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This symbol projected on the stage as a hazily poetic yet realistically blurred video is telling in more ways than one. This fourth joint stage work by Adams and Sellars - which unlike the two operas Nixon in China and The Death of Klinghoffer turns to a Biblical rather than a contemporary theme - uses musical elements we are already familiar with from these two artists' three "worldly" pieces.

Merlin Teatro Real, Enjoy the world premiere of the full and original version of Merlin by Isaac Albeniz, over a century after he completed the work. Albeniz composed this 'Wagnerian' opera to an English libretto by his patron Francis Burdett Money-Coutts between and Many believed the score was lost, until the conductor Jose De Eusebio reconstructed it from various manuscript sources and publishers' proofs. For this stunning production director John Drew created a world of magic and fantasy, using evocative sets, and splendid lighting.

Domingo creates the magical illusion that Alfano wrote the role especially for him: A coproduction of the New York, London and Valencia houses, Franco Alfano's little-known opera Cyrano de Bergerac has been reawakened to life by the great Spanish tenor. Although Alfano enjoyed a long and prolific career as an opera composer, he is known today above all for having completed Puccini's Turandot.

His earlier works not surprisingly reflect Puccini's verismo style, but his later works - including Cyrano de Bergerac - are clearly inspired by Debussy, Ravel and Strauss. Opulent scoring and colorful orchestral effects elegantly underscore the tragic story based on Rostand's famous drama of , which achieved international celebrity in the Oscar-nominated film adaptation with Gérard Depardieu.

Alfano's work faithfully relates the story of the large-nosed soldier poet who pines for the beautiful Roxane and writes her glowing love letters in the Experimentum Mundi - An Experimental Opera.

Experimentum Mundi is arguably the most important work in the field of contemporary music in recent decades. In one fell swoop, Giorgio Battistelli's pioneering work has fulfilled all the artistic aspirations and dreams of his century. In the wake of his various attempts to bridge the gap between life and art, he has ultimately managed to achieved this in his hour-long musical work.

The timbral, rhythmic and harmonic variations, created with instruments from everyday life, make this work a unique, unforgettable experience. Fidelio Palau de les Arts "Reina Sofia", Thunderous applause and loud cries of "bravo" greeted the premiere of Ludwig van Beethoven's Fidelio at the inaugural performance of the first opera season in Valencia's new Palau de les Arts on 25 October Attending the stellar performance in architect Santiago Calatrava's breathtaking theater complex was Queen Sofía of Spain, who added to the glamour of the event.

With this spectacular production directed by Pierluigi Pier'Alli, Valencia has put itself back on the map of the international opera world. Calatrava's sweeping structure recalls the organic forms of Catalonia's "Modernisme" style. Not surprisingly, Fidelio was chosen to inaugurate the theater's main concert hall - an opera about freedom set in Spain, and in which the contrast between the darkness of Florestan's dungeon and the light of justice and love embodied by Leonore is both heard in the music and seen on the stage.

The production by noted Italian director Pierluigi Pier'Alli does full justice to the opera's concept with an imaginative treatment of light, projections and digital wizardry. Pier'Alli himself says that his concept "becomes increasingly symbolic and abstract" as the work Fidelio Royal Opera House, The new production, comes via the Theatre de la Monnaie in Brussels.

Fidelio Zurich Opera, Translucence, transparency — warmth are the qualities identified by Bernard Haitink as necessary for an ideal sound performance of Beethoven's only opera, and all are present in this fantastic recording of Katharina Thalbach's new production for Opernhaus Zurich.

Beatrice di Tenda Teatro Massimo Bellini, Beatrice di Tenda is, to date, one of Vincenzo Bellini's more unfamiliar and rarely performed operas, even though it contains moments of extraordinary music. Based on a libretto by Felice Romani, Bellini's favourite collaborator, it was written in for Venice's La Fenice theatre. It was rather unsuccessful, but the musician always claimed it was on a par with his other, more popular works. Like all of Bellini's operas, Beatrice di Tenda calls for an outstanding female protagonist, for a role that today Dimitra Theodossiou is among the few who can tackle in all of its infinite variety of dramatic and vocal registers, reviving the glories of the great 19th-century bel canto sopranos.

Norma Bavarian State Opera, The reigning queen of bel canto, Edita Gruberova has laid the cornerstone for a new Norma legend in her first stage performance of this virtuoso role.

The premiere of Vincenzo Bellini's opera at the Bavarian State Opera in Munich marked a resounding new triumph in the singer's career. Friedrich Haider conducted the production directed by Jurgen Rose. Edita Gruberova fulfilled all expectations, and in view of her great predecessors Callas, Caballe and Sutherland, these expectations were clearly very high.

The expressive intensity of the one, the velvet timbre of the second, the brilliance of the third — Gruberova united all the strengths of the prima donnas of the past in her interpretation of a Norma that has already become a new high point in the history of this role. Gruberova captures her audiences not only through her stupendous technique, but also through her command of an incredibly large palette of subtle nuances. With her voice alone, she infuses her role with a rich spectrum of feelings In Guy Joosten's ingenious production of Bellini's masterpiece, Norma is about more than just beautiful singing.

It becomes a layered, timeless drama in which Norma is the archetypal successful woman struggling to retain her dominant but vulnerable position. Hasmik Papian's lyrical and intense interpretation of the title role accentuates the striking similarity between a Druid high priestess and a modern opera diva. Conductor Julian Reynolds guides the brilliant cast, choir and Netherlands Chamber Orchestra to great heights, providing a refreshing new take on the chef d'oeuvre of bel canto.

Norma Sferisterio Opera Festival, Norma is the eight opera in Bellini's catalgue, and third last in chronological order, followed only by Beatrice di Tenda of , and I Puritani of The text for the opera was the work of the best-known librettist, Felice Romani, and was based on a contemporary French drama, Norma au L'infanticide by Soumet. Norma occupies a very particular place in operatic repertoire, a dramatic work of lyrical beauty, not least in the most fanous of Norma's arias, Casta diva Chaste goddess , her first-act prayer to the moon.

Oroveso calls the Druids to watch for the new moon in Ite sul colle, o Druidi Go to the hills, O Druids and in the second act he warns of Pollione's possible successor, inveighing against Roman tyranny in Ah! To the disgraceful yoke of Rome. Norma has notable duets with Adalgisa and with Pollione, revealing different aspects of her tragic character. Norma Teatro Massimo Bellini, Bellini, unlike many of his colleagues - among them Donizetti - did not have to endure the disappointments and difficulties of rising from the ranks.

Norma is not only the high point of Bellini's artistic parabola but also the quintessence of Italian belcanto. Norma [Opera] Sferisterio Opera Festival, Sonnambula La La Fenice, Complete with a majestic mountain panorama, cable car, post-bus and grand salon, not to mention the colorfully dressed resort guests, set designer Massimo Checchetto deploys an enchanting picture book of visual surprises.

Premiered in Milan on 6 March , La sonnambula is widely regarded as the composer's first true masterpiece. Sonnambula La Teatro Lirico di Cagliari, Against the beautiful backdrop of De Ana's woodland sets - vaguely reminiscent of Turning paintings - and video projections that create an aura of mystery, Eglise Gutierrez, Antonino Siragusa and Simone Alaimo recreate Bellini's bel canto masterpiece, in a production that is a tribute to the historical Visconti Sonnambula of Im weissen Rossl Seefestspiele Morbisch, Lulu Salzburg Festival, Alban Berg's Lulu is a rarely performed work that calls for a very large orchestra as well as a large cast of vocal soloists.

Written in the s, Lulu is the story of a lower-class girl who uses men as stepping-stones on her path to fame and fortune and who ultimately meets her own fate at the hands of Jack the Ripper.

Lulu, a tragic creature and femme fatale - nobody could allegorize such a role better then Patricia Petibon. As a sensual, ethereally beautiful Lulu, she commands the public's attention in every scene.

Leading the Wiener Philharmoniker, conductor Marc Albrecht treats the rich sonorities of Berg's music as a natural extension of Wagner, Brahms and Strauss. He thus provides an ideal support for the two main protagonists of the work, which is next to Patricia Petibon's Lulu Michael Volle's Dr. A particularly stunning feature of this production are the painted backdrops by Daniel Richter, one of the most internationally prized German painters of today.

Whether depicting Lulu herself, a horde of menacing, grimacing faces or an eerie, stylized winter landscape, the gigantic Lulu Staatsoper Festtage Festival, By destroying her lovers, Lulu is driven from cold-hearted love to cold-blooded murder and ultimately to her own destruction. Mojca Erdmann as Lulu proves ideally suited, mastering the insane leaps and coloraturas of the role with incredible ease. Schon and Georg Nigl as the "meticulously articulating athlete".

Lulu [Opera] Bavarian State Opera, Lulu is a femme fatale, a maneater. She marries men and then kills them, one after another, or pushes them to commit suicide. This opera, which mixes forbidden love stories, crimes and decadence of the heroine, is one of the greatest operas of the 20th century. Alban Berg died before he had a chance to bring his third act to an end, and the opera was premiered at the Zurich Opera House in , two years after the composer's death.

The piece shocked the audience and was far from being acclaimed by the critics. In , Friedrich Cerha achieved the orchestration of the third act. Lulu's philosophical and sociological significance seems to denounce the nonsense of a society in search for modernity, trying to deal with the confusion of the values and the search for the power. The staging of this new production is by one of the greatest Russian stage directors of the moment, Dmitri Tcherniakov, who staged a beautiful Wozzeck at the Bolchoi a few years ago.

The conductor, Kirill Petrenko, is the Bayerische Staatsoper's musical director, and Opera Magazine described him as "one of the most passionate [conductors] of his generation". Lulu [Opera] Zurich Opera House, Benvenuto Cellini Salzburg Festival, The object of her rapture is not a Broadway musical but a French opera written in the s, Hector Berlioz's Benvenuto Cellini.

The absence of the work in the operatic repertoire is certainly due in part to its musical excesses: This is resoundingly proven false in the Salzburg Festival production of director Philipp Stolzl, conductor Valery Gergiev The wild man of music and a high-caliber cast accompanied by the Vienna Philharmonic and its chorus. Stolzl, above all, has poured his experience as director of music videos, commercials and films into this project, termed "science fiction for Grand Opera" Suddeutsche Zeitung , "breathtaking" Der Standard , and "spectacularly successful" F.

Berlioz hips the action forward by disguising his hero, the celebrated goldsmith and sculptor Benvenuto Cellini , as a monk and having him Hector Berlioz' grand opera Les Troyens is given an appropriately grand treatment in this production by the renowned Catalan theater group "La Fura dels Baus" under Carlus Padrissa recorded at Valencia's Palau de les Arts.

In the first part, Padrissa plays with the present-day meaning of Trojans as computer viruses; in the second, he takes us to a future civilization headed towards self-destruction. Tom Cairns' cinematic film of Bernstein's chamber opera features a young and vibrant cast, set in the Fifties. This biting satire on American suburban married life stars Stephanie Novacek as Dinah and Karl Daymond as Sam, facing a serious communication breakdown - he is obsessed with his achievements in work and sport: Inspired by jazz and American musical comedy, the score is a path-breaking fusion of lyric art with popular entertainment.

Minotaur The Royal Opera House, This world premiere of a gripping new work by composer Harrison Birtwistle and librettist David Harsent, commissioned by The Royal Opera, brings the monstrous, Greek mythological character to the stage. The Minotaur, part man, part beast, trapped in his labyrinth and constrained by his bloodthirsty role there, longs to discover his true identity and his own voice.

Athens must pay a blood sacrifice to Crete and among the innocents is Theseus, who has come to challenge the violent Minotaur, but who also attracts the attention of Ariadne, half-sister and keeper of the monster; it is with her help he succeeds.

Carmen Arena di Verona, Director David McVicar describes Carmen as "the first ever musical," and his new production, with Anne Sofie von Otter in the title role, restores the original opéra comique as Bizet wrote it, stripping away subsequent re-workings which turned it into a grand opera. Carmen Royal Opera House, The first performance of Carmen on 3 March , produced such a hostile reaction that Bizet left Paris physically and psychologically ill, and died only three months later on 3 June , following two serious heart attacks.

The massive scandal of the premiere may have been partially the result of Bizet's attempt to reform the Opéra Comique genre, yet it must still be said that Carmen is operatic history's most famous example of a failure being corrected by the passage of time: Carmen is now one of the most frequently performed operas in the world.

The major Spanish actress and producer Nuria Espert was brought in for the production at London's Royal Opera House, Covent Garden in , while the authentic Flamenco choreography comes from Cristina Hoyos and is danced by, among others, Juan Ortego. For the musical side of this successful production Zubin Mehta had top vocalists at his disposal to perform the roles of Carmen, Don José and Escamillo. Carmen Salzburg Festival, If Herbert von Karajan continues to be a looming presence in today's classical music world, then it is not only because of his more than records and CDs, but also because of the many hours of video recordings which he produced over the course of many years.

