Podcasts about jean philippe rameau

The United States has gone, in less than six months, from being seen by many as a defender of democracy and human rights, to being the latest – and most powerful - administration to embrace authoritarianism.  Amid a head-spinning flood of presidential orders and harsh policies - towards women, immigrants, the poor, the disabled and the sick, it's hard to know where to focus. In this episode, veteran Turkish journalist and human rights activist Murat Celikkan tells host Akwe Amosu what he has been paying attention to, and reflects on how Turkey's human rights  movement has been trying to strengthen its own work.And in the Coda, why a dose of Baroque music might ease your mind. Contact us at pod@strengthandsolidarity.org We are now publishing our newsletter on Substack, if youwould like to subscribe: ⁠https://substack.com/@strengthsolidarity⁠Quick LinksInterviewBio: Murat Celikkan: https://hakikatadalethafiza.org/en/teamLitHub: Murat Celikkan: Another Turkish Journalist in Prison for ‘Unspecified Reasons' https://lithub.com/murat-celikkan-another-turkish-journalist-in-prison-for-unspecified-reasons/StrengthandSolidarity.org: Murat Celikkan reads Ariel Dorfman: https://strengthandsolidarity.org/podcast/rebuilding-a-movements-culture-after-crisis/Hafiza Merkezi: https://hakikatadalethafiza.org/en/en/why-hafiza-merkeziChatham House: The future of the Trukish opposition after Imamoglu's arrest https://www.chathamhouse.org/2025/05/future-turkish-opposition-after-imamoglus-arrestHRW: Turkey Events of o2024 https://www.hrw.org/world-report/2025/country-chapters/turkiyeWikipedia: Gezi Park protests https://en.wikipedia.org/wiki/Gezi_Park_protestsWikipedia: Saturday mothers https://en.wikipedia.org/wiki/Saturday_MothersCodaFrancoise Girard: https://www.fmus.org/aboutFeminism Makes Us Smarter (FMUS): https://www.fmus.org/Wikipedia: Baroque Music https://en.wikipedia.org/wiki/Baroque_musicFMUS podcast: https://www.fmus.org/fmus-podcastMusic credits:Juditha triumphans, RV 644: Air "Veni, veni me sequere fida" by Antonio Vivaldi, performed by Lea Desandre, Jupiter Ensemble, Thomas DunfordJuditha triumphans, RV 644: “Air Armatae face et anguibus” by Antonio Vivaldi, performed by Jupiter EnsembleAriodante, HWV 33, Act 2: Aria. "Se l'inganno sortisce felice" (Polinesso) by George Frideric Handel, performed by·Marie-Nicole Lemieux, Alan Curtis, Il Complesso Barocco“Forêts paisibles” from Les Indes Galantes by Jean-Philippe Rameau, performed by Les Arts FlorissantsStrength&Solidarity podcast:Episodes 1-50 shows and transcripts:Episodes 51 onwards, shows and transcripts

Oudemuziekkenner Kees Koudstaal presenteert de mooiste en recentste CD’s met oude en klassieke muziek. Dit keer zijn dat maar liefst 5 nieuw verschenen albums, met als uitvoerenden: Ensemble Il Caravaggio o.l.v. Camille Delaforge, Le Caravansérail o.l.v. Bertrand Cuiller, Quartetto Vanvitelli en Keiko Shichijo. 1. Jean-Philippe Rameau (1683-1764) – Uit Pigmalion, acte de ballet, RCT 52: […]

durée : 00:29:35 - France Musique est à vous junior du samedi 01 mars 2025 - par : Gabrielle Oliveira-Guyon - Au programme d'aujourd'hui : Josiane Balasko nous conte la vie d'Edith Piaf ; Charlotte, une jeune auditrice, nous propose d'écouter Les sauvages, pièces de clavecin de Jean-Philippe Rameau ; et Nicolas Lafitte nous parler d'intelligence artificielle.

It is one of the foundational achievements of archaeology, and one of the most momentous discoveries ever made in any field -- We follow the long debate over whether and where the remains of the ancient legendary city of Troy could be found, and we see how the mystery was solved by the excavations overseen by the brilliant, ruthless, and indefatigable German businessman, explorer, and serial liar, Heinrich Schliemann. Pt. 2 will examine how modern scholars and excavators have used the finds from the site in Turkey -- including the long lost priceless "Treasure of Priam" -- to reconstruct the city and its place in the Bronze-Age world. Music: "Les Cyclopes" by Jean-Philippe Rameau, played on piano by Paul Barton, and published by Feurich Piano. Image: Sophia Schliemann posing in a gold diadem, necklace, and earrings from Troy 2, dubbed "The Jewels of Helen," 1873-4. Please sign up as a patron to hear all patron-only lectures, including the previous "Doorways in Time" on the Dead Sea Scrolls -- https://www.patreon.com/c/user?u=5530632

durée : 02:28:58 - France Musique est à vous du samedi 22 février 2025 - par : Gabrielle Oliveira-Guyon - Si vous aimez les harmonies de Jean-Philippe Rameau, les couleurs instrumentales de Benoit Menut, le timbre du saxophone de Benny Golson ou l'énergie du chœur basque Oldarra, alors l'émission est faite pour vous ! Comme chaque samedi, c'est vous qui échafaudez la trame musicale ! - réalisé par : Emmanuel Benito

