PALAZZETTO BRU ZANE SEASON

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1 PALAZZETTO BRU ZANE SEASON press kit press contact ELEVENTENTHS PR Claire Willis BRU-ZANE.COM

2 OVERVIEW AN EDITORIAL IN FOUR QUESTIONS AND ANSWERS Florence Alibert managing director Alexandre Dratwicki scientific director Baptiste Charroing development director An editorial in four questions and answers Cycle Édouard Lalo between folklore and Wagnerism Cycle Benjamin Godard in the Parisian salons The Season in Venice Festival Palazzetto Bru Zane in Paris Touring Productions Bru Zane Mediabase Professional Music Training Académie Ravel Books and recordings What is new for the forthcoming season? This season we have decided to create a contrast between two composers whose fame has followed quite distinct paths. In the case of Édouard Lalo, a handful of his works are still to be heard frequently in concert, so the Palazzetto Bru Zane is focusing on introducing other aspects of this composer, especially through his last opera, La Jacquerie. Benjamin Godard, on the other hand, is almost virtually unknown today, hence his output cries out for a complete reappraisal. These composers will become the vedettes of two festivals being organised in Venice in autumn and spring next year. The Festival Palazzetto Bru Zane held in Paris will be broadening its scope for its fourth edition in June 2016, with its opening night seeing Spontini s Olympie performed in the Théâtre des Champs-Élysées. The festival then returns to the Théâtre des Bouffes du Nord for six concerts, which will present the more intimate genres of chamber music and mélodie. Our partnerships are also being strengthened in other countries: to follow on from Gounod s Cinq-Mars, the Munich Radio Orchestra and the Palazzetto Bru Zane will be programming a modern revival of Godard s Dante; the Philharmonic Orchestra will be taking part in the Lalo cycle with the uncommon Violin Concerto Op 20, featuring James Ehnes as soloist. A significant place in our plans will be occupied this season by the training of young musicians, following a new three-year collaboration established with the Académie Internationale de Musique Maurice Ravel. This partnership will enable an in-depth study of rare French repertory to be carried out. What are the top priorities for the coming season in the field of your research? Since the foundation of the Palazzetto Bru Zane in 2009, we have been amassing a huge amount of information and vast quantities of documents and we think it is important to share all this with music lovers, musicians and the wider public. As a consequence, we have now created an online database, the Bru Zane Mediabase, which, in addition to containing an extensive array of illustrative material, includes summaries of musical figures and compositions, plus scholarly texts arising from our various symposia. The opportunity is also being taken to present the results of various cataloguing and digitization projects in which the Palazzetto Bru Zane is involved; for example, some months ago, the family archives of the violinist Pierre Baillot were placed online in a downloadable format. Work is continuing during the season on other documentary collections and completion of the cataloguing of almost 1700 staging guidebooks for Romantic operas kept in the Bibilothèque Historique de la Ville de Paris. A similar project is being launched this autumn on the holdings of the Leduc/Hamelle/ Choudens/Heugel publishing archives, which were lodged with the Palazzetto Bru Zane a few months back. Finally, work is continuing on infrequently scheduled musical categories (such as the compositions intended for the Prix de Rome competition), together with a future strong emphasis on the opérette and its forgotten composers. There appears to be an expansion in the range of themed programmes, such as last season s Au pays où se fait la guerre. What are the principal projects here and with whom are you working? We are delighted this season to be presenting with Les Brigands a new production of Hervé s Les Chevaliers de la Table ronde, which will immerse audiences in the comical and burlesque world of the opéra bouffe. Absurdity will be stretched to the point of utter madness through the imaginative world of this crazy composer, the complicity of Pierre-André Weitz and his staging and a company of singer-actors and musicians all in love with this repertoire. Following on from the première at the Opéra de Bordeaux in November, 35 further dates across France and at the Teatro Malibran in Venice have already been scheduled. This is a particularly diverting way of furthering the Palazzetto Bru Zane s aim of bringing little known works to a wider audience. Elsewhere, we will once more be joining along with Hervé Niquet and Le Concert Spirituel our longstanding partners in the Festival Berlioz and the Château de Versailles Spectacles. On this occasion, through an original programme of sacred music, there will be an opportunity to rediscover or become acquainted with Requiem masses from the time of the Bourbon Restoration in France (which followed the fall of Napoleon Bonaparte) composed as tributes to Marie-Antoinette and Louis XVI. The themed programmes, Le Ventre de Paris, Au pays où se fait la guerre and Il était une fois will be either continuing or starting out on their tours. Nor is chamber music being forgotten here with Jean- Efflam Bavouzet making the case for Magnard s Quintet for Piano and Wind Instruments, and working with the ensemble of soloists, Les Vents Français (Pahud, Meyer, Leleux, Audin, Vlatkovic, Lesage), in a programme of French works for wind instruments. Performances will take place in Paris, Brussels, Munich and Zug. How are the Palazzetto Bru Zane s book-cd collections developing? The Opera français series, launched in 2012, is soon going to reach its tenth volume with the autumn release of the grand opéra by Félicien David, Herculanum (recorded in March 2014). Winner of a number of awards already, this series of operatic recordings is underpinning its support role in bringing the Palazzetto Bru Zane s discoveries to public and professionals alike on an international level. The policy of systematically recording our operatic productions will be continued during the season with Dante by Godard, Olympie by Spontini and La Jacquerie by Lalo, all destined for forthcoming release in this series. The next volume in the Portraits series will be given over to Marie Jaëll, and will include recordings made in the last three years. It is our hope that the musical quality to be found in this book-cd will encourage concert programmers to schedule the more outstanding compositions by this female composer her piano and cello concertos, in particular. In its own fifth volume, the Prix de Rome series will be celebrating the music of Paul Dukas and should spark off much interest, especially with the exciting, unrecorded cantata Sémélé. 1

