Look up Soprano in Wiktionary, the free dictionary In music, a soprano is a singer with a voice ranging approximately from middle C to the A a thirteenth above middle C (above the treble clef). ... In music, a tenor is a male singer with a high voice (although not as high as a countertenor). ... In music, a tenor is a male singer with a high voice (although not as high as a countertenor). ... Look up Soprano in Wiktionary, the free dictionary In music, a soprano is a singer with a voice ranging approximately from middle C to the A a thirteenth above middle C (above the treble clef). ... A basso (or bass) is a male singer who sings in the lowest vocal range of the human voice. ... This is an article on the voice type. ... A basso (or bass) is a male singer who sings in the lowest vocal range of the human voice. ... This is an article on the voice type. ... In music, a tenor is a male singer with a high voice (although not as high as a countertenor). ... A basso (or bass) is a male singer who sings in the lowest vocal range of the human voice. ... This is an article on the voice type. ... In music, a tenor is a male singer with a high voice (although not as high as a countertenor). ... This is an article on the voice type. ...
Plot
Time: 1414.
Place: Constance.
Act I
The scene is outside of a church, inside of which the Christian townsfolk are singing the "Te Deum". Near the church is the house and workshop of Eleazar, a Jewish jeweler
The orchestral début of the valved horn is the 1835 operaLaJuive of Jules Halévy (1799-1862).
LaJuive has frequently been noted for its use of valved horns without examining the nature of the writing [Runyan, 270].
The orchestration calls for four horns and includes parts for a pair of valved horns in seven of its twenty-two numbers; Meifred is recorded as performing one of the valved horn parts for the premiere [Carse, 76].
Gustav Mahler claimed LaJuive as "one of the very greatest works ever written", while Wagner continued to study its dramatic strengths throughout his life, to the extent of borrowing the opening of its first act for the equivalent moment in the Mastersingers.
The five acts of LaJuive have all the ingredients of operatic spectacle - dramatic confrontations, big public set-pieces, a tragic end with a twist, and it is easy to see how it tweaked the imagination and conscience of its 19th-century audience.
Anyone who has never heard LaJuive, however, could investigate this new recording, though the lack of a libretto in the set seems totally absurd when the work will be so unfamiliar to most who might buy it.
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