Organization

Conductor

Débora Waldman

Singer

Mezzo-soprano

Karine Deshayes

Delphine Haidan

Orchestra

Orchestre National Avignon-Provence

Palazzetto Bru Zane

Operatic Arias

Paris

France

Philharmonie de Paris

Grande Salle Pierre Boulez

Avignon

Opéra Grand Avignon

Grande Salle

Operatic Arias: Opera anthology Various

Public

Opera Gala

Approved

Throughout the nineteenth century, it was difficult for women composers to have access to the stage: Louise Bertin’s Fausto (Théâtre-Italien, 1831) and Clémence de Grandval’s Mazeppa (1892, Opéra de Bordeaux) are exceptions. As for Pauline Viardot, she approached the genre with a chamber opera, Le Dernier Sorcier (1867).

English

Per le compositrici, accedere alle scene è stato difficile durante tutto il XIX secolo: Fausto di Louise Bertin (Théâtre-Italien, 1831) e Mazeppa di Clémence de Grandval (1892, Opéra de Bordeaux) fanno eccezione. Per affrontare l’arte lirica, Pauline Viardot propone invece un’opera da camera (Le Dernier Sorcier, 1867).

italiano

Pour les compositrices, l’accession à la scène a été difficile durant tout le XIXe siècle : Fausto de Louise Bertin (Théâtre-Italien, 1831) et Mazeppa de Clémence de Grandval (Opéra de Bordeaux, 1892) font exception. Afin d’aborder l’art lyrique, Pauline Viardot propose, pour sa part, un opéra de salon (Le Dernier Sorcier, 1867).

français

Operatic Arias by Various, от (2022/2022), диригент Débora Waldman, Opéra Grand Avignon, Avignon, France

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