3 A committed quartet player passionate about opera, Édouard Lalo cannot be reduced to his Symphonie espagnole, with its heady folkloric flavours and violin virtuosity. The focus is on a Germanophile with a visionary style rich in contrasts. cycle EDOUARD LALO BETWEEN FOLKLORE AND WAGNERISM There is a concern that M. Lalo will remain a modest composer, indifferent to promotion, absorbed in his art and devoted to it with no other aim. Ernest Reyer, Journal des débats, May 13, 1888 Chronological landmarks 1823: Birth in Lille 1839: Moves to Paris 1856: Becomes viola player for the Quatuor Armingaud 1865: Marries the mezzo-soprano Julie Bernier de Maligny 1871: Member of the Société Nationale de Musique 1892: Death in Paris Just as Bizet owes his glory to a single work, Carmen, the fame of Lalo to posterity seems definitively tied to his Symphonie espagnole for violin and orchestra (1875), the international success of which has never waned. However, for those of a more inquiring mind, Lalo is also the composer of the opera inspired by Breton legends, Le Roi d Ys, which was still enjoying a certain popularity in the 1970s. This seems to sum up the reputation of this artist, who combined a revolutionary temperament (which earned him exclusion from official circles) with an overly Germanic style to comply with the rules of French academicism. It would, however, be an injustice to the man and his work to go no further than this simplistic overview. This season the Palazzetto Bru Zane is committed to reviving an important part of his music, with its diverse and often surprising style, aimed at bringing the composer in all his diversity back into favour. The cycle of concerts in Venice will allow his trios, sonatas, quintet and quartet, as well as a substantial selection of the 32 mélodies (now almost unknown) to be rediscovered. Releases of complete recordings of his concertante music and his mélodies will be appearing alongside the revival of his last opera, La Jacquerie, as completed by the very Wagnerian composer Arthur Coquard. The man in his time Having with difficulty broken with his family s military tradition, Lalo was very quick to reveal his passion for music. He first enrolled in the Lille Conservatoire in 1832, attending the classes of Müller (violin) and Baumann (composition), before departing seven years later for Paris to complete his training under the guidance of Habeneck (violin). From that point on this strong-minded musician never ceased avidly pursuing a difficult career, often on the margins of official recognition. Towards the end of the 1840s he eked out a living by giving classes or playing in the orchestra of the Opéra-Comique. His involvement in the Grande Société Philharmonique in 1850 gave him the chance to meet Berlioz. In 1856 he was one of the founders of the Quatuor Armingaud (for which he wrote his String Quartet, Op 19, in 1859), and then concentrated on mélodie and chamber music. Even with support from leading figures such as Gounod, he did not achieve any relative recognition until the 1870s, when he was involved in the founding of the Société Nationale de Musique (1871). It was then that he composed the greater part of his important works, whose inspiration was to profoundly influence succeeding generations. A close contemporary, also in spirit, of César Franck, he opened the way for the generation of d Indy, Duparc, Chausson and, later, Vierne. 2 3

4 Germany is my true musical country. Édouard Lalo Lalo s output in a few dates 1850: Publication of the Piano Trio No : First version of the String Quartet 1861: Symphony in G minor (revised in 1887) 1875: Symphonie espagnole 1875: Initial sketches for Le Roi d Ys 1877: Cello Concerto 1882: Namouna performed at the Paris Opéra 1888: Première of Le Roi d Ys The question of Wagnerism It is likely that Lalo discovered the modernity of German Romantic music, and Beethoven in particular, through his contacts with the violinist and conductor Habeneck and the virtuoso Baillot. However, whatever the origins of his interest in the Germanic aesthetic may have been, Lalo could not but relate to it, like all composers living in Wagner s time. Lalo opted for a broad assimilation of German music, looking to Schumann and Mendelssohn for pure music (especially their chamber music) and to Wagner for his operas, especially Le Roi d Ys. However (despite himself?) Lalo remained French in many aspects, as can be shown by the density of his orchestration, which recalls that of César Franck, and the diversity of timbres he skilfully scattered through his ballet Namouna. Because he broke sharply away from Meyerbeer, Ambroise Thomas and the like, Lalo was appreciated mainly by the champions of German music, such as his contemporary Théodore Gouvy (also a composer of mainly instrumental music). Towards a renewal of instrumental music Although some critics censured Lalo for a somewhat artificial exoticism in his orchestral music the Symphonie espagnole, the Concerto russe and the Fantaisie norvégienne, furthermore performed for the first time by the celebrated Pablo de Sarasate all agreed that his violin virtuosity showed perfect mastery of the instrument and at times even visionary moments. Moreover, it is precisely the bravura pieces that have ensured Lalo his place in posterity. Openly referring to Berlioz, Lalo s astringent orchestration is intended to emphasise the violence of almost all his melodic ideas, whose real ferocity is also found in his chamber music. The final movements of most of his works make use of repetitive, even frenetic, rhythms, in which strings and piano trace broad textures, from immeasurable depths to soaring heights. Such elements intensify the image of a heroic idealist extolling determination and struggle. Even in the smaller genre pieces he composed, principally for violin and piano, Lalo did not hesitate to multiply the contrasts. If a certain poetic lull emerges in his music, it is probably in the slow movements (such as the sublime meditation in the third Piano Trio) and in some of his 32 mélodies, all still waiting to be rediscovered). Lalo and the opera Apart from La Jacquerie, completed after the composer s death, Lalo s connection with opera is restricted to two works that had quite different fates, which the composer presented alone, yet both show how important operatic success was for him. His composition of Fiesque was intended for a competition held in 1868 by the administrative director of the Parisian theatres. Coming third in the competition, the opera consequently had no hope of being performed. Nevertheless, Lalo submitted Fiesque for consideration at the same time to the director of the Opéra and to the Theater am Dammtor in Hamburg, but the Prussian invasion of 1870 put paid to these efforts completely. After spending several months in Belgium, the composer finally managed to arouse the interest of the Théâtre de La Monnaie with a view to staging the work in Brussels, but the project was once again unsuccessful, despite being very advanced. Lalo settled for having some excerpts from the opera performed in a number of concerts held in Paris between 1872 and 1877, before dismembering the score in order to make use of large sections of it in his later works. Le Roi d Ys, which Lalo began work on at the same moment that Fiesque was being set aside ( ), was to have a similar background. The libretto draws on the Breton legend of the city of Ys, capital of the kingdom of Cornwall, supposedly swallowed up in the sea off Douarnenez. After a pre-hearing at the Théâtre Lyrique (1878) and then at the Opéra (1879), the work was cancelled at both, even though excerpts performed by Lalo s wife, the mezzo-soprano Julie de Marigny in the role of Margared, were given a warm welcome. It was not until 1886 that it was given its first - triumphal - performance at the Opéra-Comique (then the Salle du Châtelet). The opera was translated into all languages and continued to be a success until the 1920s, when it was abruptly abandoned after the First World War. A second triumphal wave (490 Parisian performances) began in Le Roi d Ys now continues to regularly reappear in theatre programmes around the world. One must carry the frisson of fever into the opera house; let every conversation directly serve the plot, let there be no monotony. Letter from Édouard Lalo to Édouard Blau, May 16,

