An opera house is a theatre building used for opera performances that consists of a stage, an orchestra pit, audience seating, backstage facilities for costumes and set building. While some venues are constructed for operas, other opera houses are part of larger performing arts centers. Indeed the term opera house itself is used as a term of prestige for any large performing-arts center; the first public opera house was the Teatro San Cassiano in Venice, opened in 1637. Italy is a country where opera has been popular through the centuries among ordinary people as well as wealthy patrons and it continues to have a large number of working opera houses such as Teatro Massimo in Palermo, Teatro di San Carlo in Naples and Teatro La Scala in Milan. In contrast, there was no opera house in London when Henry Purcell was composing and the first opera house in Germany was built in Hamburg in 1678. In the 17th and 18th centuries, opera houses were financed by rulers and wealthy people who used patronage of the arts to endorse their political ambition and social position.
With the rise of bourgeois and capitalist social forms in the 19th century, European culture moved away from its patronage system to a publicly supported system. Early United States opera houses served a variety of functions in towns and cities, hosting community dances, fairs and vaudeville shows as well as operas and other musical events. In the 2000s, most opera and theatre companies are supported by funds from a combination of government and institutional grants, ticket sales, private donations; the Teatro San Carlo in Naples, opened in 1737, introduced the horseshoe-shaped auditorium, the oldest in the world, a model for the Italian theater. On this model were built subsequent theaters in Italy and Europe, among others, the court theater of the Palace of Caserta, which became the model for other theaters. Given the popularity of opera in 18th and 19th century Europe, opera houses are large containing more than 1,000 seats. Traditionally, Europe's major opera houses built in the 19th century contained between about 1,500 to 3,000 seats, examples being Brussels' La Monnaie, Odessa Opera and Ballet Theater, Warsaw's Grand Theatre, Paris' Palais Garnier, the Royal Opera House in London and the Vienna State Opera.
Modern opera houses of the 20th century such as New York's Metropolitan Opera House and the War Memorial Opera House in San Francisco are larger. Many operas are better suited to being presented in smaller theaters, such as Venice's La Fenice with about 1,000 seats. In a traditional opera house, the auditorium is U-shaped, with the length of the sides determining the audience capacity. Around this are tiers of balconies, nearer to the stage, are boxes. Since the latter part of the 19th century, opera houses have an orchestra pit, where a large number of orchestra players may be seated at a level below the audience, so that they can play without overwhelming the singing voices; this is true of Wagner's Bayreuth Festspielhaus where the pit is covered. The size of an opera orchestra varies, but for some operas and other works, it may be large. An opera may have a large cast of characters, chorus and supernumeraries. Therefore, a major opera house will have extensive dressing room facilities. Opera houses have on-premises set and costume building shops and facilities for storage of costumes, make-up, stage properties, may have rehearsal spaces.
Major opera houses throughout the world have mechanized stages, with large stage elevators permitting heavy sets to be changed rapidly. At the Metropolitan Opera, for instance, sets are changed during the action, as the audience watches, with singers rising or descending as they sing; this occurs in Tales of Hoffman. London's Royal Opera House, remodeled in the late 1990s, retained the original 1858 auditorium at its core, but added new backstage and wing spaces as well as an additional performance space and public areas. Much the same happened in the remodeling of Milan's La Scala opera house between 2002 and 2004. Although stage and other production aspects of opera houses make use of the latest technology, traditional opera houses have not used sound reinforcement systems with microphones and loudspeakers to amplify the singers, since trained opera singers are able to project their unamplified voices in the hall. Since the 1990s, some opera houses have begun using a subtle form of sound reinforcement called acoustic enhancement.
Operas are presented in their original languages, which may be different from the first language of the audience. For example, a Wagnerian opera presented in London may be in German. Therefore, since the 1980s modern opera houses have assisted the audience by providing translated supertitles, projections of the words above or near to the stage. More electronic libretto systems have begun to be used in some opera houses, including New York's Metropolitan Opera, Milan's La Scala, the Crosby Theatre of The Santa Fe Opera, which provide two lines of text on individual screens attached to the backs of the seats so as to not interfere with the visual aspects of the performance. A subtle type of sound reinforcement called acoustic enhancement is used in some opera hou
Michel Plasson is a French conductor. Plasson was a student of Lazare Lévy at the Conservatoire de Paris. In 1962, he was a prize-winner at the International Besançon Competition for Young Conductors, he studied in the United States, including time with Charles Münch. He became the music director of the city of Metz for 3 years. In 1968, Plasson became principal conductor of the Orchestre et Chœurs du Capitole de Toulouse, his recordings with the orchestra include orchestral works, operettas of Jacques Offenbach, including Orphée aux enfers, La Vie parisienne, La Périchole and La belle Hélène, Bizet's Carmen. Plasson resigned as principal conductor in 2003 and now has the title of "Honorary Conductor", or conductor emeritus. From 1994 to 2001, he was principal conductor of the Dresden Philharmonic. Guest appearances include Grand Théâtre de Genève, De Nederlandse Opera and the Royal Opera House, Covent Garden. Plasson's son Emmanuel Plasson is a conductor. Plasson's recordings were made for EMI/Virgin, focused upon works by French composers.