Avui hem sentit: "Regne amour" (

Avui hem sentit: "Plat

So last week we went to the Opéra Garnier to see Castor et Pollux, a lyrical tragedy by Jean-Philippe Rameau, directed by Peter Sellars. I was afraid I wouldn't enjoy the show. But what did it turn out to be? That's what I tell you in this episode. In the notes that accompany the transcript, we're going to make a list of practical phrases for giving your opinion of a show, rather enthusiastically, and discover a range of formulations that may be useful to you in other circumstances too. Of course, there will also be photos of this unforgettable evening! So you'll discover, as I did, that the Opera is a place where you like to take your time, the Slow Way. I invite you to subscribe to the transcript.  www.cultivateyourfrench.com  

Avui hem sentit: "Castor et Pollux" (selecci

Avui hem sentit: "Hippolyte et Aricie" (selecci

Avui hem sentit: "Les indes galants"(selecci

La semaine est riche en spectacles, après le formidable Songe d'une nuit d'été hier au Théâtre de la Ville, demain, c'est à l'Opéra que nous allons. Nous avons choisi d'aller voir la tragédie lyrique Castor et Pollux de Jean-Philippe Rameau, mise en scène par Peter Sellars. L'orchestre est celui du chef gréco-russe Teodor Currentzis, l'ensemble Utopia.  Ces places sont un cadeau que nous avons reçu sous la forme d'une « box », un coffret cadeau pour l'Opéra. Nous avons choisi ce spectacle il y a plusieurs mois déjà. Nous avions le choix entre la programmation de l'Opéra Bastille et celle du Palais Garnier.  www.onethinginafrenchday.com

A few months ago, Pietro and I were offered a ‘box', a gift box, to go to the Opera. We chose to go and see Jean-Philippe Rameau's lyrical tragedy Castor et Pollux, directed by Peter Sellars. The orchestra is the Utopia Ensemble, led by the Greek-Russian conductor Teodor Currentzis.   Before going to this exceptional evening, tomorrow Thursday 13 February, I did some research on the composer, but I also read some reviews of this new staging. I don't know if it was a good idea.  By the way, when I say ‘the opera', do I mean ‘the Opéra Garnier' in central Paris, built by Charles Garnier in the 19th century, or ‘the Opéra Bastille', inaugurated a hundred years later?  You'll find out in this episode.  The transcript is a very practical and effective tool for improving your understanding. It has a number of advantages, which I describe in detail on www.cultivateyourfrench.comThat's where you can subscribe to receive it and cultivate your French, the Slow Way.  This week, in the notes accompanying the transcript, you'll find a list of very natural expressions from this text and we'll be focusing on two words in particular with examples of their natural use in French. 

durée : 01:27:49 - Une heure et plus, un compositeur : Jean-Philippe Rameau - par : Aurélie Moreau - « Les talents ne se donnent point, ils se perfectionnent seulement à force de les bien cultiver », disait Rameau, qui fut à la fois théoricien et compositeur, mais dont la gloire fut tardive. Il avait déjà 50 ans lorsque sa première tragédie lyrique fut créée en octobre 1733.

durée : 00:28:45 - Les Midis de Culture - par : Marie Labory - Depuis près de quarante ans, le metteur en scène américain Peter Sellars bouscule les codes de l'opéra et ancre des œuvres classiques dans un contexte politique contemporain. Il porte sur la scène du Palais Garnier "Castor et Pollux", tragédie lyrique créée par Jean-Philippe Rameau en 1737. - réalisation : Laurence Malonda - invités : Peter Sellars Metteur en scène américain

''Castor et Pollux'' de Jean-Philippe Rameau se joue en ce moment à l'Opéra Garnier dans une mise en scène très actuelle de l'américain Peter Sellars.

durée : 00:03:05 - Le Regard culturel - par : Lucile Commeaux - Le chef grec adopté par la Russie dirige ce mois-ci dans la fosse de l'Opéra de Paris "Castor et Pollux" de Jean-Philippe Rameau, l'occasion de revenir sur l'œuvre et la posture de cet étonnant musicien.