5 LA JACQUERIE Opera in four acts, completed by Arthur Coquard, to a libretto by Édouard Blau and Simone Arnaud, first performed at the Opéra de Monte-Carlo on 9 March Friday July 24, 2015 OPÉRA BERLIOZ MONTPELLIER (FRANCE)* Friday March 11, 2016 Auditorium of Radio France PARIS (FRANCE)** Orchestre Philharmonique de Radio France Patrick Davin conductor Blanche de Sainte-Croix Véronique Gens Jeanne Nora Gubisch Robert Charles Castronovo* / Edgaras Montvidas** Guillaume Boris Pinkhasovich* / Florian Sempey** Le Comte de Sainte-Croix Christophoros Stamboglis* / Alexandre Duhamel** Le Sénéchal Patrick Bolleire* / Julien Véronèse** Le Baron de Savigny Enguerrand de Hys* / Rémy Mathieu ** Co-production Palazzetto Bru Zane / Orchestre Philharmonique de Radio France / Festival de Radio France et Montpellier Recording by Radio France and Palazzetto Bru Zane for the "French Opera" series There is no doubt that Lalo most clearly expressed his interpretation of Wagnerism in the field of opera. While Fiesque (1868) still showed signs of dramatic guesswork, Le Roi d Ys (1888) may be regarded as a culmination of his theatrical doctrine. On the other hand, still unreleased on disc and unperformed more than a century after its first performance, it is La Jacquerie that now attracts the attention of music lovers and musicologists. It has a simple but effective plot: against the background of a bloody peasant revolt, the young Robert falls in love with the chatelaine Blanche. Out of love for her, he puts himself between the hate-filled people and her father, the local lord, but does not escape with his life. Pursued by his countrymen, Robert is beaten and dies in the arms of his beloved. Although Lalo had mapped out the plan of his opera alone, drafting some of the themes and working it out to the first act, including orchestration, it was his collaborator Arthur Coquard who completed the work, after its gestation had been brought to a halt by Lalo s unexpected death in April References to Romantic grand opéra are frequent in the work, especially in its spectacular sets (the final tableau unfolds before a ruined chapel, set in the middle of a forest, with the destroyed feudal castle emerging in the distance). However, with its brief, almost breathless structure (four acts of around twenty minutes apiece), and its vocal style mixing Verdian heroism (in the baritone and mezzo-soprano) and Wagnerian lyricism (in the tenor and soprano), La Jacquerie reconnects to Le Roi d Ys promoting a concise, effective opera lacking in artifice. This is the exact opposite of the French model imposed by Meyerbeer from the 1830s and still in vogue in the 1880s. The work was successfully performed for the first time in Monte Carlo on 9 March 1895 and revived at the Opéra-Comique on December 23 the same year. This opera is modern and its style a very dramatic one, very vivid, full of liveliness. CONCERTS September 26 to November 10, 2015 Festival in Venice (Italy) The cycle of eight concerts organized in the Autumn of 2015 in Venice will provide the opportunity of hearing almost the entirety of Lalo s chamber works (trios, string quartet, violin and cello sonatas, Fantaisie-Quintette), as well as many of his mélodies. December 10, 2015 Royal Festival Hall, London (UK) Violin Concerto, Op 20 Philharmonia Orchestra Jérémie Rhorer conductor James Ehnes violin If the success of Lalo s Violin Concerto, Op 20 was in part the result a consequence of the work s celebrated dedicatee and first performer Pablo de Sarasate the work also offers distinctive formal features which distinguish it from traditional concertos of the period: a two-movement structure each one introduced by a slow passage. Lalo is already declaring himself to be the great reformer of the genre. From June 26 to August 15, 2015 Festival International du Domaine Forget (Québec) The Festival International du Domaine Forget is dedicating a cycle of five concerts to Lalo, which will notably provide the opportunity to hear the Rhapsodie norvégienne, the overture from Le Roi d Ys, the violin and cello sonatas, as well as a selection of mélodies. RECORDINGS The Complete Mélodies Tassis Christoyannis baritone Jeff Cohen piano Aparté (2 CD) Release date: October 2015 As varied in their musical colour as in their literary material, the 32 mélodies by Lalo continue to be largely unknown by the public. This box set provides a new complete recording. The Complete Concertante works Orchestre Philharmonique Royal de Liège Jean-Jacques Kantorow conductor ALPHA classics (3 CD) Release date: February 2016 Following on from the successive releases of the concertante music of Vieuxtemps and of Saint-Saëns, the Chapelle Musicale Reine Elisabeth is offering in co-production with the Palazzetto Bru Zane, the Orchestre Philharmonique Royal de Liège and the Alpha Classics label a box set containing the complete concertante music by Édouard Lalo. This will be the opportunity to rehear the great successes which are the Cello Concerto and the Symphonie espagnole, here performed with gifted young musicians as soloists, but also of discovering other treasures such as the remarkable Piano Concerto and the Concerto russe for violin. Le Ménestrel, March 17,

6 He was a dreamer, possessed of an emotional interior. Eugène de Solenière cycle BENJAMIN GODARD ( ) IN THE PARISIAN SALONS Virtuoso violinist and pianist, an elegant mélodiste, the name of Godard today only conjures up his celebrated Berceuse. This is the rediscovery of a composer of his time, producer of attractive and enticing music. Chronological landmarks 1849: Birth in Paris 1863: Enters the Paris Conservatoire 1867: Second failure with the Prix de Rome 1882: Moves to Villieres-Adam 1887: Professor of chamber music at the Conservatoire 1889: Chevalier of the Legion d honneur 1895: Death in Cannes Benjamin Godard was not only a prolific composer and excellent writer of mélodies, but also a skilled and capable violinist and virtuoso pianist. However, he has left virtually no trace in the history of music, if not with the Berceuse, taken from his opera Jocelyn (1888), a tenor aria that has been rearranged and transcribed so many times that its origins have been virtually forgotten. Yet until the 1970s this piece was as famous as the Méditation from Massenet s Thaïs or Saint-Saëns Le Cygne. If Godard is today little known, it is because he belongs to that school of Romanticism that was neither pioneering (one thinks here of Méhul and Cherubini around 1790) nor revolutionary (Debussy, Fauré and Ravel from 1890 on). A composer perfectly in step with his times, passionate about instrumental music and operas built around noble or historical themes (Le Tasse, Dante, Les Guelfes ), Godard favoured the heartfelt gesture over the