Les fêtes vénitiennes

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Work data
Title: Les fêtes vénitiennes
Illustration from the libretto of 1710

Illustration from the libretto of 1710

Shape: Opéra-ballet in a prologue and several entrées
Original language: French
Music: André Campra
Libretto : Antoine Danchet
Premiere: June 17, 1710
Place of premiere: Paris Opera , Palais Royal
Playing time: approx. 2 hours (printed version Ballards)
Place and time of the action: Venice, around 1700

Les fêtes vénitiennes (German for example: "The Venetian festivals") is an opera ballet in a prologue and usually three to five of the eight entrées by André Campra (music) with a libretto by Antoine Danchet . The premiere took place on June 17, 1710 in the Palais Royal of the Paris Opera . The work was revised several times until the final version of October 14, 1710, by exchanging individual entrances and adding new ones.

action

In the following, the individual entrées are listed in the order of the libretto from 1714. The abbreviation “a” stands for “ajoutée” (Appendix). The respective numbers of the score are given in square brackets.

Prologue: "Le triomphe de la Folie sur la Raison dans le temps du Carnaval"

The triumph of folly over reason at the time of the carnival

  • Le Carnaval, the Carnival ( bass )
  • La Folie, the folly ( soprano )
  • La Raison, Reason (Soprano)
  • Démocrite, Democritus ( tenor )
  • Héraclite, Heraklit (bass)
  • a fool, a fool, two strange masks, an Allain, his wife, a tenant, a tenant, a German, a German, Diogène, masks, entourage of La Folie and Le Carnaval ( ballet )

Scene 1. In the port of Venice, Le Carnaval asks a masked crowd to forget all sorrow and enjoy life. Even the strict wisdom is no longer welcome.

Scene 2. La Folie appears with a retinue of dancers and attracts the people. It has the same goal as Le Carnaval.

Scene 3. La Raison arrives with some sages, including Démocrite and Héraclite, and tells the crowd to drop the nonsense and seek wisdom again. Héraclite is appalled by the behavior of the people. Démocrite, on the other hand, is enthusiastic.

Scene 4. La Folie and her followers sneer at La Raison.

I. [-] "La fête des barquerolles"

The boatman's festival

  • a Venetian doctor
  • Lilla, young gondolier
  • Damiro, Lilla's lover
  • a gondoliera representing La Victoire (victory)
  • a gondolier
  • Gondoliers and gondoliers (ballet)

Scene 1. The gondoliers have an exhibition fight on the Ponte dei carmini and on their gondolas. An old doctor complains in Italian that he can no longer follow his principles of abstinence.

Scene 2. When the doctor pays court to young Lilla, she contemptuously rejects him.

Scene 3. The gondolier Damiro tells Lilla that he has won the competition. The two declare their love.

Scene 4. More gondoliers and gondoliers appear for the award ceremony. One of them represents victory itself as La Victoire. She gives Lilla a crown with which she crowns her lover. Everyone praises the happy couple.

II. [V.] "Les sérénades et les joueurs"

The serenades and the players

  • Léandre, young French, lover Irènes (bass)
  • Isabelle, Venetian, in love with Léandre (soprano)
  • Lucile, Venetian, in love with Léandre (soprano)
  • Irène, Venetian, mistress Léandres (soprano)
  • La Fortune, happiness (soprano)
  • a player ( haute-contre )
  • a servant of Fortunes (Haute-Contre)
  • Player (choir)
  • Spaniards, Spaniards, People of Biscay (Ballet)

Scene 1. Young Isabelle has been abandoned by her lover and jealously spies on him in front of the Ridotto, the Venetian casino, that evening.

Scene 2. Lucile is in the same situation. She hopes that her search for her faithless lover will be in vain.

Scene 3. When the two women meet, they find that they have both been seduced by the same man, Léandre. Although they distrust each other, they band together in revenge. When Léandre appears, they hide to watch him.

Scene 4. Léandre has brought a group of musicians with him to serenade his new lady Irène. Then he sends his friends away and asks Irène to show himself.

Scene 5. Irène doesn't even think about following the philanderer's advertisement. Instead, she sings an allusive Italian song about a butterfly flying from flower to flower.