In der Béla Bartók National Concert Hall im Kulturzentrum "müpa" Budapest ist im September letzten Jahres ein groß angelegtes Aufnahmeprojekt fortgesetzt worden: ein Zyklus mit den Opern von Jean-Philippe Rameau. Der ungarische Dirigent György Vashegyi und sein Orfeo Orchestra haben sich "Les Boréades" vorgeknöpft. Ein "Neues Album", vorgestellt von Volkmar Fischer.

durée : 00:27:23 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique, de l'opéra : "Les Fêtes d'Hébé" de Jean-Philippe Rameau mis en scène par Robert Carsen à l'Opéra Comique et Le disque “Monteverdi - Vespro della Madonna 1643” par Vincent Dumestre et Le Poème Harmonique. - réalisation : Laurence Malonda - invités : Emmanuel Dupuy Rédacteur en chef du magazine Diapason; Zoé Sfez Productrice de La Série musicale sur France Culture

Interpreten: Asya Fateyeva, Lautten Compagney Berlin, Wolfgang Katschner Label: deutsche harmonia mundi EAN: 198028025522 Für viele Menschen gehören ABBA zu den besten Bands der Musikgeschichte. Hits wie Dancing Queen, Mamma Mia, Fernando, SOS und noch so viele mehr verführen oft zum Mitsingen oder zumindest mitsummen. Die Lieder sind originell und kompositorisch handwerklich gut gemacht, also warum diese nicht auch auf klassische Art und Weise spielen? Das hat sich Wolfgang Katschner gedacht und ABBA genauso mit Jean-Philippe Rameau kombiniert, wie seine Lautten Compagney mit der jungen Saxofonistin Asya Fateyeva. Mit rund 400 Millionen verkauften Tonträgern zählt ABBA zu den erfolgreichsten Bands der Musikgeschichte. Abgesehen von ihrem eigenen Musikstil, waren vor allem die für die damalige Zeit ausgefallenen bunt-poppigen Kostüme charakteristisch, die sie bei Auftritten und in ihren Musikvideos getragen haben. Darauf allerdings verzichtet Wolfgang Katschner mit seiner Lautten Compagney Berlin, dem Musikstil allerdings versucht er sich mit seinen Mitmusikerinnen und Mitmusikern anzunähern. Da bekommt die Bezeichnung Klassiker für so manchen ABBA Hit gleich eine andere Bedeutung. „Bo Wiget, Cellist und Arrangeur der Lautten Compagney, wollte unbedingt Songs von ABBA machen und ich habe dann Rameau vorgeschlagen, denn Rameau ist sehr kunstvoll, aber auch exaltiert, tänzerisch und avantgardistisch“ – sagt Wolfgang Katschner über die Idee, die hinter der Kombination zwischen ABBA und Rameau steckt. Und tatsächlich geht diese Idee auf. Die ABBA Songs wurden den klanglichen Möglichkeiten der Barockinstrumente angepasst und die Singstimmen von Agnetha und Anni-Frid wurden auf das Saxophon übertragen. Das moderne Instrument mischt sich wunderbar mit den historischen Klängen von Cembalo, Laute oder Barockgeigen und man bekommt tatsächlich Laune, regelrecht das Tanzbein zu schwingen. So manchem Hit wurde hier ein so neues Kleid verpasst, dass man ihn teilweise erste aufs zweite Hinhören erkennt. Rameau gehört sowieso zum musikalischen Grundstock der Lautten Compagney und dient hier, zugegeben, doch eher als Lückenbüßer. Als Fortführung der Idee könnte man übrigens, im Sinne des Musicals Mamma Mia!, eine Art Neo-barocker Oper mit bearbeiteten ABBA Hits und klassisch ausgebildeten Stimmen machen. Wolfgang Katschner, das wär doch was, oder? (mg)

Pourquoi compare-t-on parfois le personnage biblique de Samson à Hercule dans la mythologie grecque ? Comment se manifeste la force surhumaine de Samson ? La force de Samson provient-elle vraiment de ses cheveux ? Que raconte la Bible ?Réponse avec le livre des Juges, Jean-Philippe Rameau, Véronique Sanson, CKay et Queen Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Tschechische Regierung will Politikergehälter anheben, Tschechische Fußballer steigen in der Nations League in die Elite auf, Prager Premiere: Oper Platée von Jean-Philippe Rameau

Tschechische Regierung will Politikergehälter anheben, Tschechische Fußballer steigen in der Nations League in die Elite auf, Prager Premiere: Oper Platée von Jean-Philippe Rameau

In deze week van Kalm met Klassiek is er muziek én dans! Je zult vijf voorbeelden horen van 'sarabandes', een type hofdans. Ab Nieuwdorp vertelt je er meer over. En hij waagt een eerste dansje met de 'Sarabande II' van Jean-Philippe Rameau. Rameau is een componist uit de barok, de tijd waarin de westerse sarabande ontstond, dus je vangt vandaag een glimp op van hoe die hofdans vroeger ongeveer geklonken moet hebben. Wil je meer Kalm met Klassiek? Ga naar npoklassiek.nl/kalmmetklassiek (https://www.npoklassiek.nl/kalmmetklassiek). Alle muziek uit de podcast vind je terug in de bijbehorende speellijst (https://open.spotify.com/playlist/6YgSfm1Sux7CroiJvzeUdx?si=f0f254ee8f4048e7). 