reasoning of the mind. From that point of view, his music is immediately accessible and attractive for anyone now endeavouring to rediscover the elegant spirit of the Third Republic. This style, with its tact and moderation, is precisely what the Palazzetto Bru Zane will be highlighting in spring In Venice it is presenting an overview of Godard s work (mélodies, quartets, trios, sonatas, piano music), supplemented by revivals in the orchestral field (the Symphony No 2 in B flat major), operatic (Dante in Munich and Paris), as well as the new complete recordings (music for violin and piano) and anthologies (mélodies and music for solo piano). Teachers and models Born in 1849, a child prodigy on the violin, Benjamin Godard was taught by Richard Hammer and Henri Vieuxtemps before attending the Paris Conservatoire where he studied composition with Henri Reber. He twice failed in the competition for the Prix de Rome but, despite that, played an active role in French musical life at the beginning of the Third Republic. As a distinguished instrumentalist, Godard played in a quartet and his mélodies and piano pieces were a success in the salons. He was also a conductor, and in this role reinvigorated the Concerts Pasdeloup and founded the Société des Concerts Modernes. He was made a professor at the Paris Conservatoire in 1887 and placed in charge of the instrumental ensemble class. His catalogue extending to some 200 works encompasses every genre apart from religious music: six operas including Jocelyn (1888) and the unfinished La Vivandière (1895), which enjoyed considerable posthumous success; numerous orchestral pieces, including many programmatic symphonies (especially the Symphonie légendaire with chorus and the dramatic symphony with soloists and chorus Le Tasse, for which he was awarded the Prix de la Ville de Paris in 1878); a number of concertos, chamber works and an abundance of mélodies and piano pieces. Godard s style, in the manner of Mendelssohn s Romantic Classicism, remains traditional, though drawing on highly complementary contemporary inspirations (exoticism, regionalism, revived early music). However, the composer openly affirmed his lack of interest in the Wagnerian style. His career came to a premature end: fragile in health, Godard was forced to leave Paris for Cannes, where he died in 1895 at the age of only

7 Above all, he is badly known and badly understood. Eugène de Solenière Two principle instruments Rare indeed are the composers who have mastered instruments to the same level of virtuosity as Godard did with the violin and the piano, the two principle instruments of the Romantic century. Consequently, the concerto, the virtuosos showpiece, figures significantly in Godard s output. It was not only the work s alluring Romantique subtitle that gained his Concerto Op 35 a certain renown: following the tradition of the concert brillante of the 1830s, the orchestra is subjected to the tyranny of the soloist s bow that is as vibrant as it is relentless. Conversely, in the First Piano Concerto, the solo part features a subtle orchestral dialogue; such symphonic ambition is also evident in the division into four rather than three movements of a work that strongly merits a return to the concert stage. Violin and piano are thus at the heart of Godard s plentiful chamber music production, whether wide-ranging sonatas (like the Sonate fantastique for piano), exciting miniatures for soloists, or with other instruments in trios or quartets. An academic from outside the institutions A rapid overview of Godard s style might suggest that he was a staunch defender of official music, that he was a member of all the state music institutions and flaunted the numerous academic medals received since his youth. This was not the case. A long way from academic counterpoint and political obligations, Godard seems to have been affected by secret inspirations, the product of a fully assimilated bourgeois culture. The result was numerous thematic pieces and mélodies able to touch the private sentiments of his audience (Rêve vécu and Solitude for piano or Les Larmes and Veux-tu? for voice and keyboard). Godard also cultivated pictorial colour, both regional (En plein air for violin and piano) and exotic (the Symphonie orientale which, in turn, visits Arabia, China, Greece, Persia and Turkey). He was devoted to traditional genres, but added a touch of poetry to them. Unlike, for example, Reber and Gounod, Godard s symphonic expression could be gothic (No 3), oriental (No 4), legendary (without number) or descriptive (his unpublished Fifth). The sonata also became fantastique (the first piano sonata), or is hidden behind the genre piece (the Trois Pièces for violin, forming a fifth sonata ). Finally, far from the scientific historicism of those revisiting Bach, such as Boëly, Alkan and then Saint- Saëns, Godard reinterpreted past archaisms with a style accessible to a wide audience (Nouvelles Chansons du vieux temps, the Symphonie gothique and the Suite de danses anciennes et modernes for piano). Godard s output in a few dates 1878: Le Tasse honoured at the Ville de Paris competition 1882: Les Guelfes (premiered posthumously in Rouen in 1902) 1884: Pedro de Zalamea performed at the Théâtre d Anvers 1888: Jocelyn put on at La Monnaie in Brussels 1890: Dante given at the Opéra-Comique 1891: Ruy Blas (unperformed) 1895: La Vivandière performed at the Opéra-Comique (as completed by Paul Vidal) Godard and opera As a composer who delicately carved out miniatures with his many mélodies, Godard also had a fondness for the grand effect that could be unfurled in large scale operatic works. So the operas are an important aspect of this composer s personality, who here puts down the watercolourist s brush in order to paint sweeping frescoes of epic subjects. Although Le Tasse was presented in 1878 (in a competition for oratorios) as a symphonie-dramatique de concert, the public was not to be fooled and knew to expect to hear an opera, simply shorn of its scenery. In this work, the occasionally Wagnerian style follows the inflections of the text so precisely that narrative and epic aspects lose little by the absence of staging. At the age of 29, Godard was already at his peak with Le Tasse, though Les Guelfes was at a similar level (despite not being performed during the composer s lifetime), as was Pedro de Zalamea, though neither libretto seems to have been a match for the music composed. Jocelyn remains his greatest success, owing in particular to a lullaby added at a subsequent stage and which became Godard s swansong. The revolutionary subject then in vogue pandered to the sentimentalism of the historically-based opéras comiques. Dante recalls both Le Tasse, with its Italianising colourings, and Les Guelfes, by its political subject. The first performance at the Opéra-Comique was spoilt by a certain meanness in the scenery that did not do justice to the work, which nonetheless was wide ranging. Dante is full of arias, many of which could easily be great successes today. Finally, La Vivandière, completed by Paul Vidal, returns to the question of the French Revolution (this time focusing on the uprising in the Vendée), and became a jewel in the repertorial crown of the Opéra- Comique before the First World War, although unfortunately Godard did not witness its success. Godard s instrumental music in some dates 1866: Violin Sonata No : Symphony No 3, Gothique 1875: Piano Concerto No : Piano Trio No : Symphonie légendaire 1887: Concerto romantique for violin 1887: Cello Sonata 1892: String Quartet No 3 He makes use of the nostalgic vein of an olden day France whilst cultivating the concerto in a knightly fashion. France-Yvonne Bril 10 11