He began preserving his performances on film back in with La Boheme. His Carmen is based on his production for the Salzburg Festival with Grace Bumbry — one of the greatest interpreters of the title role in our time -, Jon Vickers, Mirella Freni and Justino Diaz in the lead roles. Perhaps the most popular opera in the world today, Carmen began its life as a failure when it was premiered in Paris in Tchaikovsky, however, who was in Paris at the time, prophesied that the opera would be a global success in only ten years.

It took a little longer, but his prophecy did come true Carmen Sferisterio Opera Festival, In the splendid setting of the Macerata Sferisterio, the tale of seduction and jealousy par excellence, with a commanding Nino Surguladze in the title role and the direction of twice Oscar-winner Dante Ferretti The Aviator - Sweeney Todd , here at his debut in the world of opera.

Bizet's passionate tale of the self-willed gypsy woman Carmen is certainly one of the most popular works in the history of opera. It shows how a cigar factory worker in Seville enchants and bewitches the men around her. Melodies like Carmen's legendary 'Habanera'or Escamillo's 'Toreador March' are well known tunes all over the world.

The Opéra Comique in Paris commissioned George Bizet to write Carmen in and Bizet's music portrays the characters with care and reveals itself to both the most naïve and the most sophisticated listener.

The wild-romantic Roman quarry of St. Margarethen provided the perfect backdrop for this live recording of one of the key works of the so-called 'Hispanismo'-style. The film captures a summer's evening in when thousands of spectators gathered at one of Europe's most important open-air festivals, visited by This exciting production brought horses, pyrotechnical special effects and more than participants onto the stage.

Pecheurs de perles Les La Fenice, Julie Aix-en-Provence Festival, Mefistofele San Francisco Opera, Arrigo Boito's treatment of the Faust legend is imaginative yet also faithful to Goethe's original conception, and the score is memorable for its rich orchestral sounds, beautifully punctuated with lyrical passages and choral interludes. Robert Carsen's sumptuous, post-modern production of Mefistofele is a gloriously decadent and theatrically stunning realisation, and the San Francisco Opera's performance has been unanimously acclaimed in both Paris and San Francisco.

Samuel Ramey, in the title role, has won both critical and overwhelming popular approval. Known mainly as the Paganini of the double bass , Giovanni Bottesini was in fact one of the most eclectic figures of Italian music in the second half of the nineteenth century.

His Ero e Leandro met with great success whet it premiered in , a success witnessed by the 28 performances that followed, an absolutely unthinkable number today. After the composer's death it disappeared from the repertoire, only to be revived with the present staging. The score, stylistically comparable to the late Verdi, reveals unusual attention to orchestration and uses richly chromatic language.

It may be set alongside operas like Ponchielli's La Gioconda and Arrigo Boito's Mefistofele , often showing a high quality of melodic inspiration. Billy Budd Glyndebourne, Glyndebourne has a proud association with the operas of Benjamin Britten, however until had never staged Billy Budd. The all-male opera with a libretto co-written by EM Forster, is based on the battle between pure good and blind evil, and is set on a British man-'o-war ship.

Michael Grandage, Artistic Director of the Donmar Warehouse, chose this work to make his long-awaited operatic debut. Sir Mark Elder returned to conduct the production, marking the th opera production in his illustrious career. Thirty years after the original broadcast, Owen Wingrave returned to the small screen in a new version by the highly-regarded music and arts director Margaret Williams, who reveals through a vivid film vocabulary the intensity of the drama and its passionate realization in Benjamin Britten's music.

Shot entirely on location, the story is updated from Edwardian times to the s, establishing a connection with World War II. Gerald Finley portrays Owen Wingrave, scion of a soldier family whose reluctance to join the family trade reflects Britten's own pacifist principles.

Taunted and rejected by a hostile family, Owen confronts the ghosts of the past to rebut the charges of cowardice. Libretto by Myfanwy Piper. The Hidden Heart 58 minutes profiles Britten, the leading twentieth century British composer, telling the story of his life, reflecting on his music and his lifelong relationship with his partner and muse, tenor Peter Pears. In London, a young governess is hired by the elegant and mysterious tutor of two children to supervise their education at Bly Manor, deep in the English countryside.

Her employer imposes one strict condition, however: Assisted by an elderly housekeeper, Mrs. Grose, the young woman arrives at Bly and soon discovers that the seemingly angelic children Miles, twelve, and Flora, eight conceal a dark secret, namely the pernicious ghosts of two former domestics, Peter Quint and Miss Jessel, who force the children to keep the secret of their suspicious past and plan to take them under their ultimate control. This is what the Governess must face, either with the children or without them.

Flora will be saved in extremis, but little Miles will perish in escaping - perhaps - from Quint's demonic clutches. The production imagined by Luc Bondy extracts the essential of the libretto of Myfanwy Piper inspired by a story by Henry James.

In an atmosphere reminding Hitchcock movies, where we can feel the tension, the stage director's work keep the suspense of the Didone La Teatro Malibran, After his successful debut in with Le nozze di Peleo e di Teti , Pier Francesco Cavalli for the first time sets about writing music for a story that is both tragic and heroic with an almost unwonted deployment of means and new expressive intent.

Hiring Giovanni Francesco Busenello, a noble amateur as his lyricist, La Didone became one of the most tragic, tormented operas of the entire seventeenth century. Cavalli satisfies the requirements of a mixed audience both by pampering to the visual attractions of the spectacle and by aiming for more impassioned pathos and expressivity than in his previous essays.

He studies and enriches the work's language inserting dramatic substance and striving for a melodic conception that certainly recalls that of his "maestro" Monteverdi yet also steps beyond it. Ercole amante DNO, Commissioned to celebrate the marriage of the Sun King, Louis XIV, and Marie Therese of Spain, the original production of Cavalli's Ercole Amante took two years to complete and, at the time, was the grandest show ever performed in Europe.

DNO's contemporary, hilarious and surreal production, directed by David Alden, is a triumph of opera buffa, a riot of decoration and symbolism complemented by Constance Hoffman's exceptional costumes. La virtu de' strali d'Amore was the first of ten operas Cavalli wrote with librettist Giovanni Faustini.

Set in Cyprus, the plot involves enchanted and pastoral elements, love and its thwarting, the counterpointing of Man and God, sorcery, revelation and ultimate resolution, all accomplished in a brilliant series of scenes. A follower of Monteverdi, Cavalli reveals the influence of the older man but also his own pronounced independence.

Fabio Biondi and Europa Galante have become one of the most admired partnerships in the history of baroque music performance. David et Jonathas Festival d'Aix-en-Provence, The opera has been in the repertoire of Les Arts Florissants since and was first presented in a stage production by William Christie at the Aix-en-Provence Festival This release is a special event for all Baroque music lovers. Written a year after the death of Lully, this lyric tragedy allows Charpentier to develop beyond the religious dimension, a story of male friendship and forbidden love between David and Jonathas.

An excellent cast gathered around William Christie and Les Arts Florissants brings young singers to the title roles: The role of Jonathas is given to a woman: The staging by Andreas Homoki Director of the Zurich Opera since summer focuses on the psychological aspect of this forbidden love story, giving a moving reading of the drama.

Alice in Wonderland Bavarian State Opera, Yet the musical house she constructs with the building blocks of the past and the present is definitely her own house, which she has designed and which self-assuredly proclaims her unmistakable individuality and style. It is a thoroughly modern house that welcomes everyone who loves music. Unsuk Chin, born in Seoul, Korea, in , had always been fascinated by Lewis Carroll's fairy tale for children and adults. Director Achim Freyer, whose productions have been setting standards for decades, sees Chin's opera as a collection of "dream sequences," for which he has created imaginary spaces: Arlesiana L' Fondazione Pergolesi Spontini, Il Matrimonio segreto was first staged in Vienna on 7th February and was also one of the greatest successes in the history of the eighteenth-century opera.

It is universally recognized as Cimarosa's masterpiece and the only one of his operas to have survived in the regular repertoire to this day.

Matrimonio segreto Il Schwetzingen Festival, Il matrimonio segreto is Cimarosa's most famous opera buffa and it is one of the few comic operas to have maintained its place in the repertoire until today. At its first performance in , Austrian emperor Leopold II is reputed to have liked this masterpiece so much that he ordered the musicians to play it again from the beginning! Michael Hampe's elegant, colourful production had already won international acclaim when staged in Paris, Stockholm and London - where it won the Olivier Award for Best Opera Production.

His stage direction is sensitive to the music's flow and brings a welcome clarity to the many twists and deceptions in the plot. This recording comes live from the exquisite palace rococo theatre at the Schwetzingen Festival in The Drottningholm Court Theatre Orchestra, an outstanding orchestra for early music, is specialized in music of the 17th and 18th century - their authentic interpretation sounds extremely fresh and colourful, and the playing is always full of energy and contrasts.

Jackie O Teatro Comunale di Bologna, Jackie O develops around the life of Jacqueline Kennedy; her image, following her husband's assassination, of "tragic princess", and the following events, which captured the attention of the world's media. American composer Michael Daugherty has written a very modern work, in-between opera and jazz, inspired by American musical and the popular culture of the late s. Jackie's arias Egyptian Time, Jackie"s Credo and All his bright light possess a lyrical, melancholic and exotic allure; the ones sung by Onassis - the conceited, coarse, self-made man - have, instead,echoes of Las Vegas: Maria Callas, who in the '60s was beginning to lose her voice, retraces her life with the songs Addio delPassato and Flame Duet.

Liz Taylor is engaged in a blues-like riff that recalls a Cat on the hot tin roof atmosphere; whereas Princess Grace Kelly trills in Doris Day fashion. Andy Warhol's aria conforms to his art: In the finale dramatic climax, in Jackie's Song, Jackie duets with her dead husband's voice. Damiano Michieletto's perfect direction is lively and full of colours, and the resemblance of the singers to real characters is impressive. A great tribute to the Pelleas et Melisande Aalto-Musiktheater Essen, Music of introverted tenderness and a libretto that hints at much and offers few answers - such is Pelleas et Melisande , Claude Debussy's only completed opera.

Dubbed "Drama lyrique" by the composer himself, and written in at a time when the subconscious, the psyche, dreams and urges commanded the attention of science and art, this music searches the souls of its characters with its subtle nuances. Pelleas and Golaud are half-brothers, each loving the girl-from-nowhere Melisande. The elder, dominant Golaud makes her his wife; the younger Pelleas is the soul-mate of the taciturn, strangely vulnerable Melisande and an equally mysterious bond of concealed love is formed between them.

The consummately precise staging by Nikolaus Lehnhoff has a cast to match these wondrous sounds. This exceptional production "achieves what actually can only be understood as magic.

Pelleas et Melisande Opera Bastille Paris, Philippe Jordan gives a transparent reading of Debussy' haunting score. Pelleas et Melisande [Opera] Malmo Opera, When Debussy completes the score, based on the eponymous symbolist play by Maurice Maeterlinck, of Pelleas et Melisande in , the world of opera still abides by Richard Wagner and the upheaval he caused with Tristan und Isolde.

But Debussy decides to stand on the exact opposite side, and uses his new opus to preach a new aesthetic creed. In depicting the forbidden love story between the timid Pelleas and the beautiful Melisande, kept apart by an unfortunate marriage, the French composer brings us back to the immortal legend of Tristan and Isolde, but this time showing the world that the future of music could very well lie far away from Wagner's overwhelming lyricism and outsized rhetoric.

This new production, created by one of the rising stars of French stage direction Benjamin Lazar for the Malmo Opera headed by Ingmar Bergman from to , encapsulates all the different aspects of this mysterious work, from the oniric poetry invented by Maeterlinck and Debussy to the realism, poignant because openly simple and even mundane, of these profoundly human beings lost in a forest full of sound and symbols that will never let them escape.

During the s Vladimir Deshevov — was regarded as one of the most promising younger Soviet composers. Darius Milhaud, who made his acquaintance in during a visit to Leningrad, praised him in the French press as a "genius" and "extremely original". However, subsequent attempts to make his compositions better known abroad were unsuccessful. In followed Dechevov's best-known composition: But such were the ideological tensions of this period that this avant-garde work soon disappeared from the public stage.

Although Dechevov was one of the chief proponents of the left wing musical avant-garde in the s and explicitly came out in favour of critical appropriation of elements from Western modernism, he was not subjected to direct ideological attacks during the Stalinist era. Neither, however, despite clearly moderating his compositional style, did he succeed in obtaining a prominent position in the conformist musical culture of socialist realism that held sway after It was only after the outbreak of the Second World War that he started once again to produce major works of his own: However, these did not prevent his name from increasingly being forgotten.

Anna Bolena version Reate Festival, Anna Bolena Bergamo Musica Festival, Anna Bolena tells of a human drama of solitude and oppression; it is a work of psychological introspection centered, both from a dramaturgical and vocal point of view, around the protagonist, who soars to peaks of music splendour. A far-reaching opera, in which events and the tension developments between characters are thoroughly investigated. It is a very significant work in the history, as well as in Donizetti's own personal history, even though nowadays - and rightly so - it is no longer regarded, as it once was, as a sort of impromptu miracle.