Jean-Philippe Rameau (1683-1764) - Les Indes GalantesOpéra-Ballet libretto di Louis Fuzelier Lisette Oropesa - Hebe, ZimaGoran Juric - BellonaAna Quintans - Love, ZaireTareq Nazmi - Osman, AliElsa Benoit - EmilieCyril Auvity - Valere, TacmasFrancois Lis - Huascar, Alvar)Anna Prohaska - Phani, FatimeMathias Vidal - Carlos, DamonJohn Moore - AdarioBalthasar-Neumann-Chor Direttore del coro: Detlef BratschkeMunchner FestspielorchesterDirettore: Ivor Bolton

durée : 00:05:32 - C'est une chanson - par : Frédéric Pommier - Il vient de publier "Le syndrome de l'Orangerie" (ed. Flammarion) », roman-enquête sur Les Nymphéas de Claude Monet. Au micro de Frédéric Pommier, Grégoire Bouillier évoque "La Danse du Grand Calumet de la Paix, Forêts paisibles", passage de l'opéra-ballet Les Indes galantes de Jean-Philippe Rameau.

Rameau è ina da las pli marcantas persunalitads dal temp da baroc. El era en Frantscha quai che Bach era en la Germania e Händel en l'Engalterra. Rameau ha festivà gronds success sco cumponist a la curt dal retg franzos Louis XV. Vitiers vala el sco innovatur da la musica da ses temp. El scriva numerusas ovras per la tribuna, metta sin palpiri teorias musicalas, tranter auter in'atgna teoria da las armonias e planisescha er da fundar ina scola da cumposiziun. L'expressiun «tonica» (tun fundamental d'ina scala da dur u mol) va enavos sin l'expressiun da Rameau «l'accord tonique». L'Artg musical purtretescha vita ed ovra da Jean-Philippe Rameau.

It's a battle for the fate of the universe as the Dark Side plots, schemes, and fights to gain dominance over the Light Side.  Though this opera predates Mozart's The Magic Flute by several decades, you may find echoes here of Mozart's beloved work, as it is also heavily influenced by the ideals of the Enlightenment and the principles of Freemasonry.  Jean-Philippe Rameau was the pre-eminent French composer of his day, and close with thinkers such as Voltaire.  Rameau's librettist for Zoroastre, Louis de Cahusac, was the secretary for the Grand Master of the Freemasonry's Grand Lodge in Paris.  Join Pat and Grant for a deep dive into this grand, mythical story's cosmic stakes and spiritual resonances.

durée : 01:17:25 - Été Classique Matin du lundi 29 juillet 2024 - par : Aude Giger - Pour débuter la semaine, notre été classique se penche sur les testaments musicaux et les adieux des compositeurs. On les doit notamment à Claude Debussy, Wolfgang Amadeus Mozart, Richard Strauss, Jean-Philippe Rameau, Jean Sibelius et Jean-Sébastien Bach.

Kann eine Kröte Oper singen? Sie kann: in Jean-Philippe Rameaus Oper «Platée». Hier wird die Sumpf-Nymphe Platée zum Spielball der eifersüchtigen Götterwelt – wunderbar lautstark in Musik gesetzt von Jean-Philippe Rameau. «Platée» entstand nach einem Libretto von Jacques Autreau, das Rameau von Adrien-Joseph Le Valois dOrville für seine Zwecke bearbeiten liess – vor allem, um die komische Wirkung zu steigern. In Form einer Groteske wird vorgeführt, wie Jupiter seine Gattin Juno von der Eifersucht heilt. Zum Schein feiert er eine Liebeshochzeit mit der hässlichen Sumpf-Nymphe Platée. Als Juno hinzukommt, muss sie angesichts einer so lächerlichen Widersacherin einsehen, dass ihr Argwohn grundlos war. 1745 wurde die Oper anlässlich einer Hochzeit in Versailles uraufgeführt – doch der derbe Humor war zu viel für die Hochzeitsgäste, die Oper fiel durch. Erst 1749 erreichte «Platée» in Paris ihren Durchbruch und wurde zum bis dahin grössten Erfolg Rameaus. Jenny Berg vergleicht vier Aufnahmen dieser Oper gemeinsam mit ihren Gästen, der Regisseurin Julia Hölscher und der Musikwissenschaftlerin Martina Papiro. Erstausstrahlung: 12.09.2022

durée : 01:17:22 - Été Classique Matin du lundi 15 juillet 2024 - par : Judith Chaine - Voici des œuvres de Franz Schubert, Gabriel Fauré, Charles Ives, Jean-Philippe Rameau, Arthur Honegger, et des interprètes telles que Shirley Bassey et Myrto Papatanasiu... pour un été classique et chamarré.

