Nuit d’amour PDF

Computer-synthesized instrumental recording of the Barcarolle. The piece opens the opera’s third act, set in Venice. Nuit d’amour PDF’s poetic muse, in disguise as his faithful male companion.

In addition to the Venetian location it sets the seductive and sinister tone of the Venice act in general and of Giulietta’s character specifically. 8 time signature characteristic of barcarolles, allegretto moderato. Approximately a minute of musical introduction occurs before the melody appears, although a flute accompaniment figure which suggests the melody, « suspend time » and creating anticipation for the melody before it begins, is played throughout the piece. Carl Dahlhaus cites the piece as an example of the duplicity of musical banality: in the period of Wagner, when serious opera was marked by chromaticism, Offenbach used the Barcarolle’s very consonance to give a sinister feel to the act throughout which it recurs. 1864 for Offenbach’s Die Rheinnixen, where it is sung as « Komm’ zu uns » by the chorus of elves in the third act.

Moritz Moszkowski also wrote a virtuoso transcription of it for piano. The NPR Listener’s Encyclopedia of Classical Music. Mad Loves: Women and Music in Offenbach’s Les Contes D’Hoffmann. The Tales of Hoffmann: A Performance Guide. Sweet Anticipation: Music And the Psychology of Expectation.

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William Shakespeare écrite entre 1594 et 1595. C’est une histoire complexe dont l’action se déroule en Grèce et réunit pour mieux les désunir deux couples de jeunes amants : Lysandre et Hermia d’une part, Démétrius et Héléna d’autre part. Hermia veut épouser Lysandre mais son père, Égée, la destine à Démétrius, dont est amoureuse Héléna. Lysandre et Hermia s’enfuient dans la forêt, poursuivis par Démétrius, lui-même poursuivi par Héléna. La scène la plus connue est l’apparition de Bottom, qui porte une tête d’âne, avec Titania, qui, par la magie de Puck, en est tombée amoureuse. La Querelle d’Obéron et de Titania.