Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 17, 2025
She sang the waltz song in the first act of Gounod's Romeo and Juliet, and after the first few bars she had altogether forgotten that she was not at home, with her own piano, or else standing behind her teacher's shoulder in the Boulevard Malesherbes.
"Ah! what wonderful depth there is in Gounod's music!" He assented politely with a movement of his head. "I know nothing at all about music," said Mrs. Fairfax. "Very few people do." "I mean technically, of course," she said, not quite pleased. "Of course." A tremendous burst of applause here followed the conclusion of the first verse of "Uncle Ned."
He was followed by Lady Olivia, who sang Gounod's "Ave Maria," accompanied by her husband on the piano, and the professor on the organ. Then Mildmay produced his violin.
Celestial voices chant the Easter hymn, "Christ is risen!" while a band of angels bear her soul heavenward. There is no reason to question Gounod's statement that it was he who conceived the idea of writing a Faust opera in collaboration with MM. Barbier and Carre. There was nothing novel in the notion. Music was an integral part of the old puppet-plays which dealt with the legend of Dr.
That which is now most usually played is in three acts. In the first version of the work there is a curious scene, in which Ourrias is drowned by a spectral ferryman in the waters of the Rhone, but this is now rarely performed. In 1869 was produced 'Roméo et Juliette, an opera which, in the estimation of the majority of Gounod's admirers, ranks next to 'Faust' in the catalogue of his works.
From the bestiality of the Brocken we are plunged at the beginning of the third act into the pathos of Margherita's death. Faust urges her to fly, but her poor mind is all awry. She recalls the scene of their first meeting and of the love-making in Dame Martha's garden, and the earlier music returns, as it does in Gounod's score, and as it was bound to do.
But even more than this as a source of permanent irritation may be reckoned the spell cast over Gounod's mind by a beautiful adventuress, who was ambitious to attain social and musical recognition through the éclat of the great composer's friendship.
Then, from dissonance and incoherence, the music merged into Gounod's Ave Maria. And, from swaying, Hade began to walk. To and fro, urged by the melody, his feet strayed. Now he was in full view, between the half-open curtains. Now, he was hidden for an instant, and then he was crossing once more before the opening. His playing was exquisite. More it was authoritative, masterly, soaring.
His accomplishment as a sheer musician was greater than either Gounod's or Schumann's, though far from being equal to Brahms' for Brahms as a master of the management of notes stands with the highest, with Bach, Mozart, and Wagner; while as a voice and a new force in music neither Brahms nor Schumann nor Gounod can be compared with him other than unfavourably.
The action is very similar to that of the last act of Gounod's "Faust." Mephistopheles urges Faust away as the day dawns, and pronounces her doom as she falls and dies, while the angelic chorus resounding in the orchestra announces her salvation. In the fourth act a most abrupt change is made, both in a dramatic and musical sense.
Word Of The Day
Others Looking