Verbindungen über Stilgrenzen und Epochen hinweg sind derzeit en vogue. Jetzt wird auf einem neuen Album der barocke Jean-Philippe Rameau mit dem russischen Extravaganzler Alexander Skrjabin kombiniert. Ergibt das Sinn? Unbedingt, behauptet der finnische Pianist Juho Pohjonen auf seinem neuen Album. Albrecht Selge hat es sich kritisch angehört.

durée : 01:28:23 - Musique matin été du jeudi 04 juillet 2024 - par : Clément Rochefort - Raphaël Pichon dirige "Samson", l'opéra perdu de Jean-Philippe Rameau, dans une reconstitution imaginée avec le metteur en scène Claus Guth au Festival d'Aix-en-Provence. Une création mondiale qui aura lieu ce jeudi 4 juillet au Théâtre de l'Archevêché. - réalisé par : Taïssia Froidure

In January 2024, Finnish accordionist/conductor Janne Valkeajoki released a captivating album of music by French Baroque composer Jean-Philippe Rameau, which Valkeajoki himself arranged for his instrument. Raymond Bisha's conversation with the performer delves into the various musical transformations and performance mechanics that were involved in the masterly transfer from harpsichord strings to accordion reeds.

Vandaag een aflevering in de serie "In Stukken". De opera "Hippolyte et Aricie" van Jean-Philippe Rameau wordt in stukken geknipt. Aan de hand van de fragmenten in de mooiste opnames wordt het stuk onder de loep genomen. Panelleden: recensent Guido van Oorschot en artistiek leider van festival Wonderfeel Tamar Brüggemann.

durée : 00:25:10 - Chabrier, Suite Pastorale - par : Anne-Charlotte Rémond - César Franck à propos de la Suite pastorale d'Emmanuel Chabrier : « Nous venons d'entendre quelque chose d'extraordinaire qui relie notre temps à celui de François Couperin et de Jean-Philippe Rameau». - réalisé par : Philippe Petit

De Max Richter al último álbum de Víkingur Ólafsson, «el Glenn Gould de Islandia», en un programa evocador en el que también contamos con la arpista Lavinia Meijer; el Dream House Quartet de las hermanas Katia y Marielle Labèque, David Chalmin y Bryce Dessner; Gabríel Ólafs o Brian Eno, entre otros. SLEEP: Tranquility Base Max RichterNotturno         Víkingur Ólafsson, Álfheiður Erla GuðmundsdóttirThe Plover and the Raven      Víkingur Ólafsson, Snorri Hallgrímsson, Þorsteinn EyfjörðSung (After Brahms)  Víkingur ÓlafssonBird as Prophet           Víkingur Ólafsson, Michael A. Muller, Heather Woods BroderickThe Arts and the Hours          Lavinia Meijer, Jean-Philippe RameauSun     Lavinia MeijerEllis Island      Meredith Monk, Katia Labèque, Marielle Labèque, Bryce Dessner, David ChalminPausa Dom La NenaFantasía           +Bambaló          Gabríel Ólafs, Steiney SigurðardóttirMoving Chords          Roger EnoEscuchar audio

SynopsisAround this time in 1956, the hot ticket on Broadway was for a musical based on the old Greek legend of Pygmalion, a sculptor so good that he fell in love with one of his beautiful female statues. The playwright, George Bernard Shaw, had updated the legend to modern-day London, and in 1956, the Broadway team of Lerner and Loewe had in turn transformed Shaw's stage play into the smash Broadway musical, My Fair Lady.But 208 years before all that, on today's date in the year 1748, ANOTHER very successful musical adaptation of the Pygmalion legend opened in Paris. This Pygmalion was an opera-ballet by the great French Baroque composer, Jean-Philippe Rameau. Rameau was born in 1683, two years earlier than Bach and Handel, but unlike them, was something of a late bloomer. He was 50 before he became famous, and his opera-ballet Pygmalion opened shortly before his 65th birthday. Rameau was famous for imitating natural sounds and noises in his music. One of Rameau's contemporaries, in praising the overture to Pygmalion, even suggested the repeated notes of Rameau's theme represented the chipping of Pygmalion's chisel as he worked on his lovely creation.Music Played in Today's ProgramJean-Philippe Rameau (1683 – 1764) Pygmalion La Petite Bande; Gustav Leonhardt, conductor. BMG/Deutsche Harmonia Mundi 77143