Convenienze ed inconvenienze teatrali Le La Scala, Don Gregorio Bergamo Musica Festival, Don Gregorio is the Neapolitan adaptation that Donizetti worked on his own L'ajo nell'imbarazzo , an opera first staged at the Teatro Valle in Rome on 4th February The subject was based on the play of the same name by Giovanni Giraud and the libretto of the original version was drawn up by Jacopo Ferretti, one of the Italy's leading librettists in the early nineteenth century.

When Donizetti set to work on his Neapolitan version two years later, he was assisted by Andrea Leone Tottola whom he already worked with some of his operas. Although some of the traditional passages were replaced by prose dialogue, a new numbers were added and others eliminated, Don Gregorio was still successful when it premiered on 11th June at the Teatro Nuovo in Naples.

Don Pasquale Geneva Grand Theater, Don Pasquale Glyndebourne, One of the reasons why Donizetti's Don Pasquale is regarded as a cornerstone of the Italian comic opera tradition is because its characters are no mere commedia dell'arte stereotypes, but complex, vulnerable human beings. This is brought to the fore in Mariame Clement's sensitive and perceptive production, which was hailed by the Financial Times as a Glyndebourne classic'. Acclaimed buffo baritone Alessandro Corbelli sings the title role 'with just the right degree of lugubriousness', while Danielle de Niese, one of today's most sought-after sopranos, is an 'engaging' and irresistible' Norina The Telegraph.

Bel canto specialist Enrique Mazzola conducts with flair and panache. Elisir d'amor L' Bergamo Musica Festival, Staged in Milan in , L'Elisir d'amore was written in a remarkably short time by librettist Felice Romani who based the text on a French libretto that Eugene Scribe had written for Daniel Auber and staged in Paris a year earlier.

Romani's wife claimed that the whole work was written within a fortnight, an obvious exaggeration, since it seems that Donizetti had already completed much of the opera some three weeks before it was to be staged, not to open the season, but to be staged as a later part of it.

Who wouldn't want a love potion? Even today, quite a few people would readily trust Dulcamara and his promises of eternal happiness. The successful blend of comic and lyrical elements, of fun and feeling, are what make of L'Elisir d'amore such an enjoyable opera. A sparkling Alex Esposito leads the rest of the cast in this entertaining production of one of Donizetti's most beloved operas. Elisir d'amore L' Glyndebourne, Acclaimed Italian conductor Maurizio Benini makes his Glyndebourne debut in Donizetti's intoxicating and deeply touching opera, whose fast-moving comic story unfolds the romantic rivalry between penniless farmhand and bumptious soldier, both vying for the love of Adina.

Will the bogus Dr. Dulcamara's potion, the elixir of love, help farmhand Nemorino win her heart? Elisir d'amore L' Paris National Opera, After an absence of almost twenty years L'elisir d'amore is back at the Paris Opera in a crazy version by Laurent Pelly. The plot is simple but effective: Add to this a sparkling musical language and marvellously inspired melodies - including the legendary "Una Furtiva Lagrima" - and you have the authentic masterpiece Donizetti turned out in just two weeks.

Transposing the plot to the Italy of the s, director Laurent Pelly offers us an absolute jewel, beautifully crafted and shot through with poetry.

La fille du regiment Vienna State Opera, Gaetano Donizetti may have achieved immortality with his comic operas Don Pasquale and L'Elisir d'amore, and won a lasting place in the hearts of coloratura sopranos everywhere with Maria Stuarda and Lucia di Lammermoor, but for sheer entertainment, his La Fille du Régiment can't be beat.

The plot revolves around Marie, the "daughter of the regiment", who was found on the battlefield as a baby and raised by the soldiers as their daughter. She falls in love with the young Tyrolean Tonio, who joins the regiment in order to be near her. When the Marquise de Birkenfeld hears about Marie, she claims that she is her long-lost niece, whom she will turn into a lady Her plans backfire, of course, as Marie will never abandon her Tonio and most certainly never become a lady!

French soprano Natalie Dessay, not only a dazzling singer but also a gifted actress, effortlessly sweeps her castmates along in this turbulent buffo delight of an opera. Her partner is Juan Diego Florez, one of the leading young tenors of our time. Clad in lederhosen, he cheerfully seduces Marie — and the Lucia di Lammermoor Bergamo Musica Festival, Among all Donizetti's operas, Lucia di Lammermoor has always been the favourite for both audiences and singers: First staged on the evening of 26th September , the work was based on Sir Walter Scott's novel The Bride of Lammermoor which was published in June This novel received a mixed reception from the critics.

Blackwood's, a popular journal at the time, declared it to be 'a pure and magnificent tragic romance', whilst other magazines regarded it as far too gloomy. Based on real-life events of , this tale of love, feuds, deception and madness appealed very greatly to Scott's more general readership, as well as to some of the librettists and composers of his time; within fifteen years of the novel's publication at least five operas had been composed, based on the story of Lucia and her unhappy fate.

It is no surprise, then, that Salvadore Cammarano relished the prospect of writing the libretto for such an opera himself and that Donizetti took to the idea equally enthusiastically. Lucrezia Borgia Bavarian State Opera, The phenomenal Edita Gruberova, the world's undisputed Queen of bel canto, proves once again why she deserves this title: Her performance, noted Opera Magazine, "vindicated the Munich audience's near-idolization of her".

With Lucrezia Borgia, Gruberova follows up her recent triumphs in Roberto Devereux and Norma with another bel canto masterwork. Singing with "exquisite purity" Opera Magazine , the soprano also beguiles with her physical presence. Stage director Christof Loy and two-time Emmy Award-winning video director Brian Large both focus on the plot's dramatic potential and Gruberova's talent for expressing it with every tone and gesture.

The singer is excellently paired with young tenor Pavol Breslik as her son Gennaro. Breslik, a native of Slovakia like Gruberova, gives such a radiant interpretation of the tormented youth that he is now being hailed as "the most promising new voice among lyrical tenors" Neue Zürcher Zeitung.

Lucrezia Borgia Teatro Donizetti, Based on Victor Hugo's most sensational play, Lucrece Borgia, a scandalous tale of murder, torture, incest, homosexuality, drunkenness and orgies, Donizetti's opera is one of the great masterpieces of Italian bel canto repertoire.

While omitting some of its more excessive elements, the libretto by Felice Romani inspired Donizetti to compose superb arias, duets, ensembles and choruses, bringing each act to a stirring conclusion. Beautifully costumed and designed, brimming with high drama and pathos, this production stars in the infamous title role Greek diva Dimitra Theodossiou, praised for her stupendous acting and singing in Donizetti's Roberto Devereux.

Maria Stuarda Sferisterio Opera Festival, In Donizetti's opera Maria Stuarda the roles of the doomed queen and her cousin, Elizabeth I, have been taken by some of the greatest divas, from Malibran to Gruberova and Tosi to Baltsa, each revelling in the high drama of their tragically linked fates.

Maria Stuarda Teatro Donizetti, With the release of this Maria Stuarda, recorded live in , Dynamic makes an historic move, becoming the first Italian label to produce a DVD opera. This very high quality production by Teatro Donizetti di Bergamo features, in the roles of the two queens, Carmela Remigio Maria Stuarda and Sonia Ganassi Elisabetta , two great artists here making a fine display of their excellent vocal and acting skills.

Francesco Esposito's direction and costumes and Italo Grassi's sets are very effective and superbly highlighted by the filming. What makes this release even more interesting is the use of a new critical edition made by the renowned Swedish musicologist Anders Wiklund for Casa Ricordi.

Marino Faliero edition Bergamo Musica Festival, Donizetti's fiftieth opera, Marino Faliero, was first performed in Paris on 12 March with a cast comprising four of the finest singers of the period before premiering in London a few weeks later.

Although these premieres were both overshadowed by Bellini's I Puritani, Marino Faliero subsequently enjoyed a long and successful run on international performances throughout the 19th century before disappearing from the stage until its modern revival in Set in Venice in , it remains a major work of Italian Romanticism, sentimental, martial, full of conspiratorial adventure and culminating with the execution of the leading role. Olivo e Pasquale [Opera] Fondazione Donizetti, This sparkling opera buffa is a premiere from the Donizetti Festival of Bergamo, with the part of Pasquale in Neapolitan dialect.

It is the story of two rich merchant brothers from Lisbon, who are used to weighing everything against their bargaining power. Also the marriage of Pasquale's niece Isabella is a bargain to them: The gags among the various are hilarious - especially those between the two brothers, who have completely different characters - creating an almost surreal atmosphere. The show is very colourful, thanks to the rich sets and costumes.

Pia de' Tolomei La Fenice, In recent years not only music festivals but also important opera theatres have turned their attention towards the neglected masterpieces of the lyrical repertoire.

Thus also Venice's Teatro La Fenice, in a commendable effort, staged this Pia de' Tolomei by Donizetti, with some of the best singers available today for this type of repertoire. Initial response to this opera, which was performed for the first time in , was ambiguous, so much so that Donizetti re-worked it as many as three times.

The version here recorded is that of the critical edition recently published by Ricordi, with the tragic finale originally conceived by the composer. The listener will undoubtedly wonder, once more, at Donizetti's wealth of melodic inspiration, especially when it comes to the character of Pia, wonderfully interpreted here by Patrizia Ciofi. Rita, ou Le mari battu Opera Royal de Wallonie, The thorny subject of marital violence is set against a hilarious backdrop in this one-act farce where, contrary to what we are used to seeing in opera, tenor and baritone do their best to free themselves of the female protagonist, to whom both are married.

No doubt, Gaspar's aria on the joys of chastising one's wife in the way she deserves causes a few raised eyebrows nowadays, but the funny side is genuine and the music is brilliant, making of this forgotten little opera a true gem.

Roberto Devereux Bavarian State Opera, Friedrich Haider conducts the chorus and orchestra of the Bavarian State Opera, and the recording is directed by Emmy award winner Brian Large. The furious coloraturas, the swelling tones, the outbursts, the nearly inaudible groans — everything fuses into an image of psychological desolation.

Roberto Devereux Bergamo Musica Festival, One of Donizetti's most emotionally raw operas, Roberto Devereux ossia Il conte di Essex was also the third to be loosely based on episodes in the life of Queen Elizabeth I. It deals with the love of Elizabeth and her favourite, the Earl of Essex, perhaps most tellingly expressed in the Act I duet, Nascondi, frena i palpiti, o misero mio core Hide, hold back your palpitation, oh my wretched heart! Elizabeth's subsequent abdication is, however, a matter of dramatic licence, yet provides a memorable operatic conclusion to this tragedy of love and jealousy as she despairs at the death of her lover — Quel sangue versato al ciel s'innalza The blood that is spilt rises up to Heaven.

Directed by Francesco Bellotto, this was the inaugural production of the Bergamo Music Festival , featuring the Greek soprano and leading Donizetti specialist, Dimitra Theodossiou, and the young American baritone Andrew Schroeder, both in superb voice.

Roberto Devereux Teatro Carlo Felice, Roberto Devereux composed on saw the light of day during a period of intense creativity for Gaetano Donizetti. After its premiere and up until , Devereux was performed almost uninterruptedly. In the years that followed it would also enjoy a successful international career, throughout Europe and in the Americas, with versions in French, German, Russian and Hungarian. When Donizetti moved to Paris in , he enriched the opera with the overture that paraphrases the British anthem God Save the Queen.

The Queen dominates from her very entrance, a true protagonist, here performed by the great Mariella Devia: Roberto Devereux Teatro Real, This statement encapsulates great operatic themes, and it is the culmination of an opera that reveals the passions of characters who live among palace intrigues.

Written in the mature period of the leader of Italian romanticism, the opera displays a great vocal virtuosity, and is an example of Donizetti prizing the voice above all in the genre. The staging, by South African director Alessandro Talevi, who has been very successful in great opera houses as well as with more experimental theatre, places the play in an undetermined period, focusing on the chiaroscuro.

Rosmonda d'Inghilterra [Opera] Fondazione Donizetti, Revived after years in oblivion, the stagin of Rosmonda d'inghilterra at Bergamo's Teatro Donizetti proved fascinating for the Italian public. From the excellent cast of singers, Jessica Pratt and Eva Mei gave stand-out performances.

The opera revolves around a tale of love and intrigue surrounding the main protagonists - the fampus Queen of Eleanor of Aquitaine, her husband Henry II of England, and the fair Rosamund de Clifford.

Rosmonda is the quintessential innocent, unaware that the man she loves is the King of England and that she has unwittingly become a rival to the much-feared Queen Eleanor of Aquitaine. Eleanor, having already had her first marriage annulled for reasons of consanguinity, is unwilling to see her second marriage fail. Only the faithful page Arturo, secretly in love with Rosmonda, knows that the Queen is aware of her husband's betrayal; but he too is embroiled in this game of deceit, hoping that he will end up winning the girl.

The emotional and dramatic development is very effective. There is not a page in this score without some example of brilliant writing, a captivating theme, a moving passage. It all goes to prove how deeply original Donizetti was, and how much there is still to be discovered about this under-appreciated composer.

