このオペラを翻訳するのは難しい。[A12302147]近代スイス・ドイツの音楽基礎教育と歌唱活動。リリカルなスタイルでは、英語はどうしてもフランス語よりも淡々としてしまうからだ。洋書 楽譜 The Bill Evans Trio volume 3 Bill Evans Eddie Gome Marty Morrell Philly Joe Jones Jack Dejohnette Hal Leonard Publishing。クロード・アヴェリングは何年も前に、放送用に滑らかで自然なカット版を作った。※値下げ交渉可 フランス語・楽譜 教会のステンド・グラス / バレエ音楽「シバの女王ベルキス」。原曲の韻律に難色を示すこともあったが、ヴォーカルやメロディラインと結びついているように思われたので、これは作り直された。Una voce poco fa, ovvero Le musiche delle primedonne rossiniane イタリア版楽譜!。いくつかの点で、このバージョンはイタリア語訳よりも原曲に近く、私たちの言語では、この魅力的なオペラはより即効性があるかもしれない。編曲の本/日本作編曲家協会(著者)。
Delibes, one of the most 'French' and fastidious of composers, was born in 1836, and started on his musical career at the age of twelve as choirboy the sort of start shared by many other composers later distinguished for an immaculate technique. He died in 1891 with a long list of works to his credit, a 'Member of the Institut', and full of honours. He wrote almost entirely for the theatre and some of his forgotten works might well be considered for revival; but he is remembered at present almost only for three successes, two ballets, Coppelia and Sylvia, and the romantic opera Lakme
Even Lakme cannot be said to have had so far more than a moderate success outside France. It started triumphantly in Paris in 1883 when the part was created by Marie Van Zandt: her youthful and ideal Lakme was repeated far and wide but only reached London some years later. It was taken up by Patti in 1890 and not again at Covent Garden for Tetrazzini, nine performances 1910-1911. It may be that these three stars made it rather daunting for less dazzling successors to take up it is, after all, a prima donna opera. Though the other parts are grateful and the soprano herself has only the one ex- acting coloratura number, all the rest is light and lyrical. Another reason for its comparative neglect (despite creditable revivals from time to time at its first home, the Opera Comique) may be that its story and libretto make it so much a precursor of the more melodramatic and sensational 'world-beater' Madama Butterfly indeed the chief characters run almost in parallel!
But there may be also another reason. It has that delicate and rather period' charm of the best French nineteenth-century opera, and needs a performance in the best of that taste a style from which fashion has for some years turned away. But with the present revival of Massenet very likely may come a return of Delibes, Thomas, Gounod and one or two more of their graceful and melodic compatriots.
Lakme, at any rate should never be lost, and it should always be given in the full original version, with the three English ladies and all their music (which is admirably characterized and lively, and a good foil to the plentiful sentiment of the main plot). Indeed 'Miss Benson', the 'English governess', is a delightful comic creation, and could well spark-off a reputation for a clever beginner in minor roles.
It is a difficult opera to translate, English being inevitably more matter-of- fact than French in that lyrical style. Claude Aveling made a smooth and natural cut- version many years ago for a broadcast: this has now been completed. Sometimes where he balked at the rhyming scheme of the original, this has been refashioned, as it seemed tied-up with the vocal and melodic line. In several ways this version is nearer to the original than the Italian translation, and in our own language this attractive opera may have a more immediate appeal.
HUMPHREY PROCTER-GREGG
Synopsis
In the bamboo forest outside the Hindoo city in the days of the British Raj there is a little temple, a sacred shrine prohibited even to the faithful. It is the headquarters of Nilakantha, a powerful priest of the local cult hostile to the British. Here he keeps in reclusion his beautiful young daughter Lakme as a sort of priestess: all this we learn from the opening scene including a delightful duet for Lakme and her attendant Mallika, as they go about their duties. They drift away out of earshot and a British picnic party gate-crash into this private paradind his practical, down to earth friendher irresponsary gate in poetically inclined, and peritish Governor: Ellen, bey way deric, are e artistic and English girls, daughters of the them their governess the redour being en gaged to Gerald, her sister Rose and with themes indoes the redoubtable Men gaged to who disapproves on principle of all things Indianally davivacious quintet they benson aware of their sacrilegious intrusion, probably a really dangerous escapade, they they beat a retreat. Gerald, however, wilfully remains to sketch some wonderful jewnid theging before the shrine, presumably worn on ceremonious occasions by the priestess hanging befionable Gerald examining them finds himself fancying the is in love with the The in of such marvels. Naturally Lakme herself reappears to add thrilling reality to this day dream: she is not unsusceptible herself: hence their duet. And when Gerald tears hinis self away and her father returns, Nilakantha is furious to find there has been a violation of his sanctuary and he swears to discover and destroy the intruder.