8 dante Opera in four acts, to a libretto by Édouard Blau, first performed at the Opéra-Comique (Paris) on May 7, 1890 Sunday January 31, 2016 at 7pm Prinzregententheater Munich (Germany) Tuesday February 2, 2016 Opéra Royal de Versailles (France) Munich Radio Orchestra Bavarian Radio Chorus Ulf Schirmer conductor Dante Edgaras Montvidas Béatrice Véronique Gens Gemma Rachel Frenkel Bardi Jean-François Lapointe L Ombre de Virgile Andrew Foster-Williams L écolier Sarah Laulan Production Palazzetto Bru Zane Recording by the Palazzetto Bru Zane for the French Opera series In partnership with the Munich Radio Orchestra Born in Florence in 1265, Dante Alighieri was both a poet and a significant political figure who worked actively to maintain the independence of his city in the face of papal ambitions. But he continues to be known mainly for his Divine Comedy, which narrates, by way of a long poetic passage, his journey into the three realms beyond the tomb. Godard s opera, composed in 1890, skilfully juxtaposes political developments crowd scenes in Florence and the feud between Guelphs and Ghibellines and the expression of medieval courtly love. In the opera Gemma, a young girl married to the protagonist out of duty and then abandoned, becomes the close friend of the beloved woman, Beatrice, of whom she is also the secret rival. The most remarkable aspect of this opera, though, is the insertion of a Vision, a kind of synthesis of the Divine Comedy set to music. Act three thus ranges between an imaginary Hell and Paradise, with sections bearing titles such as Apparition de Virgile, Choeur des Damnés, Tourbillon infernal, Divine Clarté and Apothéose de Béatrice. Godard here appears at the peak of his melodic inspiration and his overall compositional mastery, in a style that swings between Gounod and Massenet. The vocal quintet called for in the opera perfectly captures all the heroic and expressive potential of singers well-versed in Wagner and Verdi. The Palazzetto Bru Zane is presenting Dante in the form of a concert, thereby highlighting its division into sharply contrasted tableaux and a series of dramatic shifts that at times resemble the oratorio form. For this occasion, the Centre de Musique Romantique Française team has created the first modern edition of the orchestral score, working from Godard s original manuscript. CONCERTs From April 9 to May 15, 2016 Festival in Venice This cycle of nine concerts being held in spring 2016 will present a varied selection of Godard s works, highlighting his two favoured instruments, the violin and the piano, both of which he mastered to a similar degree of virtuosity. The four sonatas he wrote specifically for violin, as well as the two for piano, are worthy of attention, as they encapsulate the art of the Parisian salons of the time: thematic or programmatic pieces, Germanic inspiration after Beethoven and a melodic line tinged by voice. It is no coincidence that the other genre portrayed so outstandingly by Godard should be the French mélodie, based on contemporary poems and Renaissance sonnets. September 20, 2015 Studio 1 im Funkhaus, Munich (Germany) Symphony No 2 (excerpts) Trois Morceaux (excerpts) Symphonie gothique (excerpts) Munich Radio Orchestra David Reiland conductor RECORDINGS Barcarolles, Scènes italiennes e Vingt Pièces Alessandro Deljavan piano PIANO CLASSICS (2014) New The three String Quartets Quatuor Élysée TIMPANI (2015) Sonate fantastique, Promenade en mer, Sonata n. 2 Eliane Reyes piano GRAND PIANO Release date: Autumn 2015 The Complete Sonatas for Violin and piano Nicolas Dautricourt violin Dana Ciocarlie piano Aparté Release date: March 2016 Selection of mélodies Tassis Christoyannis baritone Jeff Cohen piano Aparté Release date: March 2016 Symphony No 2, Trois Morceaux, Symphonie gothique Munich Radio Orchestra David Reiland conductor 12 13

9 festival ÉDOUARD LALO september 26 NOVEMBER SEPTEMBER 26 NOVEMBER Festival Édouard Lalo between folklore and wagnerism NOVEMBER 2015 MARCH 2016 Concerts in Venice outside the festivals APRIL 9 MAY Festival Benjamin Godard in the parisian salons Thursday September 17 at 6pm FESTIVAL PRESENTATION Extracts from works by édouard LALO: Piano Trio no 2, Cello Sonata, Fantaisie norvégienne Soloists from the Chapelle Musicale Reine Elisabeth Vladyslva Luchenko violin Ori Epstein cello Nathanaël Gouin piano Saturday September 26 SCUOLA GRANDE SAN GIOVANNI EVANGELISTA Around the piano Édouard LALO Piano Trio No 3 in A minor Cello Sonata Guitare (for violin and piano) Romance for violin and piano TRIO DALI Sunday September 27 at 5pm Tuesday October 6 The art of the mélodie Mélodies by Édouard LALO Tassis Christoyannis baritone Jeff Cohen piano Tuesday October 13 FANTAISIE-QUINTETTE Édouard LALO Fantaisie-Quintette César FRANCK Piano Quintet Soloists from the Chapelle Musicale Reine Elisabeth Vladyslva Luchenko violin Olga Volkov violin Marie Chilemme viola Ori Epstein cello Nathanaël Gouin piano Saturday October 17 at 5pm The Romantic violin Thursday October 29 Twilight of Romanticism Édouard LALO Piano Trio No 1 Ernest CHAUSSON Piano Trio Lili BOULANGER D un soir triste TRIO CÉRÈS Thursday November 5 PARIS 1900 Édouard LALO String Quartet, Op 45 Namouna (serenade arranged for quartet) Gabriel FAURÉ String Quartet QUATUOR HERMÈS Tuesday November 10 Romantic Piano Trios Venice is the nerve centre of the Centre de Musique Romantique Française s Édouard LALO activities. A genuine laboratory of art and experimentation, it is in Venice that Violin Sonata, Op 12 Édouard LALO unpublished scores are often unearthed. Chamber music, operatic pieces with If my verses Romance-Sérénade Piano Trio No 2 piano accompaniment or others with unusual ensembles are all offered to had wings for violin and piano Cécile CHAMINADE inquiring audiences. The Palazzetto Bru Zane team gauges the importance of each Arlequin for violin and piano Piano Trio No 2 work or composer and considers the best way of stimulating its rediscovery on a Mélodies for one and two voices Gabriel PIERNÉ broader scale. Between September and June the Centre de Musique Romantique by LALO, FAURé, WIDOR, TRIO ATOS Violin Sonata Française is organising some thirty concerts and meetings with the artists in BIZET, CHAUSSON Venice. The season will open with a festival dedicated to Édouard Lalo and Diana Tishchenko violin Marion Tassou soprano close with a cycle of Benjamin Godard s music. In addition to these musical events, Joachim Carr piano Thomas Dolié baritone about a dozen conferences will allow the public to get to know the many facets of Antoine Palloc piano Award winners from the Prix French Romanticism: from historical and artistic contexts to the rediscovery of a Palazzetto Bru Zane at the musical genre or composer, and from the history of art through to literature. The Concours International de Romantici in erba programme, aimed at Veneto primary and nursery schools, Musique de Chambre Lyon 2014 aims to raise children s awareness of classical music by means of teaching workshops and concerts specifically designed for them. The Palazzetto Bru Zane also opens its doors to families for Sunday afternoon events. Children from the age of four, accompanied by their parents, can take part in fun workshops and attend a concert. Finally, every Thursday afternoon, free guided visits allow the Palazzetto Bru Zane itself to be rediscovered a typically Venetian casino and a 14 small gem of late 17th-century architecture. 15