Laura Polverelli portrayed with elegance and pride the character of Elizabeth, her furies, doubts and jealousies; Maria Pia Piscitelli was a wonderful Maria Stuarda, passionate, sorrowful, proud, dignified when sentenced to death, recalling her past sins yet conscious of her innocence" MusicCultura.

Adventures of Pinocchio The Opera North, Opera North's enchanting staging of The Adventures of Pinocchio , Jonathan Dove's 21st opera, is a wittily inventive feast for the eyes and ears.

A full-length, through-composed grand opera with 29 characters, a sizeable chorus and a profound symphonic score, it is overflowing with visual delights, and children will love it! A sublime achievement by Martin Duncan and team, this production shines a bright new light on Collodi's dream-like original story, full of charm, darkness and magic. The superb ensemble stars Victoria Simmonds in the title role, and the orchestra and chorus respond splendidly under David Parry's vibrant baton.

Rusalka Bavarian State Opera, Rusalka La Monnaie - De Munt, Antonin Dvorak's next to last opera draws its substance from the underwater wonderland of little mermaids, Undines and Melusines: Rusalka , a water nymph, wishes to become human in order to be loved by the young prince. Despite being warned against it, she asks the witch Jezibaba to help her. In order for her wish to be fulfilled, Rusalka must give up her voice and face eternal damnation if her love fails.

Jaroslav Kvapil's libretto inspired Dvorak to compose a masterpiece, a compelling opera full of poignant lyricism and dramatic twists. In this widely acclaimed interpretation, the fairytale elements assume frighteningly realistic dimensions making this enchanting production a psychoanalytical study of male fantasies and female archetypes. Claude Lyon Opera, The synopsis of Claude is based on a true story. Robert Badinter has read again and again the original file from the judicial archives of Troyes.

Claude is a silk worker from la Croix-Rousse. He tries to lives a happy life with his wife and daughter. For them and for him he refuses the misery imposed by their condition. When his boss lays off workers to replace them by new English machines. Claude grabs his rifle and run to the barricades. Claude is sentenced to 7 years of hard-Labor at Clairvaux's prison workshop.

His love for the quality of his work and his hate of injustice makes him a charismatic figure for the others prisoners. To weaken him, the prison warden separates Claude from his most precious friend, Albin.

From this, follows a chain of injustice and violence in witch Claude finish to kill the director. He will himself be "guillotined" decapitated. Claude is a plea against prison and for human dignity worn by magnificent performers: This thrilling opera is staged by Olivier Py.

Manuel de Falla's short opera La vida breve is perhaps the greatest opera in the entire Spanish repertoire. Premiered in , it is the tragic story of the poor gypsy Salud, whose lover Paco betrays her and plans to wed a wealthy young woman. While not rejecting the folklore aspects of the original libretto, del Monaco creates a kind of psychological chamber drama in which the heroine Salud is on stage at all times, as if witnessing her own living nightmare of blood and shame.

Carlisle Floyd is one of America's foremost composers. Though he has also written in other forms, he is renowned for his operas, for which he also writes the libretti. The most famous and popular is his third opera, Susannah , premiered in and the second most performed of all American operas. Updated and set in Tennessee, it is loosely based on the Apocryphal tale of Susanna and the Elders.

The work is rooted in vernacular folk melodies and hymns and contains soaring melodic beauty. Olimpiade L' La Fenice, Remembered as the leading exponent of Venetian comic opera if not its absolute creator, Baldassare Galuppi opened the Carnival season of Milan's Teatro Ducale with an opera seria which he dominated drama per musica.

L'Olimpiade is based on the Metastasio libretto which served perhaps more composers of the eighteenth century than any other. Although respecting the format tradition. Galuppi managed by adroit cuts and additions which naturally enraged Metastasio to product a seamless sequence of colorful arias and recitatives delineating by musical devices the characters and emotion of the seven protagonists. Andrea Chenier Bregenz Festival, With his spectacular production of Umberto Giordano's Andrea Chenier, director Keith Warner unites intellectual depth and exciting entertainment for the eyes and ears using every possible resource offered by Bregenz's floating stage.

The opera is both a moving love story and a historical thriller with a highly emotional score. Fedora [Opera] Teatro Carlo Felice, The soprano Daniela Dessi died suddenly on 20th August , aged She was hailed by critics and colleagues as one of the finest voices the world of opera has ever known.

Dynamic pays tribute to the great soprano with this recording, filmed just one year before her untimely death. Her performance of Giordano's Fedora was one of the pinnacles of her stunning artistic career. In the famous aria O grandi occhi lucenti from Act One, she delivers a technically perfect and emotionally passionate performance worthy of a great star. La main cherche le smartphone. Le message est lu. Et les doigts pianotent une réponse.

Cela vous semble familier? Plus de sept personnes sur dix déclarent ne pas résister alors même qu'ils sont en compagnie, hors de chez eux.

Le syndrome est mondial, directement lié au taux de pénétration des smartphones. Pourquoi nous attendons plus de la technologie et moins des autres", éd.

Basic Books, , non traduit. Même les sociétés numériques sonnent l'alarme. Un message, lu par une voix off, défile sur un écran: Le principe est simple: En ligne sur Meetup. Plus de 10 rendez-vous ont ainsi lieu chaque jour dans des bars, jardins, restaurants, sur l'eau, dans les airs Retour de balancier classique après un trop-plein de vie virtuelle?

Le ou la cuisinière fixe un prix, que l'on règle en ligne. Car la planque est désormais connue: Car un client écouté est un client heureux qui reviendra et achètera sans qu'on le lui demande expressément. Même inspiration pour Zappos. Les internautes ont jours pour rendre une paire et les conseillères téléphoniques ne sont pas chronométrées. Elles répondent, sans ânonner des phrases stéréotypées sorties d'un guide "contact-client". L'usurpation d'identité a doublé en France Le Monde.

Mais, après utilisation de ces documents, on constate, selon le sondage, que plus d'un tiers des Français ne détruisent pas systématiquement leurs documents contenant des données personnelles: Ce "pack" regroupe plusieurs documents d'identité, en copie ou en originaux, et leurs corollaires administratifs. Comment les Français appréhendent-ils l'univers numérique?

Leur est-il indispensable ou au contraire le trouvent-ils envahissant ou inutile? Quelque 1 Français âgés de 14 ans et plus, représentatifs de la population, ont été interrogés en face à face durant l'été. Dans cette expérience quotidienne, les Français globalement "perplexes" se divisent en six catégories. Ils sont téméraires et n'ont pas peur de défricher les sentiers virtuels. Leur dénominateur commun est leur jeunesse et leur genre: Ils sont urbains et instruits.

Toujours sur les talons des premiers mais beaucoup plus prudents, ils sont paradoxalement plus jeunes puisqu'ils ont moins de 25 ans. Tout aussi accros aux gadgets, ils se caractérisent par la mixité de leur population autant d'hommes que de femmes. Pour eux aussi, c'est la communication qui profite le plus du numérique. Hommes et femmes entre 35 et 49 ans, de catégorie socioprofessionnelle intermédiaire, ils ont des enfants et n'utilisent que des outils "connus de tous".

Pour eux, le numérique a une vraie utilité sauf pour l'art, qui arrive dernier de leur classement. De même proportion que les précédents, leur ordinateur et leurs robots ménagers devancent de loin leurs téléphones portables en utilisation quotidienne. Les révoltés du numérique et les bienheureux sédentaires. Ce sont les plus réfractaires. Oscillant entre désintérêt total et inquiétude, ces seniors considèrent la médecine comme la principale bénéficiaire du numérique.

Ils pâtissent le plus souvent de leur manque d'informations sur le sujet et se montrent nostalgiques. Même observation lors d'un deuxième exercice, explique le journal: Si l'impact d'Internet sur la mémoire reste peu étudié, il semblerait qu'Internet est devenu notre premier espace de mémoire externe, conclut l'étude.

Quattro Venti, Urbino , rist. Barone, Viceversa, la grammatica francese e il tradurre - Intorno al verbo , Le Lettere, Firenze ; Polycopié Dispensa à la fin du 1er semestre. Esposito, Manuel de traduction italien L. Boch, Les faux-amis aux aguets, Dizionario di false analogie e ambigue affinità tra Francese e Italiano , Zanichelli, M. Broussous, Les mots-pièges dans la version italienne et leurs analogues dans le thème , Classiques Roudil, F.

Savage, Rédiger un texte académique en français: Tournadre, Pratique de la communication écrite , Paris, Nathan, C. Eco, Dire quasi la stessa cosa , Bompiani, M. Podeur, La pratica della traduzione , Liguori M. Faini, Tradurre , Roma, Carocci, G.

La comprendre, l'apprendre , PUF, P. Harris, La traductologie, la traduction naturelle, la traduction automatique et la sémantique , in Problèmes de sémantique Cahier de linguistique 3 , Montréal, Presses de l'Université du Québec, , pp.

Mounin, Linguistique et traduction , Dessart et Mardaga, Osimo, Manuale del traduttore , Milano, Hoepli, ; S. Bassnett, La traduzione teoria e pratica , Bompiani, B. Balboni, Parole comuni culture diverse. Guida alla comunicazione interculturale ; Saggi Marsilio, Padova, ; L.

Fabrizio Megale Teorie della traduzione giuridica. Fra diritto comparato e Translation Studies, Napoli: Editoriale Scientifica, M. Bollettieri Bosinelli e Ch. Metzlersche Verlagbuchhandlung, ed. Teorie e pratica , Milano, Bompiani, Theory and practice , London-New York, Longman, Essai sur la traduction , Presses Universitaires de Rennes, Essais sur la traduction , Mauvezin, Trans-Europ-Repress, , pp.

Culture et traduction dans l'Allemagne romantique: John Donne , Paris, Gallimard, Glottodidattica e scienze della comunicazione , Urbino, QuattroVenti, Interaction des arts et des langues , sous la direction de Jean Weisgerber, Lausanne, L'Âge d'homme, , pp. Anglais-français , Ophrys, Étude expérimentale du parcours de compréhension , Presses Universitaires de Lille, Artois Presses Université, Essai de poétique de la traduction poétique , Lausanne, l'Age d'homme, Selected Papers , Binghamton, Selected Papers , , Binghamton, Papers on literary translation and translation studies , Amsterdam, Rodopi, Pedagogy and Process , Kent, OH: Kent State University Press, Kade, Coseriu, Seleskovitch , Paris, Didier, Louis Truffaut , octobre , ed.

La Scuola, Brescia, Humboldt, sur la tâche de l'écrivain de l'histoire", in Les tours de Babel. With special reference to principles and procedures involved in Bible translating , Leiden, Brill, Theory, methodology, and didactic application of a model for translation-oriented text analysis tr. Der operative Text , Kronberg, Scriptor, Postcolonial Theories Explained , Manchester, St. Zur integrierung von Theorie und Praxis , Tübingen, Francke, Béguin , Dopo Babele , Milano, Garzanti, Dalla psicolinguistica alla glottodidattica , Roma, Armando, Proceeding of the 1st James S.

Dalla letteratura alla macchina , Roma, Bulzoni, Propose un portrait du métier de traducteur, précise son statut et son environnement professionnel et aborde la place de la traduction chez les éditeurs, les relations traducteurs-éditeurs et la publication des traductions. Avec des adresses d'associations et d'organismes de formation. Présentation Bien que n'ayant qu'une part limitée dans la production éditoriale française, la traduction littéraire, c'est-à-dire non technique, n'en est pas moins une composante importante et reflète l'ouverture aux cultures étrangères, Le présent ouvrage analyse cette pratique éditoriale tant du point de vue des éditeurs que de celui des traducteurs.

S'appuyant sur des entretiens réalisés avec des traducteurs, l'auteur entreprend de décrire leur origine, leur formation, leurs conditions de travail, et de fournir des informations sur leur statut, leur protection sociale et leur environnement professionnel.

En ce qui concerne les éditeurs, on s'intéresse d'une part à leur politique éditoriale à partir de leurs choix en matière de traduction, d'autre part à leur collaboration avec les traducteurs, consacrée par l'élaboration d'un contrat qui Ses lie.

Sont abordés par ailleurs les étapes de la publication d'une traduction jusqu'à sa réception, ainsi que son coût et les aides possibles en la matière.

Elle a été pendant plusieurs années chargée de la formation de traducteurs littéraires à l'université Paris VII. Statut et environnement professionnel des traducteurs 1 Statut et protection sociale du traducteur Protection sociale Régime fiscal des traducteurs 2 Les associations professionnelles de traducteurs 3 L'association Assises de la traduction littéraire en Arles ATLAS 4 Autres manifestations autour de la traduction 5 Les résidences de traducteurs III.

La publication des traductions 1 La réalisation de la traduction 2 Le coût de la traduction 3 Le paratexte des traductions 4.