Act II. is mainly occupied with the city morning market and the great annual festival of the local deity, Dourga. The market is full of activity and local colour and poor Miss Benson manages to get lost and mixed-up in it and robbed of her watch: she is rescued by the rest of her party and the market closes for noontide rest. This makes an opportunity for Nilakantha to develop his plot: disguised with her father as wandering beggars, Lakme is to sing one of the ancient and popular traditional ballads beloved of the festival crowd: this he feels sure will induce the impudent lover to reveal himself, when fanatical revolutionaries are to dispatch him. All goes according to plan. Lakme in terror is forced to sing the mythical legend known as the 'Bell Song' when the gorgeous festival is in full swing: Gerald is discovered, surrounded and stabbed, but the conspirators are disturbed and scattered in a panic without completing their task. Hadji, a faithful servitor of Lakme, who has known her from childhood, guesses at the whole situation and spirits the wounded Gerald away to a hiding-place in the forest: Lakme is now deeply in love with him.
Act III. takes place in this sylvan retreat where Gerald, nursed by Hadji, and visited secretly each day by Lakme, is now almost recovered. Meantime political disturbance in the country has necessitated a movement of the troops away on campaign. Frederic finds Gerald and reminds him of his duty: the troops can be heard in the distance as detachments march off singing. Gerald promises he will follow, and Frederic departs, sure now that his errant friend will keep his word.
When Lakme returns for what Gerald knows must be a final meeting, he dare not break the news to her, but she guesses it. She has brought him the sacred water from the holy spring whose magic power unites betrothed lovers to all eternity: she but puts it to her lips and gives it to him to drink while she sucks instead the poison from a datura flower known to the Indians as lethal. The rest follows operatically naturally enough: when her distraught father arrives he must perforce spare his enemy who has drunk of immortality as Lakme can just tell him before she dies: the gods, she says, will be appeased for sacrilege by her own sacrifice. The future of the wretched Gerald has to be left to the imagination, but in this last duet Lakme had promised him a happy life and for herself a happy death in his arms.
3.QUINTETTE et COUPLETS: Quand une femme est si jolie - Leur vertu bizarre manque d'apparat
4. Air: Prendre le dessin d'un bijou d'apparat. Fantaisie aux divins mensonges.
4bis. SCENE: C'est elle, les mains pleines de fleurs !.
5. RECIT EL STROPHES: Les fleurs me paraissent plus belles - Pourquoi dans les grands
6. Duo: D'ou viens-tu ? - Oublier que je l'ai vue! - C'est le Dieu de la jeunesse bois
6bis. SCENE FINALE: Il faut qu'il meure! Vengeance!
ACT II
ENTRACTE (Les Fifres).
7. CHEUR ET SCENE DU MARCHE: Allons, avant que midi sonne
7bis. MUSIQUE DE SCENE
a Terana
b Rektah
8. AIRS DE DANSE
c Persian
d Coda.
9. SCENE ET STANCES: C'est un pauvre qui mendie - Lakme, ton doux regard se voile
10. SCENE ET LEGENDE DE LA FILLE DU PARIA: Par les dieux inspiree - Ou va la jeune, Hindoue
11. SCENE: La rage me devore.
12. SCENE DES CONJURES: Au milieu des chants d'allegresse
12bis. MUSIQUE DE SCENE
13. Duo: Lakme ! c'est toi - Ah! c'est l'amour endormi - Dans la foret pres de nous.
14. FINALE: Dourga, entends nos voix!
ACT III
ENTRACTE (La Foret)
15. BERCEUSE: Sous le ciel tout etoile
15bis. RECITS: Quel vague souvenir alourdit ma pensee
16. CANTILENE: Ah! viens dans cette paix profonde
17. SCENE ET CH?UR (dans la coulisse): La je pourrai l'entendre Descendons la pente doucement
18. SCENE: Vivant!
19. Duo: Ils allaient deux a deux - Tu m'as donne le plus doux reve. Qu'autour de moi, tout sombre
20. FINALE: C'est lui!
★状態★
1973年のとても古い本です。【輸入楽譜・送料無料】ハイドン:リラ協奏曲 第1~4番/ランドン編 【輸入:リコーダー】。ヴィンテージブック。ヘンリー・マンシーニ Sounds and scores A practical guide to professional orchestration Hardcover EnglishEdition 洋書 Henry Mancini。