| Revision as of 10:02, 17 October 2014 editVoceditenore (talk | contribs)Autopatrolled, Extended confirmed users, File movers, New page reviewers, Pending changes reviewers, Rollbackers123,168 edits →Good Gluck!: new WikiLove messageTag: WikiLove← Previous edit | Revision as of 16:34, 1 December 2014 edit undoJeanambr (talk | contribs)Extended confirmed users8,472 edits →François Lays: new sectionNext edit → | ||
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| |style="vertical-align: middle; padding: 3px;" | Christoph Willibald and his humble acolyte at ] thank you making his operas turn from red to blue. ] (]) 10:02, 17 October 2014 (UTC) | |style="vertical-align: middle; padding: 3px;" | Christoph Willibald and his humble acolyte at ] thank you making his operas turn from red to blue. ] (]) 10:02, 17 October 2014 (UTC) | ||
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| == François Lays == | |||
| Hi Folantin, should you decide to report the quotation from Pitou, I send you below the original text: "The most impressive aspect of Lays's professional life was not in the quality of his voice, but in the number of times that he used it. He created 68 new characters at the Opéra between 1780 and 1818. It would be interesting to determine how many records he broke in the course of performing this single feat alone. How many singers have had a longer tenure at the Opéra? Has any artist created more roles at the Opéra? What singers besides Lays have learned five new parts in a year? He performed before the days of planes and fast trains, of course, but even making allowances for this lack of temptation to interrupt his activities in Paris to visit foreign opera houses for large fees, modern critics must credit Lays with a singleness of purpose that merits recognition". Here is the quotation from Elizabeth Forbes, as well: "Though a poor actor and not, apparently, a very good singer, he was greatly admired for the warmth and beauty of his voice, baritonal in quality, but which extended into the tenor range". Cheers. --] (]) 16:34, 1 December 2014 (UTC) | |||
Revision as of 16:34, 1 December 2014
Please open a new section below.
Les fêtes de l'Hymen et de l'Amour
Fatto! Ciao. --Jeanambr (talk) 13:56, 12 October 2014 (UTC)
- Let me know when you're finished: I'll try and check the new articles very willingly, even though I've never heard of Catel and I am not very expert in the French opera of the nineteenth century. Con grande simpatia. --Jeanambr (talk) 19:37, 12 October 2014 (UTC)
- PS: In the next few days I'll also try to expand the role table of Daphnis et Eglé.
- Pitou's article on Catel is no wider than one page ('paginetta', we'd say in Italian). In the second volume (1715-1815) there are also articles on Sémiramis, Alexandre chez Apelles and Les Bayadères. I do not possess the third volume. If you want, I could send you scanned copies of some or all of them. Cheers.--Jeanambr (talk) 20:18, 12 October 2014 (UTC)
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Good Gluck!
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The Christoph Willibald Award |
| Christoph Willibald and his humble acolyte at WikiProject Opera thank you making his operas turn from red to blue. Voceditenore (talk) 10:02, 17 October 2014 (UTC) |
François Lays
Hi Folantin, should you decide to report the quotation from Pitou, I send you below the original text: "The most impressive aspect of Lays's professional life was not in the quality of his voice, but in the number of times that he used it. He created 68 new characters at the Opéra between 1780 and 1818. It would be interesting to determine how many records he broke in the course of performing this single feat alone. How many singers have had a longer tenure at the Opéra? Has any artist created more roles at the Opéra? What singers besides Lays have learned five new parts in a year? He performed before the days of planes and fast trains, of course, but even making allowances for this lack of temptation to interrupt his activities in Paris to visit foreign opera houses for large fees, modern critics must credit Lays with a singleness of purpose that merits recognition". Here is the quotation from Elizabeth Forbes, as well: "Though a poor actor and not, apparently, a very good singer, he was greatly admired for the warmth and beauty of his voice, baritonal in quality, but which extended into the tenor range". Cheers. --Jeanambr (talk) 16:34, 1 December 2014 (UTC)