Exercices de préparation à la Dictée: Frémy, Dictées préparées , vol.

film porno africaine sexe model grenoble This thrilling opera is staged by Olivier Py. Though he has also written in other forms, he is renowned for his operas, for which he also writes the libretti. Les internautes ont jours pour rendre une paire et les conseillères téléphoniques ne sont pas chronométrées. Ils nous aideront à préparer nos reportages. The composer's rejection of traditional, flamboyant, operatic bells and whistles led to a fresh form in which the lyrics hold court.

As a sensual, ethereally beautiful Lulu, she commands the public's attention in every scene. Leading the Wiener Philharmoniker, conductor Marc Albrecht treats the rich sonorities of Berg's music as a natural extension of Wagner, Brahms and Strauss. He thus provides an ideal support for the two main protagonists of the work, which is next to Patricia Petibon's Lulu Michael Volle's Dr.

A particularly stunning feature of this production are the painted backdrops by Daniel Richter, one of the most internationally prized German painters of today.

Whether depicting Lulu herself, a horde of menacing, grimacing faces or an eerie, stylized winter landscape, the gigantic Lulu Staatsoper Festtage Festival, By destroying her lovers, Lulu is driven from cold-hearted love to cold-blooded murder and ultimately to her own destruction.

Mojca Erdmann as Lulu proves ideally suited, mastering the insane leaps and coloraturas of the role with incredible ease. Schon and Georg Nigl as the "meticulously articulating athlete". Lulu [Opera] Bavarian State Opera, Lulu is a femme fatale, a maneater. She marries men and then kills them, one after another, or pushes them to commit suicide.

This opera, which mixes forbidden love stories, crimes and decadence of the heroine, is one of the greatest operas of the 20th century.

Alban Berg died before he had a chance to bring his third act to an end, and the opera was premiered at the Zurich Opera House in , two years after the composer's death. The piece shocked the audience and was far from being acclaimed by the critics. In , Friedrich Cerha achieved the orchestration of the third act. Lulu's philosophical and sociological significance seems to denounce the nonsense of a society in search for modernity, trying to deal with the confusion of the values and the search for the power.

The staging of this new production is by one of the greatest Russian stage directors of the moment, Dmitri Tcherniakov, who staged a beautiful Wozzeck at the Bolchoi a few years ago. The conductor, Kirill Petrenko, is the Bayerische Staatsoper's musical director, and Opera Magazine described him as "one of the most passionate [conductors] of his generation".

Lulu [Opera] Zurich Opera House, Benvenuto Cellini Salzburg Festival, The object of her rapture is not a Broadway musical but a French opera written in the s, Hector Berlioz's Benvenuto Cellini. The absence of the work in the operatic repertoire is certainly due in part to its musical excesses: This is resoundingly proven false in the Salzburg Festival production of director Philipp Stolzl, conductor Valery Gergiev The wild man of music and a high-caliber cast accompanied by the Vienna Philharmonic and its chorus.

Stolzl, above all, has poured his experience as director of music videos, commercials and films into this project, termed "science fiction for Grand Opera" Suddeutsche Zeitung , "breathtaking" Der Standard , and "spectacularly successful" F. Berlioz hips the action forward by disguising his hero, the celebrated goldsmith and sculptor Benvenuto Cellini , as a monk and having him Hector Berlioz' grand opera Les Troyens is given an appropriately grand treatment in this production by the renowned Catalan theater group "La Fura dels Baus" under Carlus Padrissa recorded at Valencia's Palau de les Arts.

In the first part, Padrissa plays with the present-day meaning of Trojans as computer viruses; in the second, he takes us to a future civilization headed towards self-destruction. Tom Cairns' cinematic film of Bernstein's chamber opera features a young and vibrant cast, set in the Fifties. This biting satire on American suburban married life stars Stephanie Novacek as Dinah and Karl Daymond as Sam, facing a serious communication breakdown - he is obsessed with his achievements in work and sport: Inspired by jazz and American musical comedy, the score is a path-breaking fusion of lyric art with popular entertainment.

Minotaur The Royal Opera House, This world premiere of a gripping new work by composer Harrison Birtwistle and librettist David Harsent, commissioned by The Royal Opera, brings the monstrous, Greek mythological character to the stage.

The Minotaur, part man, part beast, trapped in his labyrinth and constrained by his bloodthirsty role there, longs to discover his true identity and his own voice. Athens must pay a blood sacrifice to Crete and among the innocents is Theseus, who has come to challenge the violent Minotaur, but who also attracts the attention of Ariadne, half-sister and keeper of the monster; it is with her help he succeeds. Carmen Arena di Verona, Director David McVicar describes Carmen as "the first ever musical," and his new production, with Anne Sofie von Otter in the title role, restores the original opéra comique as Bizet wrote it, stripping away subsequent re-workings which turned it into a grand opera.

Carmen Royal Opera House, The first performance of Carmen on 3 March , produced such a hostile reaction that Bizet left Paris physically and psychologically ill, and died only three months later on 3 June , following two serious heart attacks.

The massive scandal of the premiere may have been partially the result of Bizet's attempt to reform the Opéra Comique genre, yet it must still be said that Carmen is operatic history's most famous example of a failure being corrected by the passage of time: Carmen is now one of the most frequently performed operas in the world.

The major Spanish actress and producer Nuria Espert was brought in for the production at London's Royal Opera House, Covent Garden in , while the authentic Flamenco choreography comes from Cristina Hoyos and is danced by, among others, Juan Ortego. For the musical side of this successful production Zubin Mehta had top vocalists at his disposal to perform the roles of Carmen, Don José and Escamillo.

Carmen Salzburg Festival, If Herbert von Karajan continues to be a looming presence in today's classical music world, then it is not only because of his more than records and CDs, but also because of the many hours of video recordings which he produced over the course of many years. He began preserving his performances on film back in with La Boheme.

His Carmen is based on his production for the Salzburg Festival with Grace Bumbry — one of the greatest interpreters of the title role in our time -, Jon Vickers, Mirella Freni and Justino Diaz in the lead roles.

Perhaps the most popular opera in the world today, Carmen began its life as a failure when it was premiered in Paris in Tchaikovsky, however, who was in Paris at the time, prophesied that the opera would be a global success in only ten years. It took a little longer, but his prophecy did come true Carmen Sferisterio Opera Festival, In the splendid setting of the Macerata Sferisterio, the tale of seduction and jealousy par excellence, with a commanding Nino Surguladze in the title role and the direction of twice Oscar-winner Dante Ferretti The Aviator - Sweeney Todd , here at his debut in the world of opera.

Bizet's passionate tale of the self-willed gypsy woman Carmen is certainly one of the most popular works in the history of opera. It shows how a cigar factory worker in Seville enchants and bewitches the men around her. Melodies like Carmen's legendary 'Habanera'or Escamillo's 'Toreador March' are well known tunes all over the world. The Opéra Comique in Paris commissioned George Bizet to write Carmen in and Bizet's music portrays the characters with care and reveals itself to both the most naïve and the most sophisticated listener.

The wild-romantic Roman quarry of St. Margarethen provided the perfect backdrop for this live recording of one of the key works of the so-called 'Hispanismo'-style. The film captures a summer's evening in when thousands of spectators gathered at one of Europe's most important open-air festivals, visited by This exciting production brought horses, pyrotechnical special effects and more than participants onto the stage.

Pecheurs de perles Les La Fenice, Julie Aix-en-Provence Festival, Mefistofele San Francisco Opera, Arrigo Boito's treatment of the Faust legend is imaginative yet also faithful to Goethe's original conception, and the score is memorable for its rich orchestral sounds, beautifully punctuated with lyrical passages and choral interludes.

Robert Carsen's sumptuous, post-modern production of Mefistofele is a gloriously decadent and theatrically stunning realisation, and the San Francisco Opera's performance has been unanimously acclaimed in both Paris and San Francisco. Samuel Ramey, in the title role, has won both critical and overwhelming popular approval.

Known mainly as the Paganini of the double bass , Giovanni Bottesini was in fact one of the most eclectic figures of Italian music in the second half of the nineteenth century. His Ero e Leandro met with great success whet it premiered in , a success witnessed by the 28 performances that followed, an absolutely unthinkable number today. After the composer's death it disappeared from the repertoire, only to be revived with the present staging.

The score, stylistically comparable to the late Verdi, reveals unusual attention to orchestration and uses richly chromatic language. It may be set alongside operas like Ponchielli's La Gioconda and Arrigo Boito's Mefistofele , often showing a high quality of melodic inspiration.

Billy Budd Glyndebourne, Glyndebourne has a proud association with the operas of Benjamin Britten, however until had never staged Billy Budd. The all-male opera with a libretto co-written by EM Forster, is based on the battle between pure good and blind evil, and is set on a British man-'o-war ship. Michael Grandage, Artistic Director of the Donmar Warehouse, chose this work to make his long-awaited operatic debut.

Sir Mark Elder returned to conduct the production, marking the th opera production in his illustrious career. Thirty years after the original broadcast, Owen Wingrave returned to the small screen in a new version by the highly-regarded music and arts director Margaret Williams, who reveals through a vivid film vocabulary the intensity of the drama and its passionate realization in Benjamin Britten's music.

Shot entirely on location, the story is updated from Edwardian times to the s, establishing a connection with World War II. Gerald Finley portrays Owen Wingrave, scion of a soldier family whose reluctance to join the family trade reflects Britten's own pacifist principles. Taunted and rejected by a hostile family, Owen confronts the ghosts of the past to rebut the charges of cowardice.

Libretto by Myfanwy Piper. The Hidden Heart 58 minutes profiles Britten, the leading twentieth century British composer, telling the story of his life, reflecting on his music and his lifelong relationship with his partner and muse, tenor Peter Pears. In London, a young governess is hired by the elegant and mysterious tutor of two children to supervise their education at Bly Manor, deep in the English countryside.

Her employer imposes one strict condition, however: Assisted by an elderly housekeeper, Mrs. Grose, the young woman arrives at Bly and soon discovers that the seemingly angelic children Miles, twelve, and Flora, eight conceal a dark secret, namely the pernicious ghosts of two former domestics, Peter Quint and Miss Jessel, who force the children to keep the secret of their suspicious past and plan to take them under their ultimate control.

This is what the Governess must face, either with the children or without them. Flora will be saved in extremis, but little Miles will perish in escaping - perhaps - from Quint's demonic clutches. The production imagined by Luc Bondy extracts the essential of the libretto of Myfanwy Piper inspired by a story by Henry James. In an atmosphere reminding Hitchcock movies, where we can feel the tension, the stage director's work keep the suspense of the Didone La Teatro Malibran, After his successful debut in with Le nozze di Peleo e di Teti , Pier Francesco Cavalli for the first time sets about writing music for a story that is both tragic and heroic with an almost unwonted deployment of means and new expressive intent.

Hiring Giovanni Francesco Busenello, a noble amateur as his lyricist, La Didone became one of the most tragic, tormented operas of the entire seventeenth century. Cavalli satisfies the requirements of a mixed audience both by pampering to the visual attractions of the spectacle and by aiming for more impassioned pathos and expressivity than in his previous essays.

He studies and enriches the work's language inserting dramatic substance and striving for a melodic conception that certainly recalls that of his "maestro" Monteverdi yet also steps beyond it. Ercole amante DNO, Commissioned to celebrate the marriage of the Sun King, Louis XIV, and Marie Therese of Spain, the original production of Cavalli's Ercole Amante took two years to complete and, at the time, was the grandest show ever performed in Europe.

DNO's contemporary, hilarious and surreal production, directed by David Alden, is a triumph of opera buffa, a riot of decoration and symbolism complemented by Constance Hoffman's exceptional costumes.

La virtu de' strali d'Amore was the first of ten operas Cavalli wrote with librettist Giovanni Faustini. Set in Cyprus, the plot involves enchanted and pastoral elements, love and its thwarting, the counterpointing of Man and God, sorcery, revelation and ultimate resolution, all accomplished in a brilliant series of scenes.

A follower of Monteverdi, Cavalli reveals the influence of the older man but also his own pronounced independence. Fabio Biondi and Europa Galante have become one of the most admired partnerships in the history of baroque music performance. David et Jonathas Festival d'Aix-en-Provence, The opera has been in the repertoire of Les Arts Florissants since and was first presented in a stage production by William Christie at the Aix-en-Provence Festival This release is a special event for all Baroque music lovers.

Written a year after the death of Lully, this lyric tragedy allows Charpentier to develop beyond the religious dimension, a story of male friendship and forbidden love between David and Jonathas. An excellent cast gathered around William Christie and Les Arts Florissants brings young singers to the title roles: The role of Jonathas is given to a woman: The staging by Andreas Homoki Director of the Zurich Opera since summer focuses on the psychological aspect of this forbidden love story, giving a moving reading of the drama.

Alice in Wonderland Bavarian State Opera, Yet the musical house she constructs with the building blocks of the past and the present is definitely her own house, which she has designed and which self-assuredly proclaims her unmistakable individuality and style.