Acante et Céphise, ou La sympathie is an opera by Jean-Philippe Rameau, first performed on 19 November 1751 at the Opéra in Paris. It takes the form of a pastorale héroïque in three acts. The librettist was Jean-François Marmontel. The opera was written to celebrate the birth of the Louis, Duke of Burgundy, the elder brother of the future King Louis XVI.Although the plot has been described as "puerile....the plot evokes from Rameau a score of remarkable imagination"; it is richly scored and contains the first surviving use of clarinets in a French opera. They appear in the overture, which contains a section imitating the firework display celebrating the birth of the duke.SynopsisThe story concerns a pair of lovers, Acante and Céphise, who suffer at the hands of a wicked genie Oroès. They are saved by the good fairy Zirphile, who uses her magic powers, including the gift of telepathy (the sympathie of the title), to defeat Oroès.Act 1Céphise is distraught, knowing that an evil Genie loves her and is jealous of the fact that she loves Achante. Their guardian fairy, Zirphile, seems unable to defend her against him or to save Achante from his jealous rage. Zirphile reassures them that destiny has decreed that she will eventually have power over the Genie, but not yet. She must leave them to consult with the Gods and learn how this will come about. In her absence she hopes to protect them through the power of a magic ring. This will unites the lovers in a sort of telepathic bond, so that whatever one feels, the other will feel simultaneously. In that way, if the Genie punishes or even kills his rival Achante, he will also torment or kill the object of his affections.. Achante resists the charm as he does not wish Céphise to suffer either, but Zirphile compels her followers to enact the secret spell. The Genie arrives in a fury and orders Achante to be taken away. He tries to break down Céphise's resistance with the vision of power and riches that an alliance with an immortal might provide. His suite add their persuasions, but she is adamant. Céphise feels the distress of Achante, imprisoned elsewhere... The Genie is at first confused by her communication with the absent lover. Then he recognises the work of Zirphile and realises that he must bring Achante back if Céphise is not to expire. Reunited, the lovers try to appeal to the Genie's better side. He leaves them the rest of the day together, but after that... Achante suggests that they use the time to consult the oracle in the temple of love.Act 2The Genie has also sought advice in the temple but his questions remain unanswered. Among a crowd of happy and unhappy lovers, Achante and Céphise in their turn consult the oracle. Speaking through the High Priestess, the oracle decrees that when all hearts give themselves joyfully to love then these lovers will be united. It seems an impossible task, since love is so often combined with suffering. The two set about restoring harmony between the unhappy lovers. The Genie seems to have relented. The wish to make Céphise happy has overcome his hatred for Achante. He offers to marry them himself in the temple of love. Seizing a moment aside with Achante, the Genie reveals that he has guessed the existence of Zirphile's spell. He asks Achante for the secret – when it is not forthcoming he reveals his true vengeful feelings and promises to torture them both.Act 3The lovers are being chained to rocks by the Genie's minions. They feel that love and Zirphile have both abandoned them. They decide to die together. The Genie summons his demons to complete the task. Just as Achante's nerve breaks and he implores the Genie to stop, Zirphile arrives. She brings news that a son has been born to the Bourbon dynasty and this is apparently sufficient reason for happiness to reign throughout. There is a great deal of dancing.Help support our show by purchasing this album  at:Downloads (classicalmusicdiscoveries.store) Classical Music Discoveries is sponsored by Uber and Apple Classical. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber#AppleClassical Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com

SynopsisOn today's date in 1745 a 73-year-old French composer named Antoine Forqueray died in Mantes-la-Jolie outside Paris, where he had lived after his retirement as a court musician to King Louis XIV of France.Forqueray was a virtuoso on the viola da gamba, a bowed string instrument popular in the 17th and 18th centuries, but nowadays only played by specialists in old music. At the tender age of 10, Forqueray played before Louis XIV. Seven years later he landed a job at the Court of Versailles.In Forqueray's day the other great French gamba virtuoso and composer was Marin Marais, noted for his introspective, sweet, and gentle style of playing. Forqueray's style was extroverted and bold, even brash. People said Marais played like an angel, and Forqueray like the devil.Forqueray's style was so distinctive that three other French composers of the day, Jean-Philippe Rameau, François Couperin, and Jacques Duphly, each composed a piece named “La Forqueray” in tribute to him. An obituary notice suggested that Forqueray had composed some three hundred works, but a selection of thirty-two pieces published by his son two years after his father's death is the only music by Antoine Forqueray that survives.Music Played in Today's ProgramAntoine Forqueray (1671 - 1745) Piece for viola de gamba