10 CONCERTS OUTSIDE THE FESTIVALS NOVEMBER 2015 MARCH 2016 FESTIVAL BENJAMIN GODARD APRIL 9 MAY Tuesday November 24 Towards modernity Théodore DUBOIS Le Banc de mousse La Source enchantée (excerpts from the Poèmes sylvestres) Mel BONIS Écho Narcisse Paul DUKAS Sonata per pianoforte David Violi piano On the occasion of the 150th anniversary of the birth of Paul Dukas Thursday December 3 The Romantic Guitar Fernando SOR Fantasie élégiaque op. 59 Antoine DE LHOYER Grande Sonate op. 12 Napoléon COSTE Le Tournoi (fantaisie chevaleresque pour guitare) op. 15 François DE FOSSE Recuerdo Cinquième Fantaisie Matteo CARCASSI Aria «Au Clair de la lune» dalle Voitures versées varié op. 7 Luigi Attademo guitar Friday January 15 Homage to KOECHLIN Charles KOECHLIN Les Heures persanes, Op 65 for solo piano (excerpts) Chansons bretonnes, Op 115 for cello and piano (excerpts) Paysages et Marines for solo piano (excerpt) Cello Sonata, Op 6 Silvia Chiesa cello Maurizio Baglini piano Thursday February 4 SCUOLA GRANDE SAN GIOVANNI EVANGELISTA Once upon a time An operatic entertainment created around fairytales from the Romantic era Arias and duos by MASSENET, OFFENBACH, ISOUARD, SILVER, SERPETTE, LECOCQ, VIARDOT Jodie Devos soprano Isabelle Druet mezzo-soprano QUATUOR GIARDINI Sunday February 7 at 3.30pm, Tuesday February 9, Thursday 11, Friday 12 at 7pm Saturday February 13 at 3.30pm TEATRO MALIBRAN LES CHEVALIERS DE LA TABLE RONDE HERVé COMPAGNIA LES BRIGANDS Christophe Grapperon musical direction Pierre-André Weitz stage direction In partnership with the Fondazione Teatro La Fenice Saturday 20 February at 5 pm The Wind Quintet George ONSLOW Wind Quintet Paul TAFFANEL Wind Quintet Jacques IBERT Trois Pièces brèves Klarthe Quintet Award winners of the Prix Palazzetto Bru Zane at the Munich ARD Competition 2014 Tuesday March 8 Homage to MARIE JAËLL Alfred JAËLL / Felix MENDELSSOHN Marche nuptiale Marie JAËLL Les Beaux Jours (excerpts) Camille SAINT-SAËNS Valse nonchalante op. 110 Valse gaie op. 139 Danse macabre (transcribed by Franz Liszt) Marie JAËLL Jours pluvieux Franz LISZT Mephisto Valse n. 3 (completed by Marie Jaëll) Mephisto Valse n. 1 Dana Ciocarlie piano On the occasion of International Women s Day Thursday March 31 at 6pm Festival presentation Extracts from piano works by Benjamin Godard David Lively piano Saturday April 9 SCUOLA GRANDE SAN GIOVANNI EVANGELISTA Godard and the voice Mélodies, arias and duos from the operas Olivia Doray soprano Cyrille Dubois tenor Tristan Raes piano Sunday April 10 at 5pm Forgotten String Quartets String Quartet No 2, Op 37 Charles GOUNOD String Quartet No 2 QUATUOR MOSAÏQUES Thursday 14 April Godard the violinist Violin Sonata No 1 Violin Sonata No 2 Sonata for Solo Violin No 2 Violin Sonata No 4 Nicolas Dautricourt violin Dana Ciocarlie piano Tuesday April 26 Scenes from Italy and beyond Barcarolle, Op 80 Barcarolle, Op 105 Scènes italiennes, Op 126 Vingt Pièces, Op 58 Alessandro Deljavan piano Saturday April 30 at 5pm The Romantic Cello Cello Sonata Rita STROHL Titus et Bérénice Gary Hoffman cello David Selig piano Tuesday May 3 Godard and the mélodie Mélodies Tassis Christoyannis baritone Jeff Cohen piano Saturday May 7 at 5pm Romanticism and modernity Piano Trio No 2 Aubade for violin and cello, Op 133 Gabriel FAURÉ Piano Trio Lili BOULANGER D un matin de printemps TRIO TALWEG Thursday May 12 A dream experienced Piano Sonata No 2 Trois Pièces, Op 16 Nocturne No 3, Op 139 Nocturne No 4, Op 150 Rêve vécu, Op 140 Eliane Reyes piano Sunday May 15 at 5pm POESIA Violin Sonata No 3 Ernest CHAUSSON Poème Berceuse Gabriel FAURÉ Violin Sonata No 1 Maria Milstein violin Nathalia Milstein piano 16 17

11 festival IN PARIS 4th EDITION / JUNE 3 JUNE The concerts from 4 to 9 June are a co-production with C.I.C.T. Théâtre des Bouffes du Nord Co-produced with the C.I.C.T. - Théâtre des Bouffes du Nord and the Théâtre des Champs-Élysées For the fourth edition of its Parisian festival, the Palazzetto Bru Zane is able to extend its programming following a new partnership entered into with the Théâtre des Champs-Élysées where Spontini s tragédie lyrique Olympie (1819) will be performed under the baton of Jérémie Rohrer. The cycle of chamber music concerts and recitals will at the same time be continuing at the Théâtre des Bouffes du Nord, shedding a special light on Hahn, Lekeu, Koechlin and Godard, in conjunction with the cycle which the Palazzetto Bru Zane is dedicating to the composer throughout the spring of The Palazzetto Bru Zane s new touring production Il était une fois (Once upon a time ) based around fairytales as reinterpreted by the Romantic century will also be given on this occasion. As before, young talents and established musicians will be combining with the same enthusiasm and making the same artistic demands of themselves and each other. olympie by gaspare spontini Tragédie lyrique in three acts, to a libretto by Michel Dieulafoi and Charles Brifaut, first performed at the Académie Royale de Musique (Paris) on December 22, 1819 On rereading Berlioz it is evident that he considered Spontini, after Gluck, the greatest genius of French music in the run up to the Romantic century. And perhaps the little known Olympie, which Spontini staged in 1819, with Rudolphe Kreutzer in person conducting, marked more than one might imagine the real upheaval in opera that would set France on its way towards the modernity of the grand opéra. This score, refined by astonishing instrumentation, is dense from start to finish with spectacular effects that clearly herald Berlioz s Les Troyens. The presence throughout of a vast choir, the vigour called on for Antigone s interventions, the pathos of Statira s role (conceived for Caroline Branchu, then at the peak of her career): everything works to astonish the audience, such that Berlioz himself was brought to tears. This is assuredly one of the first 18th-century examples of the peplum genre. Olympie by Spontini is a coproduction Palazzetto Bru Zane / Théâtre des Champs-Élysées Friday June 3 THÉÂTRE DES CHAMPS-ÉLYSÉES Olympie Gaspare SPONTINI Olympie (concert version) LE CERCLE DE L HARMONIE Vlaams Radio Koor Jérémie Rhorer conductor Olympie Karina Gauvin Statira Kate Aldrich Cassandre Charles Castronovo L Hiérophante Patrick Bolleire Antigone Josef Wagner Co-production Palazzetto Bru Zane / Théâtre des Champs-Élysées Saturday June 4 at 8.30pm THÉÂTRE DES BOUFFES DU NORD Once upon a time Operatic spectacle around fairytales in the Romantic era Arias and duos by MASSENET, OFFENBACH, ISOUARD, SILVER, SERPETTE, LECOCQ, VIARDOT Jodie Devos soprano Isabelle Druet mezzo-soprano QUATUOR GIARDINI Sunday June 5 at 5pm THÉÂTRE DES BOUFFES DU NORD Introspection Charles-Valentin ALKAN Grande Sonate «Les Quatre Âges» Frédéric CHOPIN Polonaises Études artistiques Franz LISZT Saint-François de Paule marchant sur les eaux Pascal Amoyel piano Monday June 6 at 8.30PM THÉÂTRE DES BOUFFES DU NORD Invitation to the voyage Gabriel FAURÉ Cinq Mélodies de Venise Guillaume LEKEU Sur une tombe Ronde Nocturne Reynaldo HAHN Offrande D une prison L Heure exquise Fêtes Galantes, libro I Charles KOECHLIN Menuet La Pêche La Lune L Hiver Si tu le veux Claude DEBUSSY Fêtes Galantes, libro II Henri DUPARC L Invitation au voyage La Vie antérieure Sérénade florentine Phidylé Marie-Nicole Lemieux contralto Daniel Blumenthal piano Tuesday June 7 at 8.30pm THÉÂTRE DES BOUFFES DU NORD Impassioned Cello Rita STROHL Titus et Bérénice Camille SAINT-SAËNS Cello Sonata No 1 Claude DEBUSSY Nocturne e Scherzo Gabriel FAURÉ Élégie Gary Hoffman cello David Selig piano Wednesday June 8 at 8.30PM THÉÂTRE DES BOUFFES DU NORD Ravel Generation Works by LALO, SAINT-SAËNS, FAURÉ Henri Demarquette cello Jean-François Heisser piano Award winners from the Académie Internationale de Musique Maurice Ravel 2015 Thursday June 9 at 8.30PM THÉÂTRE DES BOUFFES DU NORD Romantic Quartet String Quartet No 2, Op 37 Charles GOUNOD String Quartet No 2 Claude DEBUSSY String Quartet QUATUOR MOSAÏQUES 18 19