It is a thoroughly modern house that welcomes everyone who loves music. Unsuk Chin, born in Seoul, Korea, in , had always been fascinated by Lewis Carroll's fairy tale for children and adults. Director Achim Freyer, whose productions have been setting standards for decades, sees Chin's opera as a collection of "dream sequences," for which he has created imaginary spaces: Arlesiana L' Fondazione Pergolesi Spontini, Il Matrimonio segreto was first staged in Vienna on 7th February and was also one of the greatest successes in the history of the eighteenth-century opera.

It is universally recognized as Cimarosa's masterpiece and the only one of his operas to have survived in the regular repertoire to this day. Matrimonio segreto Il Schwetzingen Festival, Il matrimonio segreto is Cimarosa's most famous opera buffa and it is one of the few comic operas to have maintained its place in the repertoire until today. At its first performance in , Austrian emperor Leopold II is reputed to have liked this masterpiece so much that he ordered the musicians to play it again from the beginning!

Michael Hampe's elegant, colourful production had already won international acclaim when staged in Paris, Stockholm and London - where it won the Olivier Award for Best Opera Production. His stage direction is sensitive to the music's flow and brings a welcome clarity to the many twists and deceptions in the plot. This recording comes live from the exquisite palace rococo theatre at the Schwetzingen Festival in The Drottningholm Court Theatre Orchestra, an outstanding orchestra for early music, is specialized in music of the 17th and 18th century - their authentic interpretation sounds extremely fresh and colourful, and the playing is always full of energy and contrasts.

Jackie O Teatro Comunale di Bologna, Jackie O develops around the life of Jacqueline Kennedy; her image, following her husband's assassination, of "tragic princess", and the following events, which captured the attention of the world's media. American composer Michael Daugherty has written a very modern work, in-between opera and jazz, inspired by American musical and the popular culture of the late s. Jackie's arias Egyptian Time, Jackie"s Credo and All his bright light possess a lyrical, melancholic and exotic allure; the ones sung by Onassis - the conceited, coarse, self-made man - have, instead,echoes of Las Vegas: Maria Callas, who in the '60s was beginning to lose her voice, retraces her life with the songs Addio delPassato and Flame Duet.

Liz Taylor is engaged in a blues-like riff that recalls a Cat on the hot tin roof atmosphere; whereas Princess Grace Kelly trills in Doris Day fashion. Andy Warhol's aria conforms to his art: In the finale dramatic climax, in Jackie's Song, Jackie duets with her dead husband's voice. Damiano Michieletto's perfect direction is lively and full of colours, and the resemblance of the singers to real characters is impressive.

A great tribute to the Pelleas et Melisande Aalto-Musiktheater Essen, Music of introverted tenderness and a libretto that hints at much and offers few answers - such is Pelleas et Melisande , Claude Debussy's only completed opera. Dubbed "Drama lyrique" by the composer himself, and written in at a time when the subconscious, the psyche, dreams and urges commanded the attention of science and art, this music searches the souls of its characters with its subtle nuances. Pelleas and Golaud are half-brothers, each loving the girl-from-nowhere Melisande.

The elder, dominant Golaud makes her his wife; the younger Pelleas is the soul-mate of the taciturn, strangely vulnerable Melisande and an equally mysterious bond of concealed love is formed between them. The consummately precise staging by Nikolaus Lehnhoff has a cast to match these wondrous sounds. This exceptional production "achieves what actually can only be understood as magic.

Pelleas et Melisande Opera Bastille Paris, Philippe Jordan gives a transparent reading of Debussy' haunting score.

Pelleas et Melisande [Opera] Malmo Opera, When Debussy completes the score, based on the eponymous symbolist play by Maurice Maeterlinck, of Pelleas et Melisande in , the world of opera still abides by Richard Wagner and the upheaval he caused with Tristan und Isolde. But Debussy decides to stand on the exact opposite side, and uses his new opus to preach a new aesthetic creed. In depicting the forbidden love story between the timid Pelleas and the beautiful Melisande, kept apart by an unfortunate marriage, the French composer brings us back to the immortal legend of Tristan and Isolde, but this time showing the world that the future of music could very well lie far away from Wagner's overwhelming lyricism and outsized rhetoric.

This new production, created by one of the rising stars of French stage direction Benjamin Lazar for the Malmo Opera headed by Ingmar Bergman from to , encapsulates all the different aspects of this mysterious work, from the oniric poetry invented by Maeterlinck and Debussy to the realism, poignant because openly simple and even mundane, of these profoundly human beings lost in a forest full of sound and symbols that will never let them escape.

During the s Vladimir Deshevov — was regarded as one of the most promising younger Soviet composers. Darius Milhaud, who made his acquaintance in during a visit to Leningrad, praised him in the French press as a "genius" and "extremely original". However, subsequent attempts to make his compositions better known abroad were unsuccessful. In followed Dechevov's best-known composition: But such were the ideological tensions of this period that this avant-garde work soon disappeared from the public stage.

Although Dechevov was one of the chief proponents of the left wing musical avant-garde in the s and explicitly came out in favour of critical appropriation of elements from Western modernism, he was not subjected to direct ideological attacks during the Stalinist era.

Neither, however, despite clearly moderating his compositional style, did he succeed in obtaining a prominent position in the conformist musical culture of socialist realism that held sway after It was only after the outbreak of the Second World War that he started once again to produce major works of his own: However, these did not prevent his name from increasingly being forgotten. Anna Bolena version Reate Festival, Anna Bolena Bergamo Musica Festival, Anna Bolena tells of a human drama of solitude and oppression; it is a work of psychological introspection centered, both from a dramaturgical and vocal point of view, around the protagonist, who soars to peaks of music splendour.

A far-reaching opera, in which events and the tension developments between characters are thoroughly investigated. It is a very significant work in the history, as well as in Donizetti's own personal history, even though nowadays - and rightly so - it is no longer regarded, as it once was, as a sort of impromptu miracle.

Convenienze ed inconvenienze teatrali Le La Scala, Don Gregorio Bergamo Musica Festival, Don Gregorio is the Neapolitan adaptation that Donizetti worked on his own L'ajo nell'imbarazzo , an opera first staged at the Teatro Valle in Rome on 4th February The subject was based on the play of the same name by Giovanni Giraud and the libretto of the original version was drawn up by Jacopo Ferretti, one of the Italy's leading librettists in the early nineteenth century.

When Donizetti set to work on his Neapolitan version two years later, he was assisted by Andrea Leone Tottola whom he already worked with some of his operas. Although some of the traditional passages were replaced by prose dialogue, a new numbers were added and others eliminated, Don Gregorio was still successful when it premiered on 11th June at the Teatro Nuovo in Naples.

Don Pasquale Geneva Grand Theater, Don Pasquale Glyndebourne, One of the reasons why Donizetti's Don Pasquale is regarded as a cornerstone of the Italian comic opera tradition is because its characters are no mere commedia dell'arte stereotypes, but complex, vulnerable human beings.

This is brought to the fore in Mariame Clement's sensitive and perceptive production, which was hailed by the Financial Times as a Glyndebourne classic'. Acclaimed buffo baritone Alessandro Corbelli sings the title role 'with just the right degree of lugubriousness', while Danielle de Niese, one of today's most sought-after sopranos, is an 'engaging' and irresistible' Norina The Telegraph.

Bel canto specialist Enrique Mazzola conducts with flair and panache. Elisir d'amor L' Bergamo Musica Festival, Staged in Milan in , L'Elisir d'amore was written in a remarkably short time by librettist Felice Romani who based the text on a French libretto that Eugene Scribe had written for Daniel Auber and staged in Paris a year earlier.

Romani's wife claimed that the whole work was written within a fortnight, an obvious exaggeration, since it seems that Donizetti had already completed much of the opera some three weeks before it was to be staged, not to open the season, but to be staged as a later part of it. Who wouldn't want a love potion?

Even today, quite a few people would readily trust Dulcamara and his promises of eternal happiness. The successful blend of comic and lyrical elements, of fun and feeling, are what make of L'Elisir d'amore such an enjoyable opera. A sparkling Alex Esposito leads the rest of the cast in this entertaining production of one of Donizetti's most beloved operas. Elisir d'amore L' Glyndebourne, Acclaimed Italian conductor Maurizio Benini makes his Glyndebourne debut in Donizetti's intoxicating and deeply touching opera, whose fast-moving comic story unfolds the romantic rivalry between penniless farmhand and bumptious soldier, both vying for the love of Adina.

Will the bogus Dr. Dulcamara's potion, the elixir of love, help farmhand Nemorino win her heart? Elisir d'amore L' Paris National Opera, After an absence of almost twenty years L'elisir d'amore is back at the Paris Opera in a crazy version by Laurent Pelly. The plot is simple but effective: Add to this a sparkling musical language and marvellously inspired melodies - including the legendary "Una Furtiva Lagrima" - and you have the authentic masterpiece Donizetti turned out in just two weeks.

Transposing the plot to the Italy of the s, director Laurent Pelly offers us an absolute jewel, beautifully crafted and shot through with poetry. La fille du regiment Vienna State Opera, Gaetano Donizetti may have achieved immortality with his comic operas Don Pasquale and L'Elisir d'amore, and won a lasting place in the hearts of coloratura sopranos everywhere with Maria Stuarda and Lucia di Lammermoor, but for sheer entertainment, his La Fille du Régiment can't be beat.

The plot revolves around Marie, the "daughter of the regiment", who was found on the battlefield as a baby and raised by the soldiers as their daughter. She falls in love with the young Tyrolean Tonio, who joins the regiment in order to be near her.

When the Marquise de Birkenfeld hears about Marie, she claims that she is her long-lost niece, whom she will turn into a lady Her plans backfire, of course, as Marie will never abandon her Tonio and most certainly never become a lady! French soprano Natalie Dessay, not only a dazzling singer but also a gifted actress, effortlessly sweeps her castmates along in this turbulent buffo delight of an opera.

Her partner is Juan Diego Florez, one of the leading young tenors of our time. Clad in lederhosen, he cheerfully seduces Marie — and the Lucia di Lammermoor Bergamo Musica Festival, Among all Donizetti's operas, Lucia di Lammermoor has always been the favourite for both audiences and singers: First staged on the evening of 26th September , the work was based on Sir Walter Scott's novel The Bride of Lammermoor which was published in June This novel received a mixed reception from the critics.

Blackwood's, a popular journal at the time, declared it to be 'a pure and magnificent tragic romance', whilst other magazines regarded it as far too gloomy. Based on real-life events of , this tale of love, feuds, deception and madness appealed very greatly to Scott's more general readership, as well as to some of the librettists and composers of his time; within fifteen years of the novel's publication at least five operas had been composed, based on the story of Lucia and her unhappy fate.

It is no surprise, then, that Salvadore Cammarano relished the prospect of writing the libretto for such an opera himself and that Donizetti took to the idea equally enthusiastically. Lucrezia Borgia Bavarian State Opera, The phenomenal Edita Gruberova, the world's undisputed Queen of bel canto, proves once again why she deserves this title: Her performance, noted Opera Magazine, "vindicated the Munich audience's near-idolization of her".

With Lucrezia Borgia, Gruberova follows up her recent triumphs in Roberto Devereux and Norma with another bel canto masterwork. Singing with "exquisite purity" Opera Magazine , the soprano also beguiles with her physical presence. Stage director Christof Loy and two-time Emmy Award-winning video director Brian Large both focus on the plot's dramatic potential and Gruberova's talent for expressing it with every tone and gesture.

The singer is excellently paired with young tenor Pavol Breslik as her son Gennaro. Breslik, a native of Slovakia like Gruberova, gives such a radiant interpretation of the tormented youth that he is now being hailed as "the most promising new voice among lyrical tenors" Neue Zürcher Zeitung. Lucrezia Borgia Teatro Donizetti, Based on Victor Hugo's most sensational play, Lucrece Borgia, a scandalous tale of murder, torture, incest, homosexuality, drunkenness and orgies, Donizetti's opera is one of the great masterpieces of Italian bel canto repertoire.

While omitting some of its more excessive elements, the libretto by Felice Romani inspired Donizetti to compose superb arias, duets, ensembles and choruses, bringing each act to a stirring conclusion. Beautifully costumed and designed, brimming with high drama and pathos, this production stars in the infamous title role Greek diva Dimitra Theodossiou, praised for her stupendous acting and singing in Donizetti's Roberto Devereux.

Maria Stuarda Sferisterio Opera Festival, In Donizetti's opera Maria Stuarda the roles of the doomed queen and her cousin, Elizabeth I, have been taken by some of the greatest divas, from Malibran to Gruberova and Tosi to Baltsa, each revelling in the high drama of their tragically linked fates.

Maria Stuarda Teatro Donizetti, With the release of this Maria Stuarda, recorded live in , Dynamic makes an historic move, becoming the first Italian label to produce a DVD opera. This very high quality production by Teatro Donizetti di Bergamo features, in the roles of the two queens, Carmela Remigio Maria Stuarda and Sonia Ganassi Elisabetta , two great artists here making a fine display of their excellent vocal and acting skills.