Two friends and academics recap classic literature and take it off its pedestal. In our fortieth episode, we make our first foray across la Manche in order to recap Voltaire's satirical picaresque, Candide, ou l'Optimisme (1759). In this episode, Daniel trots out his feeble/faible Franglais, Abby discerns a preoccupation with derrières lying at the bottom of an otherwise highly varied narrative, and both take a moment to lament with Voltaire that most oppressed group of the eighteenth-century world: philosophers.Cover art © Catherine Wu.Episode theme: Jean-Philippe Rameau, 'Gavotte and Variations' (1727), performed by Martha Goldstein. Hosted on Acast. See acast.com/privacy for more information.

durée : 01:27:52 - Jean-Philippe Rameau, un florilège - par : François-Xavier Szymczak - « Il nous a délivrés du plain-chant de Lulli que nous psalmodions depuis plus de cent ans », écrivait Diderot dans Le Neveu de Rameau. Florilège de quelques grandes pages de Jean-Philippe Rameau, par certains de ses meilleurs interprètes

Donald Macleod begins three weeks focused on French composers, in honour of this month's ‘Tour de France' cycle race. "I have followed the theatre since the age of twelve", so said Rameau to a young composer who wrote to him for advice. It's an intriguing insight into a man who didn't produce his first opera until the age of fifty. Quite why it took him that long isn't clear. Up to that point he had been a church musician, following in his father's footsteps, holding a succession of posts mainly in the South of France. He also taught and established himself as a theoretician of some note. A brief, early sojourn in Paris, a mecca for any theatrical hopeful, ended abruptly when he was still in his twenties. It wasn't until he returned to Paris in 1723 that Rameau was able to start writing music for theatrical entertainments, at first for the popular Fairs, and then finally in 1733 for the Paris Opera. In the midst of constant cultural rows over the merits of French and Italian operatic style, Rameau flourished as a theatre composer. At one point he was so successful the management of the Paris Opera decreed no more than two of his works should be mounted per season, to allow other composers to get a look in! He completed his final opera, a masterpiece, Les Boréades in 1763, the year before he died at the age of eighty. Across the week Donald Macleod focuses on this remarkable period in Rameau's life, from the first of his theatrical works to his last. Music Featured: Naïs (Overture) Naïs (Prologue: Lancez, lancez la foudre) Achante et Céphise (Act: excerpt) Un horizon serein (Les Boréades) La poule (Suite in G minor) Hippolyte et Aricie (Act 3: Quels biens!) Hippolyte et Aricie (Act 4, Sc 1 to 3) Dardanus (Overture) Castor et Pollux (Act 2: excerpt) Castor et Pollux (Act 4, Sc 3) Dardanus (Act 1, Sc 1: Cesse, cruel Amour, de regner sur mon âme) Dardanus (Act 2, Sc 3) Dardanus (Act 4, Sc 1) Les fetes d'Hébé (excerpt) Les surprises d'amour (Ouverture) Les surprises d'amour (Act 1, Sc 6: The Abduction of Adonis) Hippolyte et Aricie (Act 1, Sc 1: Temple sacre, séjour tranquille) Platée (Act 1, Sc 5 and 6: excerpt) Platée (Act 2, Sc 2 to 4) Le Temple de la Gloire (Act 3, Finale) Les indes galantes (excerpt) Zaïs (Act 4, Sc 3 to 4) Anacréon (Sc 6) Pygmalion (Sc 3) Pygmalion (Sc 4) Les fêtes de Polymnie (Prologue, Sc 3) Zoroastre (Act 3: excerpt) Achanté et Céphise (Act 3: excerpt) Achanté et Céphise (Act 3: excerpt) Les Boréades (Act 2: excerpt) Les Boréades (Act 4: Entrée de Polymnie) Presented by Donald Macleod Produced by Johannah Smith For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Jean-Philippe Rameau (1683-1764) https://www.bbc.co.uk/programmes/m0018qjv And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Jean-Jacques Rousseau, (born June 28, 1712, Geneva, Switz.—died July 2, 1778, Ermenonville, France), was a Swiss-French philosopher. At age 16 he fled Geneva to Savoy, where he became the steward and later the lover of the baronne de Warens. At age 30, having furthered his education and social position under her influence, he moved to Paris, where he joined Denis Diderot at the center of the philosophes; he wrote on music and economics for Diderot's Encyclopédie. His first major work, the Discourse on the Arts and Sciences (1750), argued that man is good by nature but has been corrupted by society and civilization; Rousseau's belief in the natural goodness of man set him apart from Roman Catholic writers who, like him, were hostile to the idea of progress. He also wrote music; his light opera The Cunning-Man (1752) was widely admired. In 1752 he became involved in an influential dispute with Jean-Philippe Rameau over the relative merits of French and Italian music; Rousseau championed the latter. In the Discourse on the Origin and Foundations of Inequality Among Men (1754), he argued against Thomas Hobbes that human life before the formation of societies was healthy, happy, and free and that vice arose as the result of social organization and especially the introduction of private property. Civil society, he held, comes into being only to ensure peace and to protect property, which not everyone has; it thus represents a fraudulent social contract that reinforces inequality. In the Social Contract (1762), which begins with the memorable line, “Man was born free, but he is everywhere in chains,” Rousseau argues that a civil society based on a genuine social contract rather than a fraudulent one would provide people with a better kind of freedom in exchange for their natural independence, namely, political liberty, which he understands as obedience to a self-imposed law created by the “general will.” In 1762 the publication of Émile, a treatise on education, produced outrage, and Rousseau was forced to flee to Switzerland. He began showing signs of mental instability c. 1767, and he died insane. His Confessions (1781–88), which he modeled on the work of the same title by St. Augustine, is among the most famous autobiographies.From https://www.britannica.com/summary/Jean-Jacques-Rousseau. For more information about Jean-Jacques Rousseau:“Jean-Jacques Rousseau”: https://plato.stanford.edu/entries/rousseau/“Jean-Jacques Rousseau”: https://www.youtube.com/watch?v=81KfDXTTtXEThe Essential Writings of Rousseau: https://www.penguinrandomhouse.com/books/158207/the-essential-writings-of-rousseau-by-jean-jacques-rousseau-newly-translated-by-peter-constantine-edited-by-leo-damrosch/