Scene 6. Lucile steps out of hiding instead. Since it is now dark, Léandre takes her for Irène. He assures her that he only loves her and that he has never had any feelings for Lucile or Isabelle. The two now know about his true character. A group of masked gamblers come from the ridotto, led by La Fortune. Lucile, Isabelle and Léandre realize that love, like game, is determined by the fickleness of La Fortune. Léandre now wants to seek his love happiness elsewhere.

Scene 7. The players ask La Fortune for assistance. However, this warns of their moodiness. She compares herself to the equally fickle Cupid and is happy that they both receive more honors from humans than any other god.

III. [II.] "L'Amour saltimbanque" / "Les saltimbanques de la place Saint-Marc"

L'Amour as a juggler

  • Filindo, leader of the jugglers (bass)
  • Eraste, young French, lover of Léonores (Haute-Contre)
  • Léonore, a young Venetian (soprano)
  • Nérine, Léonores Governess (Haute-Contre)
  • L'Amour, Amor , disguised as a juggler (soprano)
  • Juggler (choir)
  • Arlequin and Polichinel (two Espagnolettes), Spetsapher , Scaramouchette , an old man, an old woman, a peasant, a peasant woman, pantalon , pantalonne, gallant mask (ballet)

Scene 1. Eraste, a young Frenchman disguised as a Venetian, loves Léonore. He complains to Filindo, the head of a juggler's troupe, that he has not yet been able to reveal his feelings to her because she is constantly being watched by her governess. Eraste advises him to try it with amorous eyes. He wanted to give him the opportunity to do so when Léonore appeared at one of his performances that evening.

Scene 2. The governess Nérine fundamentally detests love. She thinks L'Amour is a fraud. Léonore's repeated warnings are getting on his nerves. She has many admirers, but is particularly enthusiastic about the young, gallant French.

Scene 3. At the festival organized by Filindo and the jugglers, L'Amour appears in person in the clothes of a juggler. He can only be recognized by his bow. While Nérine watches the performance, Eraste takes the opportunity to approach Léonore. Meanwhile, L'Amour extols his arts, which make youth brighter and old age less difficult. Loyalty has gone out of fashion these days. Eraste tells Léonore that he sees it differently and wants to ask her father for her hand. L'Amour advises to use the time of his presence, because he will not stay long.

Yes [-] "La fête marine"

The sea festival

  • Astolphe, Venetians
  • Céphise, Venetian
  • Dorante, lover of Céphise, disguised as a sailor
  • Doris, servant of Céphises
  • Sailors (choir)
  • Sailors, wives of sailors (ballet)

Scene 1. A maritime festival with many ships is held on the coast of Venice. Because Astolphe does not want to leave his ward Céphise unattended, he asks a sailor to take care of her.

Scene 2. Céphise and her servant Doris are annoyed by the jealous Astolphe. Doris suggests fleeing on one of the ships to escape his tyranny. Together with Dorante, they will be able to face the dangers of the sea.

Scene 3. Dorante approaches his lover disguised as a sailor. He informs her that Astolphe wants to lock her up during the festival. But he managed to gain his trust in disguise and to be employed as a guard. He had already prepared a ship to escape.

Scene 4. When Astolphe returns, Dorante says goodbye to attend the party. Céphise and Doris accuse Astolphe of his jealousy. You cannot enjoy the festivities if they are under constant surveillance. Astolphe thinks Céphise is ungrateful for raising her. Doris replies that in this way he only attracts her hatred. Astolphe gives in but vows that he will take revenge later.

Scene 5. When Dorante and other sailors call the celebrants to their ship, Céphise and Doris mount. Astolphe, on the other hand, is denied access. Dorante reveals himself to him as his rival.

Scene 6. While the ship is casting off, Astolphe remains angry and desperate on the bank.

IIa. [IV.] "Le bal [ou Le maître à danser]"

The ball or the dance master

  • Alamir, a Polish prince (bass)
  • Thémir, nobleman from Alamir's retinue, disguised as a Polish prince (Haute-Contre)
  • Iphise, Venetian (soprano)
  • the music master ( alto )
  • the dance master (tenor)
  • a mask (Haute-Contre)
  • disguised Venetians (choir)
  • Masks (ballet)

Scene 1. A ballroom in a Venetian palace. The Polish Prince Alamir loves the Venetian Iphise. He has not yet revealed his feelings to her because he believes that she will only answer him because of his position. His confidante Thémir has therefore developed a plan: At the evening ball, they want to swap clothes so that Alamir can put Iphise to the test.

