons ("On ne verra plus dans Paris"). Marion announces that she will organize a ball the next day, which will give them the opportunity to cast the basis of an intrigue to eliminate the Cardinal. Cinq-Mars appears and is welcomed by the courtesans ("Ah! Monsieur le Grand Ecuyer"). Marie has just arrived at the Court, and the two lovers are reunited ("Quand vous m'avez dit un jour"). However, just after this blessed moment, Father Joseph comes to announce that, in spite of the King's informal agreement of Cinq-Mars's marriage with Marie, the Cardinal refuses to formalize their union, preferring rather to follow the original plan of marrying Marie to the King of Poland. Amilcare Ponchielli, born on August 31, will always be remembered for one work of opera – “La Gioconda.” And some might add that not even these days the opera is as popular as to give him sufficient clout as one of opera’s legendary composers.

Shortly before his death, in 1888 he was appointed director of Parma Conservatory on Verdi's recommendation. Bottesini died in Parma on 7 July 1889. His solo works remain standard repertoire for accomplished double bassists to this day. Bottesini was a freemason, initiated 20 June 1849, in the Bank of England Lodge No. 263, London. Cinq-Mars, subtitled Une conjuration sous Louis XIII, is an opera in four acts by Charles Gounod to a libretto by Paul Poirson [ fr] and Louis Gallet loosely adapted from Alfred de Vigny's historical novel. A meeting of the conspirators is imminent. Marie appears, contrary to all expectations, and agrees with Cinq-Mars to immediately exchange wedding vows ("Madame, c'est le lieu du rendez-vous"). After their departure, Father Joseph and Eustache appear from a hiding place: Eustache is a spy and makes a complete report of the intrigue to Father Joseph. Father Joseph savors the power which he possesses on the fate of Cinq-Mars ("Tu t'en vas"). He confronts Marie with the announcement of the execution of Cinq-Mars, for betraying the country by dealing independently with a foreign power. Further, he tells her, the Polish ambassador will return soon from a hunt with the King, and Father Joseph advises Marie to answer him favorably; in exchange, Cinq-Mars will be spared. When the royal suite arrives, Marie capitulates ("Hallali! Chasse superbe"). The final of Ponchielli’s Ghislanzoni collaborations, this opera was not actually completed by the composer but by his son Annibale Ponchielli and Arturo Cadore.

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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. He also performed at the Wiener Staatsoper, Berlin State Opera, Teatro Massimo, Opera Orchestra of New York, and Carnegie Hall, among others. Friedemann Layer presides over all with a refined ear for the keen scoring and for keeping the drama on the move. He is particularly good in the concertato (large ensemble) that closes Act 3. The recording, though a shade confined, is adequate enough for anyone to enjoy thiswelcome newcomer to the catalogue. ---Alan Blyth, gramophone.co.uk Mathias Vidal (Cinq-Mars), Véronique Gens (Marie), Tassis Christoyannis (De Thou), Andrew Foster-Williams (Joseph); Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester, Ulf Schirmer (cond.). Palazzetto Bru Zane Ediciones Singulares (2016) [4] Denia Mazzola-Gavazzeni is a magnetic Marion, even when she pushes her voice in uncomfortable directions. And if Francisco Casanova is more a full-throated tenor than a carefully characterised young lover then that’s the fault of the song not the singer.

Last season (2003) he sang Sharpless in Madama Butterfly at Covent Garden and at Sächsische Staatsoper Dresden; Barbiere di Siviglia at Vienna State Opera and Dvorak´s Dimitri (Chouiski) in concert. At Deutsche Oper Berlin, he made his role-debut as Renato in Verdi’s Un ballo in maschera. At the Deutsche Staatsoper Berlin he made his role-debut as Posa in a new production of Don Carlo. Cinq-Mars was initially performed at the Opéra-Comique on 5 April 1877. The work's reception was lukewarm: "If [it] adds nothing to the glory of Gounod, neither does it diminish it." [1] The opera ran for 56 performances. [2] Some critics seized on the straddling of the genres of grand opéra and opéra comique; a second edition (Léon Grus, n.d.) contains recitatives for the very few spoken scenes as well as an act 3 cantabile for de Thou, written for the La Scala production. Dalibor Jenis often has guest appearances at the Hamburgische Staatsoper ( Eugene Onegin, Barbiere di Siviglia, Bohème and Pagliacci), the Wiener Staatsoper ( Barbiere di Siviglia), the Royal Opera House Covent Garden London, where he sang before the role of Guglielmo in W.A. Mozart’s Così fan tutte and Marcello in Puccini’s La Bohème and at the Opéra National de Paris, where he celebrated an enormous success with his Figaro in the new production of Rossini’s Barbiere di Siviglia last season (2003) and could be heard as Yeletzky in Tchaikovsky’s Pique Dame. In Tokyo, he sang the title-role in the first Japanese performance of Ferruccio Busoni ‘s Doktor Faust, and in Montpellier, he appeared in a concert version of Amilcare Ponchielli‘s seldom performed opera Marion Delorme, as well as in the world premiere of Offenbach’s romantic opera die Rhein-Nixen during a concert at the Festival de Radio France. He was also engaged to perform in Janacek’s opera Cunning Little Vixen at the Teatro Colon Buenos Aires and the Teatro Real Madrid. The Slovak baritone, Dalibor Jenis, studied at the Bratislava Conservatory, and during his studies, he stayed in Italy for one year to study at the Accademia Italiana in Osimo. He has been awarded in several voice competitions; among them Karlsbad ("Antonín Dvorák“), Las Palmas ("Alfredo Kraus“) and in 1990 in Vienna ("Belvedere“), followed by concert invitations to the Wexford Festival, the Hessischer Rundfunk Frankfurt and the Berliner Rundfunk.PERFORMER: Denia Mazzola-Gavazzeni, Francisco Casanova, Dalibor Jenis, Carlo Cigni; Montpellier Opera Chorus, Latvian Radio Chorus, Montpellier National Orchestra/Friedemann Layer

When conducting opera, Bottesini would frequently bring his double bass on stage during the intermission to play fantasies on the evening's opera. His fantasies on Lucia di Lammermoor, I puritani and Beatrice di Tenda are virtuosic tours de force that are still popular with those who are highly accomplished on the instrument. In 1912 a short silent film was made directed by Albert Capellani. In 1918 a second feature-length film Marion Delorme was produced, directed by Henry Krauss and starring Pierre Renoir and Jean Worms.He went on to obtain international success in 1996 when he replaced Luciano Pavarotti in a concert with the New York Philharmonic and went on to make his Metropolitan Opera debut in 2001. He performed 39 times with the company including a highly praised revival of “I Vespri Sicilianni,” and productions of “Tosca” and “Il Trovatore.” Another opera with a Ghislanzoni libretto, this one has had a longer life, seeing revivals in Chicago and Toronto, among other places, in the 20 th century. The work takes place in Lithuania and was the first of his operas to premiere at La Scala in 1874. It was revised a year later.