Cerys Matthews and Jeffrey Boakye are joined by musicologist Hannah French and composer Neil Brand as they take us from the stables of Versailles to a Shirley MacLaine classic as they add another five tracks to the playlist. Bhangra specialist DJ Sonny Ji celebrates a joyous track inspired by the children's chant 'Eeny, meeny, miny, moe'. Presenters Cerys Matthews and Jeffrey Boakye Producer Jerome Weatherald Listen to Hannah French's Radio 3 documentary The Silence of my Pain https://www.bbc.co.uk/programmes/m000p6d4 The five tracks in this week's playlist: Coppélia: Galop Final by Léo Delibes Overture to Acante et Céphise by Rameau If They Could See Me Now by Shirley MacLaine Get Ur Freak On by Missy Elliott Eena Meena Deeka by Kishore Kumar Other music in this episode: Black Sky by The Ozark Mountain Daredevils And the Swallow by Caroline Shaw Jubilee Rag by Winifred Atwell Galloping Home by Denis King Pygmalion: Overture by Jean-Philippe Rameau

durée : 00:25:26 - Hippolyte et Aricie, le Rameau des Musiciens du Louvre - par : Anne-Charlotte Rémond - Dans cet épisode de Musicopolis, Anne-Charlotte Rémond revient sur le premier opéra de Jean-Philippe Rameau (1683-1764), Hyppolite et Aricie. - réalisé par : Philippe Petit

Castor et Pollux (Castor and Pollux) is an opera by Jean-Philippe Rameau, first performed on 24 October 1737 by the Académie royale de musique at its theatre in the Palais-Royal in Paris. The librettist was Pierre-Joseph-Justin Bernard, whose reputation as a salon poet it made. This was the third opera by Rameau and his second in the form of the tragédie en musique (if the lost Samson is discounted). Rameau made substantial cuts, alterations and added new material to the opera for its revival in 1754.  Experts still dispute which of the two versions is superior. Whatever the case, Castor et Pollux has always been regarded as one of Rameau's finest works.Purchase the music (without talk) at:Rameau: Castor et Pollux (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Hippolyte et Aricie (Hippolytus and Aricia) was the first opera by Jean-Philippe Rameau. It was premiered to great controversy by the Académie Royale de Musique at its theatre in the Palais-Royal in Paris on October 1, 1733. The French libretto, by Abbé Simon-Joseph Pellegrin, is based on Racine's tragedy Phèdre. The opera takes the traditional form of a tragédie en musique with an allegorical prologue followed by five acts. Early audiences found little else conventional about the work.Purchase the music (without talk) at:Rameau: Hippolyte et Aricie (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Pigmalion is an opera in the form of a one-act acte de ballet by Jean-Philippe Rameau first performed on 27 August 1748 at the Opéra in Paris. The libretto is by Ballot de Sauvot. This work has generally been regarded as the best of Rameau's one-act pieces. He was said to have composed the work in eight days.Purchase the music (without talk) at:Rameau: Pigmalion (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Hello and welcome back to the Perfect Score! Today I will be covering the topic of Jean-Philippe Rameau! I hope you enjoy todays episode! perfectscore.fm