Scene 2. The ball begins with a performance by a music master and a dance master, who compete for the priority of their respective arts. Thémir, disguised as a prince, makes benevolent comments.

Scene 3. Alamir, now appearing as an ordinary nobleman, asks Iphise why she loves him, even though a prince is courting her. He himself only had to offer her his love and loyalty, but no wealth or fame. Iphise assures him of her love. You don't need fame to be true to him. So tenacious is he to extol the prince's virtues that Iphise eventually doubts his own love.

Scene 4. Thémir asks the prince to open the festival. He addresses him by his title. Iphise realizes the truth.

Scene 5. Alamir asks Iphise's forgiveness for his deception and explains the reason. He no longer has any doubts about her sincere love.

Scene 6. Music and dance masters return with a group of masked dancers and singers, and the party can begin. Now L'Amour is supposed to rule.

IIIa. [I.] "Les devins de la place Saint-Marc"

The fortune tellers of St. Mark's Square

  • Léandre, a French cavalier (bass)
  • Zélie, a young Venetian disguised as a gypsy (soprano)
  • a gypsy (soprano)
  • Fortune tellers, gypsies, gypsies ( choir , ballet)

Scene 1. On St. Mark's Square, Zélie explains to a gypsy the reason for her disguise: She wants to test the feelings of her admirer Léandre. When he appears, she hides to eavesdrop on him.

Scene 2. Léandre asks L'Amour to grant him his wishes and not blame him for immediately looking for new adventures after success.

Scene 3. The supposed gypsy Zélie reads Léandre in her hand . He tells her about his flightiness without regret. To remain loyal would be to deny the country of its origin. Zélie tells him that he won the love of two women in Venice without touching his heart - but now he is trying to win the favor of another lady who is prouder and expects loyalty. Léandre replies that he has no problem feigning allegiance. Zélie predicts that today he will see the goal of his desires and receive a lesson from it.

Scene 4. Fortune tellers, gypsies and gypsies invite the lovers to learn about their chances of success. Zélie praises the virtues of true love, because L'Amour only reigns in the good years and flees in the autumn of life. That gives Léandre food for thought.

Scene 5. Zélie reveals herself to Léandre and dumps him: she now knows his feelings - let him judge hers. Léandre is now convinced of their love. He wants to keep trying.

IVa. [III.] "L'opéra [ou Le maître à chanter]"

The Opera or The Singing Master

  • Damire, Neapolitan gentleman (bass, possibly baritone )
  • Adolphe, Neapolitan, friend Damires (Haute-Contre)
  • Léontine, opera singer (soprano)
  • Lucie, opera singer (soprano)
  • a singing master (tenor)
  • Rodolphe (bass)
  • "[Opéra-] Ballet de Flore":
    • Flore , goddess of flowers (= Léontine, soprano)
    • Zéphire , mild west wind (Haute-Contre)
    • Shepherdess (= Lucie, soprano)
    • Borée , winter north wind (= damire, bass)
    • Shepherds, Shepherdesses, Zephyre (choir)
    • Shepherds, shepherdesses (ballet)

Scene 1. The Neapolitan Damire tells his friend Adolphe that he fell in love with the singer Léontine after her appearance as Armide . He knows that he has a powerful rival in the Venetian Rodolphe. Léontine will sing the Flore at the opera that evening. Damire wants to appear in the performance as Nordwind Borée to kidnap her, while Rodolphe watches the spectacle in the audience.

Scene 2. Léontine, who is admired by many admirers, confesses to her friend Lucie that she only wants one true lover.

Scene 3. Léontine's singing master wants to give her some advice before the performance. In addition, on behalf of Rodolphes, he should inform her about his love. However, since he is also in love with Léontine, he cannot hide his jealousy.

The scene transforms to show the Gardens of the Flore. Rodolphe takes a seat in front of the stage as a spectator. Flore appears in the company of her nymphs and sits down on a bed of flowers.

Ballet de Flore

Scene 1. Flore calls for her lover, the west wind Zéphire.

Scene 2. Zéphire invites the residents of the area to a party.

Scene 3. Zéphire and Flore celebrate the beauty of nature with the shepherds and shepherdesses until they are interrupted by a loud roar.

