Daniel-Francois-Esprit Auber (1782-1871) was long considered as one of the most typically French and most successful opera composers of the 19th century. His overtures were once favourites of the light Classical repertoire. This opera francais, first performed on 3 May 1825, relates to the venerable tradition of the rescue opera, topical since the French Revolution. Both book and score were equally successful. The opera represents a decisive development in Auber's style, a turning away from imitation of Rossini to Boieldieu's simplicity and thereby to a specifically French tradition. It was the first of Auber's mature opera-comiques, an international success, characterized by an Italianate sparkle with French grace and lyricism. The work remained in the repertoire from 1825 to 1896 and was performed 525 times. By the 1850s it had been translated into German, Danish, Swedish, Polish, Czech and Hungarian. On German stages this opera remained one of Auber's most popular works, given as late as 1950 in Vienna.
Daniel-Francois-Esprit Auber (1782-1871) was long considered as one of the most typically French and most successful opera composers of the 19th century. His overtures were once favourites of the light Classical repertoire. This opera francais, first performed on 3 May 1825, relates to the venerable tradition of the rescue opera, topical since the French Revolution. Both book and score were equally successful. The opera represents a decisive development in Auber's style, a turning away from imitation of Rossini to Boieldieu's simplicity and thereby to a specifically French tradition. It was the first of Auber's mature opera-comiques, an international success, characterized by an Italianate sparkle with French grace and lyricism. The work remained in the repertoire from 1825 to 1896 and was performed 525 times. By the 1850s it had been translated into German, Danish, Swedish, Polish, Czech and Hungarian. On German stages this opera remained one of Auber's most popular works, given as late as 1950 in Vienna.
4011790985121

Details

Format: CD
Label: ORFEO
Rel. Date: 11/15/2019
UPC: 4011790985121

Macon
Artist: Auber
Format: CD
New: Not in stock
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DISC: 1
MP3
1. Le Maçon, S. 13 (Sung In German): Ouvertüre
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2. Le Maçon, S. 13, Act I (Sung In German): Freunde Kommt, Kommt Herein!
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3. Le Maçon, S. 13, Act I (Sung In German): Arbeiter Sieh! Der Tag Erwacht
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4. Le Maçon, S. 13, Act I (Sung In German): Als Roger Jüngst Mein Haus Verließ
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5. Le Maçon, S. 13, Act I (Sung In German): Seh Ich Recht, Gnäd‘ger Herr!
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6. Le Maçon, S. 13, Act I (Sung In German): Ich Muss Gehn, Ich Muss Gehn
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7. Le Maçon, S. 13, Act I (Sung In German): Eilt Herbei, Haltet Ihn
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8. Le Maçon, S. 13, Act II (Sung In German): Schwestern Lasst Uns Mäss’gen
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9. Le Maçon, S. 13, Act II (Sung In German): Ihn Traf Ich Stets Auf Meinen Wegen
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10. Le Maçon, S. 13, Act II (Sung In German): Ohne Ruh’, Ohne Rast
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11. Le Maçon, S. 13, Act II (Sung In German): Bald Soll Ich Sie Sehn
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12. Le Maçon, S. 13, Act II (Sung In German): Nun, Wohlan! Kommt Lasst Uns
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13. Le Maçon, S. 13, Act II (Sung In German): Haltet Ein, Bleibet Hier
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14. Le Maçon, S. 13, Act III (Sung In German): Ach! Ach! An Meine Hochzeit, Ach
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15. Le Maçon, S. 13, Act III (Sung In German): Ach, Madam Bertrand Wieder Hier
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16. Le Maçon, S. 13, Act III (Sung In German): O Güt‘ger Gott
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17. Le Maçon, S. 13, Act III (Sung In German): Welch’ Ein Tumult Dort In Der Stadt
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More Info:

Daniel-Francois-Esprit Auber (1782-1871) was long considered as one of the most typically French and most successful opera composers of the 19th century. His overtures were once favourites of the light Classical repertoire. This opera francais, first performed on 3 May 1825, relates to the venerable tradition of the rescue opera, topical since the French Revolution. Both book and score were equally successful. The opera represents a decisive development in Auber's style, a turning away from imitation of Rossini to Boieldieu's simplicity and thereby to a specifically French tradition. It was the first of Auber's mature opera-comiques, an international success, characterized by an Italianate sparkle with French grace and lyricism. The work remained in the repertoire from 1825 to 1896 and was performed 525 times. By the 1850s it had been translated into German, Danish, Swedish, Polish, Czech and Hungarian. On German stages this opera remained one of Auber's most popular works, given as late as 1950 in Vienna.