Among these recordings, his interpretations for the operatic works by Offenbach and Massenet were considered as excellent by critics. Berlioz Chansons, with Rolando Villazón, Lauren Naouri, Nicolas Rivenq. Bizet L'Arlésienne - complete incidental music, with Orchestre du Capitole de Toulouse. Carmen, with Angela Gheorghiu, Roberto Alagna, Thomas Hampson and Inva Mula. Les pêcheurs de perles, with John Aler and Gino Quilico. Chabrier Orchestral Works, with Barbara Hendricks, Susan Mentzer and Pierre Del Vescovo. Debussy Orchestral Works, with Orchestre du Capitole de Toulouse. Delibes Lakmé, with Natalie Dessay, Gregory Kunde, José van Dam. Duruflé Requiem, other Religious Works, with Anne Sofie von Otter, Thomas Hampson and Marie-Claire Alain. Fauré Orchestral Works, with Orchestre du Capitole de Toulouse. Gardel 15 Tangos, with Orchestre du Capitole de Toulouse. Gounod Faust, with Richard Leech, Cheryl Studer, José van Dam and Thomas Hampson. Mireille, with Mirella Freni, Alain Vanzo and José van Dam.
Two recordings of Roméo et Juliette,the first one starring Alfredo Kraus, Catherine Malfitano, José Van Dam and Gino Quilico, the second one with Angela Gheorghiu, Roberto Alagna, José van Dam and Simon Keenlyside. Lalo Symphonie espagnole and Violin Concerto, with Augustin Dumay. Landowski Montségur, with Karan Armstrong and Gino Quilico, 1987. Magnard Four symphonies, orchestral works Guercoeur, with José van Dam, Hildegard Behrens and Orchestre du Capitole de Toulouse, 1986. Massenet Don Quichotte, with Teresa Berganza, José Alain Fondary. Hérodiade, with Cheryl Studer, José van Dam, Thomas Hampson and Ben Heppner. Manon, with Ileana Cotrubaș, Alfredo Kraus, Gino Quilico and José Van Dam. Werther, with Alfredo Kraus, Tatiana Troyanos, Matteo Manuguerra. Offenbach La belle Hélène, with Jessye Norman, John Aler, Charles Burles, Jean-Philippe Lafont and Gabriel Bacquier. Orphée aux enfers, with Jane Rhodes, Jane Berbié, Charles Burles and Michel Sénéchal. La Périchole, with Teresa Berganza, José Carreras and Gabriel Bacquier.
La Vie parisienne, with Régine Crespin. Orff Carmina Burana, with Natalie Dessay, Thomas Hampson and Gérard Lesne. Ravel Mélodies, with Teresa Berganza, Felicity Lott. Verdi Jérusalem, with Alan Fondary, Verónica Villarroel, Carlo Colombara, Ivan Momirov, Federica Bragaglia, Giorgio Casciarri, Teatro Carlo Felice of Genoa, Tdk DVD Video Michel Plasson biography at EMI Classics Interview with Michel Plasson by Bruce Duffie, October 19, 1981
Ballet is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and developed into a concert dance form in France and Russia. It has since become a widespread technical form of dance with its own vocabulary based on French terminology, it has been globally influential and has defined the foundational techniques used in many other dance genres and cultures. Ballet has been taught in various schools around the world, which have incorporated their own cultures and as a result, the art has evolved in a number of distinct ways. See glossary of ballet. A ballet, a work, consists of the music for a ballet production. Ballets are performed by trained ballet dancers. Traditional classical ballets are performed with classical music accompaniment and use elaborate costumes and staging, whereas modern ballets, such as the neoclassical works of American choreographer George Balanchine are performed in simple costumes and without the use of elaborate sets or scenery.