Scene 4. Borée and other winds carry Flore away with them.

Scene 5. The terrified Zéphire calls on the god Jupiter for vengeance, but to his astonishment he does not show up.

Last scene. Lucie explains to Zéphire and Rodolphe that Léontine's lover intervened in the game. After Zéphire learns of Rodolphes love for Léontine, he asks him to take over his role and to conjure the wrath of Jupiter. However, Rodolphe prefers to rely on earthly vengeance. He sends his people to the port to keep the couple from escaping.

Va. [-] "Le triomphe de la Folie, comédie"

The triumph of folly, comedy

  • Arlequin
  • La Folie, folly
  • a doctor
  • a Spaniard
  • a Frenchman
  • Colombine
  • another Spaniard
  • a Spanish woman
  • a Spaniard, a Spaniard, a German, a German, Pierot, Pierrot's wife, La Folie (ballet)

Scene 1. Arlequin, disguised as the philosopher Diogenes , appears in St. Mark's Square with a lantern in hand and extols the power of wisdom.

Scene 2. La Folie interrupts him angrily and accuses him of avoiding her. Arlequin / Diogenes then explains that he values ​​her very much, but keeps this affection a secret. She comes in his favor just behind wisdom.

Scene 3. In his search for a wise person, Diogenes asks a doctor what is most important to him. To his astonishment, the doctor calls love despite his old age. So he's not the one we're looking for.

Scene 4. A Spaniard replies in a similar way.

Scene 5. Even a Frenchman thinks only of his beloved.

Scene 6. After he has already given up hope, Arlequin / Diogenes meets Colombine, his former lover. At first he doesn't dare to look at her. But she remains persistent, and soon he succumbs to her charms and throws away his robe. Both sing together about the joys of love.

Scene 7. Disguised and masked Venetians and others arrive, play their guitars and cheer for the power of love. The old doctor courted Colombine in Italian, but was turned away by her. Arlequin is amused by pantomime him. Everyone celebrates.

Work history

Early productions

Les fêtes vénitiennes is probably André Campra's most successful work . In the first four months alone it was played more than 50 times in different forms and remained in the repertoire of the Paris Opera until 1776 , where it was repeatedly staged. The libretto is by Antoine Danchet .

The compilation of the various entrées in the course of 1710 is given in the libretto printed in 1714.

First performance, June 17, 1710

The version played at the premiere on June 17, 1710 therefore contained a prologue and three entrées:

  • Prolog. "The triomphe de la folie sur la raison dans le temps du Carnaval"
  • I. "La fête des barquerolles"
  • II. "Les sérénades et les joueurs"
  • III. "L'Amour saltimbanque"

In the prologue sang Gabriel-Vincent Thevenard (Le Carnaval), Mlle Poussin (La Folie), Mlle Desmatins (La Raison), Charles Hardouin (Héraclite) and Mantienne (Démocrite). Jean Dun (Venetian Doctor), Mlle Dun (Lilla), Jacques Cochereau (Damiro), Mlle Hecqueville (Gondoliera) and Guesdon (gondolier) sang in “La fête des barquerolles” . In “Les sérénades et les joueurs”, Thévenard (Léandre), Françoise Journet (Isabelle), Mlle Pestel (Lucile), Mlle Dun (Irène), Mlle Desjardins (La Fortune) and Buseau (Diener Fortunes) sang. Hardouin (Filindo), Cochereau (Eraste), Mlle Poussin (Léonore), Mantienne (Nérine) and Mlle Dun (L'Amour saltimbanque) sang in “L'Amour saltimbanque”.

10th performance, July 8th, 1710

From July 8, 1710, the first entrance was replaced by the new "La fête marine" entrance:

  • Prolog. "The triomphe de la folie sur la raison dans le temps du Carnaval"
  • I. "La fête marine"
  • II. "Les sérénades et les joueurs"
  • III. "L'Amour saltimbanque"

In “La fête marine” sang Dun (Astolphe), Mlle Journet (Céphise), Cochereau (Dorante), Mlle Dun (Doris) and Guesdon (sailor).