Francesco Esposito's direction and costumes and Italo Grassi's sets are very effective and superbly highlighted by the filming. What makes this release even more interesting is the use of a new critical edition made by the renowned Swedish musicologist Anders Wiklund for Casa Ricordi.

Marino Faliero edition Bergamo Musica Festival, Donizetti's fiftieth opera, Marino Faliero, was first performed in Paris on 12 March with a cast comprising four of the finest singers of the period before premiering in London a few weeks later. Although these premieres were both overshadowed by Bellini's I Puritani, Marino Faliero subsequently enjoyed a long and successful run on international performances throughout the 19th century before disappearing from the stage until its modern revival in Set in Venice in , it remains a major work of Italian Romanticism, sentimental, martial, full of conspiratorial adventure and culminating with the execution of the leading role.

Olivo e Pasquale [Opera] Fondazione Donizetti, This sparkling opera buffa is a premiere from the Donizetti Festival of Bergamo, with the part of Pasquale in Neapolitan dialect. It is the story of two rich merchant brothers from Lisbon, who are used to weighing everything against their bargaining power. Also the marriage of Pasquale's niece Isabella is a bargain to them: The gags among the various are hilarious - especially those between the two brothers, who have completely different characters - creating an almost surreal atmosphere.

The show is very colourful, thanks to the rich sets and costumes. Pia de' Tolomei La Fenice, In recent years not only music festivals but also important opera theatres have turned their attention towards the neglected masterpieces of the lyrical repertoire.

Thus also Venice's Teatro La Fenice, in a commendable effort, staged this Pia de' Tolomei by Donizetti, with some of the best singers available today for this type of repertoire. Initial response to this opera, which was performed for the first time in , was ambiguous, so much so that Donizetti re-worked it as many as three times. The version here recorded is that of the critical edition recently published by Ricordi, with the tragic finale originally conceived by the composer.

The listener will undoubtedly wonder, once more, at Donizetti's wealth of melodic inspiration, especially when it comes to the character of Pia, wonderfully interpreted here by Patrizia Ciofi. Rita, ou Le mari battu Opera Royal de Wallonie, The thorny subject of marital violence is set against a hilarious backdrop in this one-act farce where, contrary to what we are used to seeing in opera, tenor and baritone do their best to free themselves of the female protagonist, to whom both are married.

No doubt, Gaspar's aria on the joys of chastising one's wife in the way she deserves causes a few raised eyebrows nowadays, but the funny side is genuine and the music is brilliant, making of this forgotten little opera a true gem. Roberto Devereux Bavarian State Opera, Friedrich Haider conducts the chorus and orchestra of the Bavarian State Opera, and the recording is directed by Emmy award winner Brian Large.

The furious coloraturas, the swelling tones, the outbursts, the nearly inaudible groans — everything fuses into an image of psychological desolation.

Roberto Devereux Bergamo Musica Festival, One of Donizetti's most emotionally raw operas, Roberto Devereux ossia Il conte di Essex was also the third to be loosely based on episodes in the life of Queen Elizabeth I. It deals with the love of Elizabeth and her favourite, the Earl of Essex, perhaps most tellingly expressed in the Act I duet, Nascondi, frena i palpiti, o misero mio core Hide, hold back your palpitation, oh my wretched heart!

Elizabeth's subsequent abdication is, however, a matter of dramatic licence, yet provides a memorable operatic conclusion to this tragedy of love and jealousy as she despairs at the death of her lover — Quel sangue versato al ciel s'innalza The blood that is spilt rises up to Heaven. Directed by Francesco Bellotto, this was the inaugural production of the Bergamo Music Festival , featuring the Greek soprano and leading Donizetti specialist, Dimitra Theodossiou, and the young American baritone Andrew Schroeder, both in superb voice.

Roberto Devereux Teatro Carlo Felice, Roberto Devereux composed on saw the light of day during a period of intense creativity for Gaetano Donizetti. After its premiere and up until , Devereux was performed almost uninterruptedly.

In the years that followed it would also enjoy a successful international career, throughout Europe and in the Americas, with versions in French, German, Russian and Hungarian. When Donizetti moved to Paris in , he enriched the opera with the overture that paraphrases the British anthem God Save the Queen. The Queen dominates from her very entrance, a true protagonist, here performed by the great Mariella Devia: Roberto Devereux Teatro Real, This statement encapsulates great operatic themes, and it is the culmination of an opera that reveals the passions of characters who live among palace intrigues.

Written in the mature period of the leader of Italian romanticism, the opera displays a great vocal virtuosity, and is an example of Donizetti prizing the voice above all in the genre. The staging, by South African director Alessandro Talevi, who has been very successful in great opera houses as well as with more experimental theatre, places the play in an undetermined period, focusing on the chiaroscuro.

Rosmonda d'Inghilterra [Opera] Fondazione Donizetti, Revived after years in oblivion, the stagin of Rosmonda d'inghilterra at Bergamo's Teatro Donizetti proved fascinating for the Italian public. From the excellent cast of singers, Jessica Pratt and Eva Mei gave stand-out performances.

The opera revolves around a tale of love and intrigue surrounding the main protagonists - the fampus Queen of Eleanor of Aquitaine, her husband Henry II of England, and the fair Rosamund de Clifford. Rosmonda is the quintessential innocent, unaware that the man she loves is the King of England and that she has unwittingly become a rival to the much-feared Queen Eleanor of Aquitaine.

Eleanor, having already had her first marriage annulled for reasons of consanguinity, is unwilling to see her second marriage fail. Only the faithful page Arturo, secretly in love with Rosmonda, knows that the Queen is aware of her husband's betrayal; but he too is embroiled in this game of deceit, hoping that he will end up winning the girl. The emotional and dramatic development is very effective. There is not a page in this score without some example of brilliant writing, a captivating theme, a moving passage.

It all goes to prove how deeply original Donizetti was, and how much there is still to be discovered about this under-appreciated composer.

Laura Polverelli portrayed with elegance and pride the character of Elizabeth, her furies, doubts and jealousies; Maria Pia Piscitelli was a wonderful Maria Stuarda, passionate, sorrowful, proud, dignified when sentenced to death, recalling her past sins yet conscious of her innocence" MusicCultura. Adventures of Pinocchio The Opera North, Opera North's enchanting staging of The Adventures of Pinocchio , Jonathan Dove's 21st opera, is a wittily inventive feast for the eyes and ears.

A full-length, through-composed grand opera with 29 characters, a sizeable chorus and a profound symphonic score, it is overflowing with visual delights, and children will love it! A sublime achievement by Martin Duncan and team, this production shines a bright new light on Collodi's dream-like original story, full of charm, darkness and magic. The superb ensemble stars Victoria Simmonds in the title role, and the orchestra and chorus respond splendidly under David Parry's vibrant baton.

Rusalka Bavarian State Opera, Rusalka La Monnaie - De Munt, Antonin Dvorak's next to last opera draws its substance from the underwater wonderland of little mermaids, Undines and Melusines: Rusalka , a water nymph, wishes to become human in order to be loved by the young prince. Despite being warned against it, she asks the witch Jezibaba to help her.

In order for her wish to be fulfilled, Rusalka must give up her voice and face eternal damnation if her love fails. Jaroslav Kvapil's libretto inspired Dvorak to compose a masterpiece, a compelling opera full of poignant lyricism and dramatic twists.

In this widely acclaimed interpretation, the fairytale elements assume frighteningly realistic dimensions making this enchanting production a psychoanalytical study of male fantasies and female archetypes. Claude Lyon Opera, The synopsis of Claude is based on a true story.

Robert Badinter has read again and again the original file from the judicial archives of Troyes. Claude is a silk worker from la Croix-Rousse. He tries to lives a happy life with his wife and daughter. For them and for him he refuses the misery imposed by their condition. When his boss lays off workers to replace them by new English machines.

Claude grabs his rifle and run to the barricades. Claude is sentenced to 7 years of hard-Labor at Clairvaux's prison workshop. His love for the quality of his work and his hate of injustice makes him a charismatic figure for the others prisoners.

To weaken him, the prison warden separates Claude from his most precious friend, Albin. From this, follows a chain of injustice and violence in witch Claude finish to kill the director. He will himself be "guillotined" decapitated.

Claude is a plea against prison and for human dignity worn by magnificent performers: This thrilling opera is staged by Olivier Py. Manuel de Falla's short opera La vida breve is perhaps the greatest opera in the entire Spanish repertoire. Premiered in , it is the tragic story of the poor gypsy Salud, whose lover Paco betrays her and plans to wed a wealthy young woman.

While not rejecting the folklore aspects of the original libretto, del Monaco creates a kind of psychological chamber drama in which the heroine Salud is on stage at all times, as if witnessing her own living nightmare of blood and shame.

Carlisle Floyd is one of America's foremost composers. Though he has also written in other forms, he is renowned for his operas, for which he also writes the libretti. The most famous and popular is his third opera, Susannah , premiered in and the second most performed of all American operas.

Updated and set in Tennessee, it is loosely based on the Apocryphal tale of Susanna and the Elders. The work is rooted in vernacular folk melodies and hymns and contains soaring melodic beauty. Olimpiade L' La Fenice, Remembered as the leading exponent of Venetian comic opera if not its absolute creator, Baldassare Galuppi opened the Carnival season of Milan's Teatro Ducale with an opera seria which he dominated drama per musica.

L'Olimpiade is based on the Metastasio libretto which served perhaps more composers of the eighteenth century than any other. Although respecting the format tradition. Galuppi managed by adroit cuts and additions which naturally enraged Metastasio to product a seamless sequence of colorful arias and recitatives delineating by musical devices the characters and emotion of the seven protagonists.

Andrea Chenier Bregenz Festival, With his spectacular production of Umberto Giordano's Andrea Chenier, director Keith Warner unites intellectual depth and exciting entertainment for the eyes and ears using every possible resource offered by Bregenz's floating stage. The opera is both a moving love story and a historical thriller with a highly emotional score. Fedora [Opera] Teatro Carlo Felice, The soprano Daniela Dessi died suddenly on 20th August , aged She was hailed by critics and colleagues as one of the finest voices the world of opera has ever known.

Dynamic pays tribute to the great soprano with this recording, filmed just one year before her untimely death. Her performance of Giordano's Fedora was one of the pinnacles of her stunning artistic career. In the famous aria O grandi occhi lucenti from Act One, she delivers a technically perfect and emotionally passionate performance worthy of a great star.

The story takes place at the end of the 19th century, in St. It's an operatic crime story, a drama of passion, revenge and guilt that unravels against a historical backdrop of Czarist Russia's political and ideological conflicts in the late 19th century. Daniela Dessi is a complete prima donna of outstanding finesse, her rich voice both powerfully intense and deeply expressive.

Tenor Fabio Armiliato shines particularly in the famous aria Amor ti vieta from Act Two, with a commanding and highly expressive stage presence in support of a powerful and wonderfully nuanced voice. The finale of the opera is reserved for the two protagonists, companions both on stage and in life. Marcella Festival della Valle d'Itria, This centenary performance of Umberto Giordano's Marcella was prepared from the composer's manuscript, the score and parts having been destroyed during World War II.

Recalling Verdi's La Traviata and Puccini's La Rondine , as well as Giordano's own Andrea Chenier and Fedora , Marcella is the story of a poor girl and a painter whose idyllic affair is shattered when events reveal that her true love is actually a prince incognito. Satyagraha Wurttemberg State Theatre, The preocupation of the composer of "minimal music", Philip Glass, with Indian music and his interest in Gandhi began in during his first visit to India where he met Ravi Shankar.

Since then, the rhythmic figures of Indian music have exercised a significant influence on his music which has a strong meditative and almost hypnotic effect through the repetitive sequences of tones with minimal changes.

Glass's work needs time to unfold its hypnotic effect and fascination. With his second opera Glass didn't want to draw a historic portrait of Mahatma Gandhi. Instead he used the example of Gandhi's work during the last years between and in South Africa to draw an outline of the current worldwide political and religious problems.

In South Africa Gandhi formulated his theory of passive resistance and civil disobedience known as Satyagraha as a reaction to the government's discrimination against the Indian population evidenced by its denial of basic rights such as the right to vote. Ruslan and Lyudmila Bolshoi Opera, The reopening show of the historical stage of the Bolshoi Theatre by Jurowski and Tcherniakov.

Ruslan and Lyudmila , the fable of Mikhail Glinka from a poem of Pushkin , and symbolic Russian opera in itself, was an apposite choice to open the of the majestic Moscow opera, after its long renovation. Tcherniakov transposes Glinka's opera into the 21st century exposing the protagonists exposing the protagonists to contemporary forms of temptations: Iphigenie en Tauride [Opera] Opernhaus Zurich, Gluck's wonderful but neglected opera Iphigenie en Tauride , inspired by the Greek legend, is treated with forceful and convincing simplicity in Klaus Guth's revolutionary production stated the Zurich Opera House.

The psychological drama in a tense atmosphere of fears and traumas is underline by Guth's use of huge masks and enclosed space. Conductor William Christie and his typically transparent but never cold orchestral sound perfectly match the descriptive elements in Gluck's score, while the Armenian mezzo-soprano Juliette Galstain as a fabulously good Iphigenie, the leading American opera baritone Rodney Gilfry as Oreste and the deceased South African tenor Deon van der Walt as Pylade head a superb cast.