Ballet is a French word which had its origin in Italian balletto, a diminutive of ballo which comes from Latin ballo, meaning "to dance", which in turn comes from the Greek "βαλλίζω", "to dance, to jump about". The word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the sixteenth centuries. Under Catherine de' Medici's influence as Queen, it spread to France, where it developed further; the dancers in these early court ballets were noble amateurs. Ornamented costumes were meant to impress viewers, but they restricted performers' freedom of movement; the ballets were performed in large chambers with viewers on three sides. The implementation of the proscenium arch from 1618 on distanced performers from audience members, who could better view and appreciate the technical feats of the professional dancers in the productions. French court ballet reached its height under the reign of King Louis XIV. Louis founded the Académie Royale de Danse in 1661 to establish standards and certify dance instructors.
In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, the Paris Opera Ballet, arose. Pierre Beauchamp served as Lully's ballet-master. Together their partnership would drastically influence the development of ballet, as evidenced by the credit given to them for the creation of the five major positions of the feet. By 1681, the first "ballerinas" took the stage following years of training at the Académie. Ballet started to decline in France after 1830, but it continued to develop in Denmark and Russia; the arrival in Europe of the Ballets Russes led by Sergei Diaghilev on the eve of the First World War revived interest in the ballet and started the modern era. In the twentieth century, ballet had a wide influence on other dance genres, Also in the twentieth century, ballet took a turn dividing it from classical ballet to the introduction of modern dance, leading to modernist movements in several countries. Famous dancers of the twentieth century include Anna Pavlova, Galina Ulanova, Rudolf Nureyev, Maya Plisetskaya, Margot Fonteyn, Rosella Hightower, Maria Tall Chief, Erik Bruhn, Mikhail Baryshnikov, Suzanne Farrell, Gelsey Kirkland, Natalia Makarova, Arthur Mitchell.
Stylistic variations and subgenres have evolved over time. Early, classical variations are associated with geographic origin. Examples of this are Russian ballet, French ballet, Italian ballet. Variations, such as contemporary ballet and neoclassical ballet, incorporate both classical ballet and non-traditional technique and movement; the most known and performed ballet style is late Romantic ballet. Classical ballet is based on vocabulary. Different styles have emerged in different countries, such as French ballet, Italian ballet, English ballet, Russian ballet. Several of the classical ballet styles are associated with specific training methods named after their creators; the Royal Academy of Dance method is a ballet technique and training system, founded by a diverse group of ballet dancers. They merged their respective dance methods to create a new style of ballet, unique to the organization and is recognized internationally as the English style of ballet; some examples of classical ballet productions are: the Nutcracker.
Romantic ballet was an artistic movement of classical ballet and several productions remain in the classical repertoire today. The Romantic era was marked by the emergence of pointe work, the dominance of female dancers, longer, flowy tutus that attempt to exemplify softness and a delicate aura; this movement occurred during the early to mid-nineteenth century and featured themes that emphasized intense emotion as a source of aesthetic experience. The plots of many romantic ballets revolved around spirit women who enslaved the hearts and senses of mortal men; the 1827 ballet La Sylphide is considered to be the first, the 1870 ballet Coppélia is considered to be the last. Famous ballet dancers of the Romantic era include Marie Taglioni, Fanny Elssler, Jules Perrot. Jules Perrot is known for his choreography that of Giselle considered to be the most celebrated romantic ballet. Neoclassical ballet is abstract, with no clear plot, costumes or scenery. Music choice can be diverse and will include music, neoclassical.
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Guillaume Cammas was a French painter and architect. Cammas was born in Aignes, Haute-Garonne, Midi-Pyrénées, he studied under the painter Antoine Rivalz, designed the façade of the Capitole de Toulouse, built between 1750 and 1759. He was one of the founders of Académie royale de peinture de Toulouse, his son François-Lambert Cammas designed the transept of the église Saint-Pierre des Chartreux de Toulouse. MESURET, Robert,Les expositions de l'Académie Royale de Toulouse de 1751 à 1791, Paris, 1972
Toulouse is the capital of the French department of Haute-Garonne and of the region of Occitanie. The city is on the banks of the River Garonne, 150 kilometres from the Mediterranean Sea, 230 km from the Atlantic Ocean and 680 km from Paris, it is the fourth-largest city in France, with 466,297 inhabitants as of January 2014. In France, Toulouse is called the "Pink City"; the Toulouse Metro area, with 1,312,304 inhabitants as of 2014, is France's fourth-largest metropolitan area, after Paris and Marseille, ahead of Lille and Bordeaux. Toulouse is the centre of the European aerospace industry, with the headquarters of Airbus, the Galileo positioning system, the SPOT satellite system, ATR and the Aerospace Valley, it hosts the European headquarters of Intel and CNES's Toulouse Space Centre, the largest space centre in Europe. Thales Alenia Space, ATR, SAFRAN, Liebherr-Aerospace and Astrium Satellites have a significant presence in Toulouse; the University of Toulouse is one of the oldest in Europe and, with more than 103,000 students, it is the fourth-largest university campus in France, after the universities of Paris and Lille.