12 TOURING PRODUCTIONS Les Chevaliers de la Table ronde by hervé Opéra bouffe en three acts, words by Henri Chivot and Alfred Duru. Music by Louis-Auguste-Florimond Ronger, known as Hervé ( ). First performed on November 17, 1866 at the Théâtre des Bouffes-Parisiens. Version for 13 singers and 12 instrumentalists. Les Chevaliers de la Table ronde (The Knights of the Round table) is the first of Hervé s great operettas, with which he launched the cycle of his four masterpieces (followed by L OEil crevé, Chilpéric and Le Petit Faust). Rather than narrating the well-known adventures of Lancelot and Merlin, the opera stages an imaginary world rich with allusions to an enchanted Middle Ages. The lavish presence of an important number of secondary characters (in particular four absurd knights) allowed Hervé to create an ambitious show, capable of competing with certain productions then being put on at the Opéra-Comique. It contains the four main components of the musical comedy: parody (of serious genres or foreign music), rhythmic energy, an offbeat virtuosity and popular tunes. The action, transferred to those chivalrous times in a period of French history much loved by the 19th century, gives special importance to the female characters. Mélusine, Totoche and Angélique share the limelight by caricaturing those supposedly typical feminine traits of love, jealousy, greed and sensuality. Alongside them Rodomont, Roland and Merlin present a dulled and softened image of knightly courage. You consume a hideous number of lagers and ales; If we call you valiant knights, it is not for nothing. Merlin, Les Chevaliers de la Table ronde LES CHEVALIERS DE LA TABLE RONDE D'HERVé First performance on November 22, 2015 at the Opéra National de Bordeaux Company Les Brigands Musical director Christophe Grapperon Stage director Pierre-André Weitz Assisted by Victoria Duhamel Costume and set design Pierre-André Weitz Assisted by Mathieu Crescence and Pierre Lebon Lightning Bertrand Killy Rodomont, the duke Damien Bigourdan Sacripant, marshal Antoine Philippot Merlin, wizard Arnaud Marzorati Médor, young minstrel Mathias Vidal Totoche, the duchess Ingrid Perruche Angélique, her stepdaughter Lara Neumann Mélusine, sorceress Chantal Santon Jeffery Fleur-de-Neige Clémentine Bourgoin Roland, knight errant Rémy Mathieu Amadis des Gaules David Ghilardi Lancelot du Lac Théophile Alexandre Renaud de Montauban Jérémie Delvert Ogier le Danois Pierre Lebon Transcription for 13 singers and 12 instrumentalists by Thibault Perrine Associate producer Palazzetto Bru Zane Centre de musique romantique française Executive producer Compagnie Les Brigands Co-production Opéra de Reims / Le Centre des Bords de Marne Le Perreux / La Coursive Scène Nationale La Rochelle With the support of Arcadi Île-de France, SPEDIDAM, ADAMI and DRAC Île-de France In partnership with Angers-Nantes Opéra Decor made by the the Opéra de Reims' workshops 35 concerts Sunday November 22, Monday 23, Wednesday 25, Thursday 26 and Friday 27, 2015 Opéra National de Bordeaux Bordeaux (France) With the musicians of the Orchestre National de Bordeaux Saturday December 5, 2015 Opéra de Massy, Massy (France) Wednesday December 9, 2015 Théâtre La Coupole, Saint-Louis (France) Friday December 11, 2015 Opéra de Reims, Reims (France) Sunday December 13, 2015 Centre culturel Le Figuier Blanc Argenteuil (France) Thursday December 17, Friday 18, 2015 Théâtre Liberté, Toulon (France) Saturday January 9, Sunday 10, Tuesday 12, Wednesday 13, Thursday 14, 2016 Théâtre Graslin, Nantes (France) Saturday January 16, Sunday 17 and Tuesday 19, 2016 Grand Théâtre, Angers (Francia) Thursday January 21, Friday 22, 2016 Maison de La Culture, Bourges (France) Tuesday January 26, 2016 Palais des Beaux-Arts Charleroi (Belgium) Thursday January 28, 2016 Centre des Bords De Marne Le Perreux-sur-Marne (France) Saturday January 30, 2016 Théâtre, Chelles (France) Tuesday February 2, Wednesday 3, 2016 La Coursive, Scène Nationale La Rochelle (France) Sunday February 7, Tuesday 9, Thursday 11, Friday 12, Saturday 13, 2016 Teatro Malibran, Venice (Italy) Friday March 18, Sunday 20, Monday 21, Tuesday 22, March, 2016 Opéra de Rennes, Rennes (France) 20 21

13 TOURING PRODUCTIONS BRU ZANE MEDIABASE A new digital resource for French Romantic music In memoriam Requiem commemorating Louis XVI and Marie-Antoinette Daniel-François-Esprit AUBER Marche funèbre composed for the funeral of the Emperor Napoléon Charles-Henri PLANTADE Messe des morts in D minor Hector BERLIOZ Méditation religieuse (excerpt from Tristia) Luigi CHERUBINI Requiem in C minor Chœur et Orchestre du Concert Spirituel Hervé Niquet direction Production Palazzetto Bru Zane 3 concerts Saturday August 22, 2015 at 9pm Festival Berlioz (France) Thursday January 21, Friday 22, 2016 Chapelle Royale of the Château de Versailles (France) When Louis XVIII was returned to power after the fall of Napoleon in 1815, he restored the magnificence of the earlier monarchy and dedicated a genuine cult to the royals who had been victims of the Revolution. His brother Louis XVI, guillotined in 1793, became the first object of such devotion. Each year one of the leading composers in the kingdom was commissioned to compose a Requiem intended to be sung on the anniversary of the king s death, January 21. Cherubini s composition (1815) stands out from all the rest with the quality of its choral writing and the power of its orchestration. In 1822, Louis XVIII added a further symbolic element to this important annual commemoration with the translation of Marie-Antoinette s heart to the basilica of Saint-Denis, the age-old mausoleum of the kings and queens of France. For this occasion, the official composer of the Chapelle des Tuileries, Charles-Henri Plantade ( ) wrote a Messe de Requiem, whose key of D minor was not chosen merely by chance: it is the same as that of Mozart s Requiem, which had been such a success in France after its discovery there around Plantade s score for choir and orchestra (without soloists) has never been performed since then and may be regarded as one of the greatest tributes by the Bourbons to the Ancien Régime and a model of the Restoration in terms of religious music. French music for Winds Louise FARRENC Sextuor George