23rd performance, August 8, 1710

From August 8, 1710, the prologue was omitted and the new “Le bal” entrance was inserted between the first two entrées:

  • I. "La fête marine"
  • II. "Le bal ou Le maître à danser"
  • III. "Les sérénades et les joueurs"
  • IV. "L'Amour saltimbanque"

In “Le bal”, Thévenard (Alamir), Buseau (Thémire), Mlle Journet (Iphise), Mantienne (music master) and Marcel (dance master) sang.

34th performance, September 5, 1710

From September 5, 1710, "Les sérénades et les joueurs" was replaced by the new entrance "Les devins de la place Saint-Marc":

  • I. "La fête marine"
  • II. "Le bal [ou Le maître à danser]"
  • III. "Les devins de la place Saint-Marc"
  • IV. "L'Amour saltimbanque"

Thévenard (Léandre), Mlle Poussin (Zélie) and Mlle Dun (gypsy) sang in “Les devins de la place Saint-Marc”.

51st performance, October 14, 1710

From October 14, 1710, the prologue was played again, but under a new title and reduced to the two characters Le Carnaval and La Folie. In addition, “La Festivals Marine” has been replaced by the new “L'opéra” entrance:

  • Prolog. "Le Carnaval in Venice"
  • I. "Les devins de la place Saint-Marc"
  • II. "L'Amour saltimbanque"
  • III. "L'opéra [ou Le maître à chanter]"
  • IV. "Le bal [ou Le maître à danser]"

Hardouin (Damire), Mlle Journet (Léontine), Mlle Dun (Lucie), Buseau (Zéphyre and Astolphe), Courteil (Rodolphe) sang in “L'opéra”.

December 1710

In December 1710 the prologue was dropped again and the first entrance was replaced by the new entrance "La comédie":

  • I. "Le triomphe de la Folie" ("La comédie")
  • II. "L'Amour saltimbanque"
  • III. "L'opéra [ou Le maître à chanter]"
  • IV. "Le bal [ou Le maître à danser]"

In “La comédie” the dancers François Dumoulin (Arlequin), Mlle Poussin (La Folie), Dun (doctor), Cochereau (Spaniard), Thévenard (French) and Mlle Dun (Colombine) sang.

Libretto 1714

The libretto, printed in 1714, contains all the entrées mentioned in the following order:

  • Prolog. "The triomphe de la folie sur la raison dans le temps du Carnaval"
  • I. "La fête des barqueroles"
  • II. "Les sérénades et les joueurs"
  • III. "Les saltinbanques de la place Saint-Marc" ("L'Amour saltimbanque")
  • IV. Premiere entrée ajoutée. "Fête marine"
  • V. Deuxième entrée ajoutée. "Le bal"
  • VI. Troisième entrée ajoutée. "Les devins de la place Saint-Marc"
  • VII. Quatrième entrée ajoutée. "L'opéra"
  • VIII. Cinquième entrée ajoutée. "Le triomphe de la Folie, comédie"

Printed score 1714

Five entrées were selected for the printed edition of the score, also published by Christophe Ballard in Paris in 1714, on which the modern new edition by Heugel is also based:

  • Prolog. "Le triomphe de la Folie sur la Raison"
  • I. "Les devins de la place Saint-Marc"
  • II. "L'Amour saltimbanque"
  • III. "L'opéra"
  • IV. "Le bal"
  • V. "Les sérénades et les joueurs"

Resumptions

In the years 1712, 1713, 1721, 1731, 1732, 1740, 1750 and 1759 the work was resumed in different forms. In 1732 and 1740 additional pantomimes were added. Furthermore, new airs were added or replaced older pieces. Sometimes parts were combined with other works. Including the later modifications, there were a total of four different versions of the prologue and nine entrées (Françoise Dartois-Lapeyre mentions an entrée with the title “La Vénitienne” in addition to those already listed). In the first half of the 18th century, almost every active artist at the Paris Opera took part in the performances.

Modern performances

The first performance of the work in recent times was a production by the Wuppertaler Bühnen in a production by Günther Ballhausen , which was played at the Schwetzingen Festival in 1970 . The musical direction was János Kulka .

In 1991 Les fêtes vénitiennes were shown in a production by the choreographer François Raffinot under the musical direction of Jean-Claude Malgoire in Metz, Montpellier and Tourcoing.

In 2004 the New York Baroque Dance Company presented the entrance “L'Amour en saltimbanque” in the Florence Gould Hall in a choreography by Catherine Marie Turocy. Jame Richman directed the Concert Royal.