The air route between Toulouse–Blagnac and Paris Orly is the busiest in Europe, transporting 2.4 million passengers in 2014. According to the rankings of L'Express and Challenges, Toulouse is the most dynamic French city; the city was the capital of the Visigothic Kingdom in the 5th century and the capital of the province of Languedoc in the Late Middle Ages and early modern period, making it the unofficial capital of the cultural region of Occitania. It is now the capital of the second largest region in Metropolitan France. A city with unique architecture made of pinkish terracotta bricks, which earned it the nickname la Ville Rose, Toulouse counts two UNESCO World Heritage Sites, the Canal du Midi, the Basilica of St. Sernin, the largest remaining Romanesque building in Europe, designated in 1998 because of its significance to the Santiago de Compostela pilgrimage route. Toulouse is in the south of France, north of the department of Haute-Garonne, on the axis of communication between the Mediterranean Sea and the Atlantic Ocean.
The city is traversed by the Canal de Brienne, the Canal du Midi and the rivers Garonne and Hers-Mort. Toulouse has a humid subtropical climate, with too much precipitation in the summer months preventing the city from being classified as a Mediterranean climate zone; the Garonne Valley was a central point for trade between the Pyrenees, the Mediterranean and the Atlantic since at least the Iron Age. The historical name of the city, Tolosa, it is of unknown meaning or origin from Aquitanian, or from Iberian, but has been connected to the name of the Gaulish Volcae Tectosages. Tolosa enters the historical period in the 2nd century BC. After the conquest of Gaul, it was developed as a Roman city of Gallia Narbonensis. In the 5th century, Tolosa fell to the Visigothic kingdom and became one of its major cities, in the early 6th century serving as its capital, before it fell to the Franks under Clovis in 507. From this time, Toulouse was the capital of Aquitaine within the Frankish realm. In 721, Duke Odo of Aquitaine defeated an invading Umayyad Muslim army at the Battle of Toulouse.
Odo's victory was a small obstacle to Muslim expansion into Christian Europe, Muslims occupied a large territory including Poitiers. Charles Martel, a decade won the Battle of Tours called the Battle of Poitiers; the Frankish conquest of Septimania followed in the 750s, a quasi-independent County of Toulouse emerged within the Carolingian sub-kingdom of Aquitaine by the late 8th century. The Battle of Toulouse of 844, pitting Charles the Bald against Pepin II of Aquitaine, was key in the Carolingian Civil War. During the Carolingian era, the town rose in status. In the 12th century, consuls took over the running of the town and these proved to be difficult years. In particular, it was a time of religious turmoil. In Toulouse, the Cathars tried to set up a community here, but were routed by Simon de Montfort's troops; the Dominican Order was founded in Toulouse in 1215 by Saint Dominic in this context of struggle against the Cathar heresy. The subsequent arrival of the Inquisition led to a period of religious fervour during which time the Dominican Couvent des Jacobins was founded.
Governed by Raimond II and a group of city nobles, Toulouse's urban boundaries stretched beyond its walls to the north and as far south as Saint Michel. In the Treaty of Paris of 1229, Toulouse formally submitted to the crown of France; the county's sole heiress Joan was engaged to Alphonse, Count of Poitiers, a younger brother of Louis IX of France. The marriage became legal in 1241, but it remained childless so that after Joan's death the county fell to the crown of France by inheritance. In 1229, University of Toulouse was established after the Parisian model, intended as a means to dissolve the heretic movement. Various monastic orders, like the congregation of the order of frères prêcheurs, were started, they found home in Les Jacobins. In parallel, a long period of inquisition began inside the Toulouse walls; the fear of repression obliged the notabilities to convert themselves. The inquisition lasted nearly 4
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012