Orfeo ed Euridice Castell de Peralada Festival, To celebrate the 25th anniversary of the ambitious "Festival Internacional de Musica Castell de Peralada", the Catalan theater collective La Fura dels Baus and its director Carlus Padrissa have staged Gluck's Orfeo ed Euridice with three splendid soloists in a production that confirms the Fura's creativity.

The most striking aspect of the production is the participation of the orchestral ensemble in the action. Padrissa also makes abundant stage use of the chorus, who depict souls or demons. With its stunning effects, expert lighting and video projections, the production grabs the viewer from the very start.

Orfeo ed Euridice Royal Opera House, According to legend, Orpheus' magical power as a musician enabled him to regain his wife from the dead on condition that he did not look at her on the journey back from Hades - a condition it proved impossible to fulfil. In Harry Kupfer's updated version, Orfeo, in leather jacket, trainers and jeans, sees his Euridice die in a street accident.

Succumbing to depression, he languishes in Hades - a psychiatric hospital - before taking his electric guitar to charm the beasts in an inner-city concrete jungle. Hans Schavernoch has designed an ingenious set with projected imagery on revolving screens and mirrors. The German male alto, Jochen Kowalski, gives a virtuoso performance as the tormented Orfeo, with the young British soprano Gillian Webster as Euridice. Orphee et Euridice Teatro Comunale di Bologna, A major event recorded in Bologna.

Opting for the French-language version of Gluck's Orpheus , David Alagna was faced with the task of achieving an appropriately subtle adaptation. In a plot transposed to the present day, Eurydice dies in a car accident on the day of her wedding, and Orpheus's quest for his beloved is a dream beginning and ending at the cemetery.

No happy ending in this interpretation, but a new approach to characterisation: Amore, sung by a baritone, becomes a funeral parlour employee and Orpheus's guide. And Orpheus, of course, loses his loved one forever by turning to look back. The enormously talented Roberto Alagna throws himself body and soul into this production. His incredible vitality and flawless timbre and diction make him a great Orpheus.

His partner, young Italian soprano Serena Gamberoni, is simply stunning as Euridice, while French baritone Marc Barrard is suitably terrifying as the guide to the Underworld. The orchestra of the Teatro Comunale di Bologna is conducted by Giampaolo Bisanti, who masterfully brings out all Gluck's poetry, romantic melancholy and depth.

Gluck's opera Orphee et Eurydice was groundbreaking in its day and, as this performance from the Theatre Musical de Paris shows, it still lends itself to radical treatment. The composer's rejection of traditional, flamboyant, operatic bells and whistles led to a fresh form in which the lyrics hold court.

The music provides the setting and emotional color in a way that is almost physical in its intensity. Gluck's readiness to incorporate the influences of other art forms - poetry, ballet, and drama - has always made this story of love rescued from the jaws of tragedy universally appealing.

Many viewers will be familiar with the program as they were originally broadcast in as part of the Great Characters in Opera TV series produced for the BBC, comprising of 7 hour-long program. Gobbi's portrayal of the three roles featured leaves the viewer in no doubt as to why he was so popular on screen he had appeared in approximately 25 films by the time of his death in This series provides an exceptional account of a remarkable singer and actor's portrayal of three major operatic roles that featured highly throughout Tito Gobbi's distinguished career.

Romeo et Juliette Arena di Verona, Romeo et Juliette Royal Opera House, Sir Charles Mackerras teases the romantic beauty from Gounod's score, which has been much admired and performed since its debut, at the Theatre Lyrique, Paris, in In this recording, the youthful Roberto Alagna as Romeo and Leontina Vaduva as the unattainable Juliette, lead an excellent cast in a touching portrayal of this story of impossible love, based on the play by William Shakespeare.

Romeo et Juliette Salzburg Festival, Guillaume Tell L'Opera de Liege, Acis and Galatea Royal Opera House, Admeto Gottingen Handel Festival, When one of Germany's most famous filmmakers and stimulating operatic directors focuses her creativity on a rarely performed Handel opera, the result is a "mixture of dancers and singers, comedy and pathos" The Times.

Admeto , one of Handel's most popular operas in his lifetime, was premiered in London in January Doris Dörrie, whose Japan-inspired feature film "Cherry Blossoms - Hanami" was a major German box-office hit and won several international awards, returns to her beloved Japan in this production. For this production, a coproduction of the Internationale Händel-Festspiele in Göttingen and the Edinburgh International Festival on the occasion of the th anniversary of Handel's death, Doris Dörrie was awarded the Edinburgh Festival's prestigious Herald Angel Award.

Admeto Handel-Festival Halle, George Frideric Handel's Admeto is considered as one of the most successful operas produced in the first half of the 18th century. Along with Radamisto, Giulio Cesare, Tamerlano, Rodelinda and Alessandro , which were also written in this period, Admeto belongs to Handel's so-called "London operas" - works he composed for the Royal Academy of Music. Axel Kohler, the celebrated counter-tenor and well-known stage director, has brought Admeto into the modern era in timeless style by the skillful application of imaginative theatrical digressions.

Toutefois, Emmanuelle Duez positive: Pauline Van der Mersch. Tiens, un SMS reçu. Le cerveau enregistre, hésite. Les yeux regardent l'enfant au parc, le copain au café, les amis au resto Le cerveau se ravise, ce n'est pas le moment, ce n'est pas poli. La main cherche le smartphone. Le message est lu.

Et les doigts pianotent une réponse. Cela vous semble familier? Plus de sept personnes sur dix déclarent ne pas résister alors même qu'ils sont en compagnie, hors de chez eux. Le syndrome est mondial, directement lié au taux de pénétration des smartphones. Pourquoi nous attendons plus de la technologie et moins des autres", éd. Basic Books, , non traduit. Même les sociétés numériques sonnent l'alarme. Un message, lu par une voix off, défile sur un écran: Le principe est simple: En ligne sur Meetup.

Plus de 10 rendez-vous ont ainsi lieu chaque jour dans des bars, jardins, restaurants, sur l'eau, dans les airs Retour de balancier classique après un trop-plein de vie virtuelle? Le ou la cuisinière fixe un prix, que l'on règle en ligne.

Car la planque est désormais connue: Car un client écouté est un client heureux qui reviendra et achètera sans qu'on le lui demande expressément. Même inspiration pour Zappos. Les internautes ont jours pour rendre une paire et les conseillères téléphoniques ne sont pas chronométrées. Elles répondent, sans ânonner des phrases stéréotypées sorties d'un guide "contact-client". L'usurpation d'identité a doublé en France Le Monde.

Mais, après utilisation de ces documents, on constate, selon le sondage, que plus d'un tiers des Français ne détruisent pas systématiquement leurs documents contenant des données personnelles: Ce "pack" regroupe plusieurs documents d'identité, en copie ou en originaux, et leurs corollaires administratifs. Comment les Français appréhendent-ils l'univers numérique? Leur est-il indispensable ou au contraire le trouvent-ils envahissant ou inutile?

Quelque 1 Français âgés de 14 ans et plus, représentatifs de la population, ont été interrogés en face à face durant l'été. Dans cette expérience quotidienne, les Français globalement "perplexes" se divisent en six catégories. Ils sont téméraires et n'ont pas peur de défricher les sentiers virtuels.

Leur dénominateur commun est leur jeunesse et leur genre: Ils sont urbains et instruits. Toujours sur les talons des premiers mais beaucoup plus prudents, ils sont paradoxalement plus jeunes puisqu'ils ont moins de 25 ans. Tout aussi accros aux gadgets, ils se caractérisent par la mixité de leur population autant d'hommes que de femmes.

Pour eux aussi, c'est la communication qui profite le plus du numérique. Hommes et femmes entre 35 et 49 ans, de catégorie socioprofessionnelle intermédiaire, ils ont des enfants et n'utilisent que des outils "connus de tous".

Pour eux, le numérique a une vraie utilité sauf pour l'art, qui arrive dernier de leur classement. De même proportion que les précédents, leur ordinateur et leurs robots ménagers devancent de loin leurs téléphones portables en utilisation quotidienne. Les révoltés du numérique et les bienheureux sédentaires. Ce sont les plus réfractaires. Oscillant entre désintérêt total et inquiétude, ces seniors considèrent la médecine comme la principale bénéficiaire du numérique.

Ils pâtissent le plus souvent de leur manque d'informations sur le sujet et se montrent nostalgiques. Même observation lors d'un deuxième exercice, explique le journal: Si l'impact d'Internet sur la mémoire reste peu étudié, il semblerait qu'Internet est devenu notre premier espace de mémoire externe, conclut l'étude.

Quattro Venti, Urbino , rist. Barone, Viceversa, la grammatica francese e il tradurre - Intorno al verbo , Le Lettere, Firenze ; Polycopié Dispensa à la fin du 1er semestre. Esposito, Manuel de traduction italien L. Boch, Les faux-amis aux aguets, Dizionario di false analogie e ambigue affinità tra Francese e Italiano , Zanichelli, M. Broussous, Les mots-pièges dans la version italienne et leurs analogues dans le thème , Classiques Roudil, F. Savage, Rédiger un texte académique en français: Tournadre, Pratique de la communication écrite , Paris, Nathan, C.

Eco, Dire quasi la stessa cosa , Bompiani, M. Podeur, La pratica della traduzione , Liguori M. Faini, Tradurre , Roma, Carocci, G. La comprendre, l'apprendre , PUF, P. Harris, La traductologie, la traduction naturelle, la traduction automatique et la sémantique , in Problèmes de sémantique Cahier de linguistique 3 , Montréal, Presses de l'Université du Québec, , pp.

Mounin, Linguistique et traduction , Dessart et Mardaga, Osimo, Manuale del traduttore , Milano, Hoepli, ; S. Bassnett, La traduzione teoria e pratica , Bompiani, B. Balboni, Parole comuni culture diverse.

Guida alla comunicazione interculturale ; Saggi Marsilio, Padova, ; L. Fabrizio Megale Teorie della traduzione giuridica. Fra diritto comparato e Translation Studies, Napoli: Editoriale Scientifica, M. Bollettieri Bosinelli e Ch. Metzlersche Verlagbuchhandlung, ed. Teorie e pratica , Milano, Bompiani, Theory and practice , London-New York, Longman, Essai sur la traduction , Presses Universitaires de Rennes, Essais sur la traduction , Mauvezin, Trans-Europ-Repress, , pp.

Culture et traduction dans l'Allemagne romantique: John Donne , Paris, Gallimard, Glottodidattica e scienze della comunicazione , Urbino, QuattroVenti, Interaction des arts et des langues , sous la direction de Jean Weisgerber, Lausanne, L'Âge d'homme, , pp. Anglais-français , Ophrys, Étude expérimentale du parcours de compréhension , Presses Universitaires de Lille, Artois Presses Université, Essai de poétique de la traduction poétique , Lausanne, l'Age d'homme, Selected Papers , Binghamton, Selected Papers , , Binghamton, Papers on literary translation and translation studies , Amsterdam, Rodopi, Pedagogy and Process , Kent, OH: Kent State University Press, Kade, Coseriu, Seleskovitch , Paris, Didier, Louis Truffaut , octobre , ed.

La Scuola, Brescia, Humboldt, sur la tâche de l'écrivain de l'histoire", in Les tours de Babel. With special reference to principles and procedures involved in Bible translating , Leiden, Brill, Theory, methodology, and didactic application of a model for translation-oriented text analysis tr.

Der operative Text , Kronberg, Scriptor, Postcolonial Theories Explained , Manchester, St. Zur integrierung von Theorie und Praxis , Tübingen, Francke, Béguin , Dopo Babele , Milano, Garzanti, Dalla psicolinguistica alla glottodidattica , Roma, Armando, Proceeding of the 1st James S. Dalla letteratura alla macchina , Roma, Bulzoni, Propose un portrait du métier de traducteur, précise son statut et son environnement professionnel et aborde la place de la traduction chez les éditeurs, les relations traducteurs-éditeurs et la publication des traductions.

Avec des adresses d'associations et d'organismes de formation. Présentation Bien que n'ayant qu'une part limitée dans la production éditoriale française, la traduction littéraire, c'est-à-dire non technique, n'en est pas moins une composante importante et reflète l'ouverture aux cultures étrangères, Le présent ouvrage analyse cette pratique éditoriale tant du point de vue des éditeurs que de celui des traducteurs.

S'appuyant sur des entretiens réalisés avec des traducteurs, l'auteur entreprend de décrire leur origine, leur formation, leurs conditions de travail, et de fournir des informations sur leur statut, leur protection sociale et leur environnement professionnel.

En ce qui concerne les éditeurs, on s'intéresse d'une part à leur politique éditoriale à partir de leurs choix en matière de traduction, d'autre part à leur collaboration avec les traducteurs, consacrée par l'élaboration d'un contrat qui Ses lie.