There were further performances in 2010 on the occasion of the composer's 350th birthday. La Simphonie du Marais played the prologue and the entrée “Le triomphe de la Folie” under the direction of Hugo Reyne, among others in the Palace of Versailles . It sang Bénédicte Tauran (La Raison, Colombine, Silvanire), Amaya Dominguez (La Folie), Romain Champion (Démocrite, Arlequin, Un suivant de la Folie), Aimery Lefèvre (Héraclite, Un Français) and Florian Westphal (Le Carnaval).

In 2015 the Opéra-Comique Paris showed the prologue and the entrées “Le bal”, “Les sérénades” and “L'opéra” in a production by Robert Carsen and a choreography by Ed Wubbe . The stage design came from Radu Boruzescu and the costumes from Petra Reinhardt. William Christie directed the Les Arts Florissants ensemble . The Scapino Ballet Rotterdam danced. A video recording was made available on Culturebox. The production was also shown at the Brooklyn Academy of Music in 2016 .

In 2015 there was also a production by the Gdansk University of Music in the Gdansk National Museum with Dorota Cybulska-Amsler (conductor and direction) and Alain Christen (choreography and direction). It was also shown at the Théâtre Cité-Bleue in Geneva in 2017.

layout

André Campras Les fêtes vénitiennes is a perfect example of the musical genre of the Opéra-ballet . The characterizations of the people are carefully worked out in terms of music and drama. Every single entrance is a self-contained comedy. All deal with the Venetian Carnival as it was envisioned in France, with Venetian characters and familiar locations. Three main characters are French people who are looking for love adventures in Venice.

The individual entrées have different degrees of complexity. In some, a thin framework for action is only used to prepare for the actual divertissement. In others, the latter is essential for the plot to progress. Three characters (the dance master in "Le bal", Zélie in "Les devins de la place Saint-Marc" and Arlequin in the entrance area "Le triomphe de la Folie") have to both sing and dance. This points to influences of the old Italian theater and the fair theater.

In “L'opéra” there is a “game within a game”, which is included in the content of the framework story. Campra's music makes an essential contribution to a perfectly executed “dramaturgy of the double bottom”.

The fourth scene of “Les devins de la place Saint-Marc” contains a coherent section entitled “Cantate”. It refers to the genre of the Italian chamber cantata, which was introduced in France only a few years earlier, but here only has two instead of the usual three pairs of recitative and aria . The instrumental movement also shows Italian influences. In order to integrate this form into his French opera ballet, Campra expanded the final ritornelle of the arias into short dance pieces. Campra used a similar procedure in the third scene of “L'Amour saltimbanque”, where L'Amour appears as the soloist in an integrated cantata. This contains three songs, between which there is dancing. A third cantata, albeit without dances, can be found in the fourth scene of “Les sérénades et les joueurs”.

The work contains many different dances. The types identified by Françoise Dartois-Lapeyre are: Bourrée (2 pieces in "L'opéra"), Chaconne , Contredance , Forlane , Gigue , Marche (4 pieces in 5 entrées), Menuet (2 pieces in "Le bal"), Passepied (7 pieces in 4 entrées), musette , sarabande , sicilienne , tambourine and villanelle . The aria forms are also variable. Small two-part airs are often sung versions of one of the dances.

In the second scene of "Le bal", the music master quotes excerpts from some operas not named by name to demonstrate the power of his art: the "Entrée des songes funestes" from Jean-Baptiste Lully's Atys (1676), the storm music from Marin Marais' Alcione (1706) and the music of Le Sommeil from André Cardinal Destouches ' Issé (1697). Campra also links individual scenes with each other through motivic references.

orchestra

The orchestral line-up includes the following instruments:

Recordings

  • 1966 - Gustav Leonhardt (conductor), Collegium Aureum .
    Suite with music from the opera, combined in the CD edition with Campras L'Europe galante .
    Harmonia Mundi 74321-32332-2 (CD), Harmonia Mundi HMS 30822 (LP), Harmonia Mundi 6577-077 (LP), Harmonia Mundi HM 20336 (LP), Harmonia Mundi HMS 17 111 (7 '' single, special edition for Rhein-Pharma Arzneimittel GmbH Heidelberg).
  • January 30, 2015 - William Christie (conductor), Robert Carsen (staging), Ed Wubbe (choreography), Petra Reinhardt (costumes), Les Arts Florissants , Scapino Ballet Rotterdam.
    Emmanuelle de Negri (La Raison, Lucile, Lucie) Élodie Fonnard (Iphise, La Fortune), Rachel Redmond (Irène, Léontine, Flore), Emilie Renard (La Folie, Isabelle), Cyril Auvity (Maître de danse, Suivant de la Fortune , Adolphe), Reinoud van Mechelen (Thémir, Un masque, Zéphir), Marcel Beekman (Maître de musique), Marc Mauillon (Alamir, Damir, Borée), François Lis (Le Carnaval, Léandre, Rodolphe), Sean Clayton (Démocrite) , Geoffroy Buffière (Heroclite).
    Video; live from the Opéra-Comique Paris
    Prologue and the entrées “Le bal”, “Les sérénades” and “L'opéra”.
    Video stream on Culturebox.

Digital copies

Web links

Commons : Les Fêtes vénitiennes  - collection of images, videos and audio files

Remarks

  1. ↑ The titles are given here uniformly in modern notation. In the original libretto, for example, it says “festivities” instead of “fête”.

Individual evidence

  1. ↑ a b c d e f g h i j k l m n o Herbert Schneider : Les Fêtes vénitiennes. In: Piper's Encyclopedia of Musical Theater . Volume 1: Works. Abbatini - Donizetti. Piper, Munich / Zurich 1986, ISBN 3-492-02411-4 , pp. 496-498.
  2. ↑ a b c Les fêtes vénitiennes. In: Amanda Holden (Ed.): The Viking Opera Guide. Viking, London / New York 1993, ISBN 0-670-81292-7 , p. 181.
  3. ^ A b c d e Françoise Dartois-Lapeyre: Les Fètes vénitiennes. In: Catherine Cessac (ed.): Itinéraires d'André Campra (1660–1744): d'Aix à Versailles, de l'Église à l'Opéra. Éditions Mardaga, Wavre (Belgium) 2012, ISBN 978-2-8047-0104-8 , pp. 123-136 ( limited preview in Google Book Search).
  4. ^ Arthur Pougin: Foreword to the piano reduction.
  5. ^ Spire Pitou: The Paris Opéra. An Encyclopedia of Operas, Ballets, Composers, and Performers - Genesis and Glory, 1661-1715. Greenwood Press: Westport / London 1983 ISBN 0-313-21420-4 , pp. 223-224.
  6. ^ Horst Koegler : Campra, Venetian festivals. Schwetzingen. In: Opera world . July 1970, p. 21.
  7. ↑ a b c d Table of contents and work information of the Opéra-Comique Paris (PDF, English).
  8. ↑ Biography of the choreographer Catherine Marie Turocy (PDF, English) , accessed on December 4, 2018.
  9. ^ Automne musical du Center de musique baroque de Versailles on resmusica.com, accessed on December 4, 2018.
  10. ↑ Program of the Brooklyn Academy of Music (PDF, English) , accessed on December 4, 2018.
  11. ↑ Information on the performance in the Gdansk National Museum on gdansk.pl, accessed on December 4, 2018.
  12. ↑ Information on the performance at the Théâtre Cité-Bleue in Geneva at leprogramme.ch, accessed on December 4, 2017.
  13. ^ A b c d Rebecca Harris-Warrick: Dance and Drama in French Baroque Opera. Cambridge University Press, Cambridge 2016, ISBN 978-1-107-13789-9 .
  14. ↑ a b James R. Anthony:  Fêtes vénitiennes, Les. In: Grove Music Online (English; subscription required).
  15. ↑ CD information on muziekweb.nl, accessed on December 4, 2018.
  16. ^ André Campra, Collegium Aureum - Venetian Festival in Paris - Suite for the opera "Les Fetes Venetiennes" at Discogs , accessed on December 4, 2018.
  17. ^ Collegium Aureum - André Campra - Suite for the opera "Les Fêtes Venitiennes" (special edition) at Discogs , accessed on December 4, 2018.
  18. ↑ Les Fêtes Vénitiennes de Campra dirigées par William Christie à l'Opéra-Comique at Culturebox (video no longer available), accessed on December 4, 2018.