ONSLOW Wind Quintet Camille SAINT-SAËNS Caprice sur des airs danois et russes André CAPLET Quintet for Piano and Wind Francis POULENC Sextet for Piano and Winds LES VENTS FRANÇAIS Emmanuel Pahud flute Paul Meyer clarinet François Leleux oboe Gilbert Audin basson Radovan Vlatkovic horn Éric Le Sage piano Production Palazzetto Bru Zane 4 concerts Wednesday April 13, 2016 Kulturzentrum, Bosco Gauting Munich (Germany) Thursday April 14, 2016 Theater Casino Zug (Switzerland) Friday April 15, 2016 Bozar, Bruxelles (Belgium) Saturday April 16, 2016 Philharmonie 2 Paris (France) The Palazzetto Bru Zane has now set up a website combining articles, visual images and documents in order to circulate and share in a straightforward manner the results of its research activities and the knowledge accumulated from year to year. Visitors to this site now have access to a wealth of material about the French 19thcentury musical heritage, headed by introductory texts on people, compositions and specific topics by music scholars and historians. In addition, more detailed, scholarly articles on the music and artistic life of the Romantic era can be read and downloaded, some of which stem from our own symposia. A virtual journey into the century of Hector Berlioz and Victor Hugo by way of illustrative material and literary texts, drawn from digitised and catalogued archival collections. bruzanemediabase.com TOPICS AND CONTENTS OF THE BASE The people This section presents summarised biographies of people who played a role in 19th-century French music: composers and musicians, either still celebrated or lost from the collective memory. Links lead to additional files connected with each musical figure (compositions, specific topics or other documentary material). More than 270 files ready to be consulted. The compositions Introductions to compositions in the form of the Palazzetto Bru Zane concert programmes can be found here. The object of these articles is to describe the most important stylistic characteristics of each work within the context of when they were composed and first performed. More than 350 files already available. concerned. Here they are presented as isolated articles or gathered together within symposia proceedings or as digital works. They are written in the author s own language and provided with comprehensive abstracts in French, English and Italian to facilitate rapid understanding of the research conclusions; any such contributions are linked to other relevant notices held in the database (people, compositions, specific topics, etc.). Full downloading of the documents in PDF format and plain-text searches are possible. As part of the tercentenary celebrations of the Opéra Comique, the proceedings of 14 symposia organised since 2008 in partnership with this institution are in the process of being placed online. Archival collections The outcomes of cataloguing and digitizing projects led by the Palazzetto Bru Zane since its creation are presented in this section. Three such collections are currently available: the Fonds Baillot, derived from archives belonging to the descendants of the violinist and teacher Pierre Baillot. Collection catalogued and digitized in 2014 by the Palazzetto Bru Zane, which gathers together not just documents covering Baillot s career but also various private papers. The real treasure of the Fonds Baillot is the remarkable manuscript of L Art du violon (1834) with its numerous sections and additions combined, accompanied by a separate volume entitled Dessins originaux faits selon nature par Gatteaux. Many of these drawings have not been reproduced as part of the definitive edition. The Fonds Villa Médicis: visual images forming part of the music collection of the library of the Académie de France in Rome Villa Médicis, digitized by the Palazzetto Bru Zane between 2010 and Specific topics An inter-disciplinary approach is applied here to specific topics, from instrument manufacture to the organisation of artistic life and the development of vocal and instrumental genres. More than 60 files available. Scholarly publications online Articles of a scholarly nature as well as symposia proceedings are to be found here, the idea being to provide a quick and international circulation of recent musicological studies. Such articles will be periodically updated by their authors in the light of any new research on the subject The Fonds Palazzetto Bru Zane: the documents in this section are part of the iconographical collection assembled at the time of the programming and scholarly research. Documents This section gathers contemporary visual documents (posters, stage layouts, official portraits of composers, score dedications, etc.), and librettos for operas, cantatas and oratorios. A substantial cross-section of articles derived from the 19th-century press allows for an in-depth study of certain topics such as the Prix de Rome competition or the reception of operas at the time of their premières

14 Professional Music Training Académie Ravel books and recordings Based in Saint-Jean-de-Luz, the Académie Internationale de Musique Maurice Ravel has for more than 45 years been a renowned institute of instrumental and vocal specialisation for young musicians from all over the world. In order to intensify the particular requirements of performing French Romantic music, in September 2015 the Académie Internationale de Musique Ravel and the Palazzetto Bru Zane will launch a significant partnership aimed at rediscovering and teaching this now largely overlooked area of music. As well as studies in pronunciation and the sense of theatre à la française for singers, and the stylistic school concept for instrumentalists, courses, masterclasses and conferences will also provide opportunities for young musicians to perform before audiences. In June 2016 some of them will present the results of their work in Venice and as part of the Festival Palazzetto Bru Zane in Paris at the Théâtre des Bouffes du Nord. Wednesday June 8, PM Festival Palazzetto Bru Zane in Paris Théâtre des Bouffes du Nord Paris (France) Works by Lalo, Saint-Saëns, Fauré Henri Demarquette cello Jean-François Heisser piano Award winners from the Académie Internationale de Musique Maurice Ravel 2015 Saturday June 18, 2016 Palazzetto Bru Zane, Venice Art Night Carte blanche to the Award winners from the Académie Internationale de Musique Maurice Ravel The teachers for the September 2015 session are: Singing Mireille Delunsch Violin Régis Pasquier Viola/Chamber music Miguel Da Silva Cello Henri Demarquette Piano Jean-Claude Pennetier Chamber music Jean-François Heisser Guest composer Thierry Escaich Antonio Salieri Les Danaïdes - volume 9 Les Talens Lyriques Christophe Rousset conductor «French Opera» series Release date: July 2015 Marie Jaëll «Portraits» series volume 3 Release date: January 2016 Félicien David Herculanum - volume 10 Brussels Philharmonic Vlaams Radio Koor Hervé Niquet conductor «French Opera» series Release date: September 2015 Lachnith / Mozart Les Mystères d Isis Le Concert Spirituel Vlaams Radio Koor Diego Fasolis conductor With Chantal Santon Jeffery, Renata Pokupic and Tassis Christoyannis Production Palazzetto Bru Zane GLOSSA To be released in 2015 Paul Dukas «Prix de Rome» series - volume 5 Brussels Philharmonic Vlaams Radio Koor Hervé Niquet conductor Release date: November