paukamu taygen determined
Mckenzie Witting
This pure 18th century Chateau markets every year a white and a ros Pineau des Charentes, Vins de Pays awarded gold medals by the interprofession, and 150 hectolitres of pure alcohol sold in bulk to some big merchants of Cognac. Count Audoin de Dampierre, retired from Champagne, launches in 2013 with his nephew Henri the marketing of 2,500 bottles of XO Cognacs aged, blended and bottled at the estate. A premiere!
Located on the outskirts of Saint-Genis-de-Saintonge, in the department Charente-Maritime, Chteau de Plassac is classed historic monument for three centuries. Edifying by its beauty, it is as such open to public during the week (outside and main cellar). Its architect Victor Louis, author of the plans of the Palais Royal in Paris, considered it was the most beautiful 18th century ensemble of the Two Charentes area. Its elegance attracted some remarkable figures, like the Duchess De Berry or the Empress Eugenia, who visited it several times
In the spring of 2022, Champagne Philipponnat celebrated its 500th anniversary during two exceptional dinners, in Reims and in Paris. Charles Philipponnat, the 15th generation, who has been... Grard Bertrand, the South at its best During the harvest, we discovered some of Grard Bertrand's properties. This is definitely a real eye-opener for the identity and personality of the wines!
Bluebeard's Castle, Sz. 48, was composed in 1911 (with modifications made in 1912 and a new ending added in 1917) and first performed on 24 May 1918 at the Royal Hungarian Opera House in Budapest. Universal Edition published the vocal (1921) and full score (1925). The Boosey & Hawkes full score includes only the German and English singing translations while the Dover edition reproduces the Universal Edition Hungarian/German vocal score (with page numbers beginning at 1 instead of 5). A revision of the UE vocal score in 1963 added a new German translation by Wilhelm Ziegler, but seems not to have corrected any errata. Universal Edition and Bartk Records has published a new edition of the work in 2005 with a new English translation by Pter Bartk [hu], accompanied by an extensive errata list.[1]
Balzs originally conceived the libretto for his roommate Zoltn Kodly in 1908, and wrote it during the following two years. It was first published serially in 1910 with a joint dedication to Kodly and Bartk, and in 1912 appeared with the prologue in the collection "Mysteries". Bartk was motivated to complete the opera in 1911 by the closing date of the Ferenc Erkel Prize competition, for which it was duly entered. A second competition, organised by the music publishers Rzsavlgyi and with a closing date in 1912, encouraged Bartk to make some modifications to the work in order to submit it to the Rzsavlgyi competition.
Little is known about the Ferenc Erkel Prize other than that Bluebeard's Castle did not win. The Rzsavlgyi judges, after reviewing the composition, decided that the work (with only two characters and a single location) was not dramatic enough to be considered in the category for which it was entered: theatrical music. It is thought that the panel of judges who were to look at the musical (rather than the theatrical) aspects of the competition entries never saw Bartk's entry.
The success of the ballet The Wooden Prince in 1917 paved the way for the May 1918 premire with the same conductor, Egisto Tango. Oszkr Klmn was the first Bluebeard and Olga Haselbeck [hu] the first Judith. Following Balzs' exile in 1919 and the ban on his work there were no revivals until 1936. Bartk attended rehearsals and reportedly sided with the new Bluebeard, Mihly Szkely, over the new conductor Sergio Failoni, who was insisting on fidelity to the printed score.
Bluebeard's Castle was first performed in Italy at the Maggio Musicale Fiorentino on 5 May 1938. The production was conducted by Sergio Failoni and starred Mihly Szkely in the title role and Ella Nmethy as Judith. The Teatro di San Carlo mounted the opera for the first time under Ferenc Fricsay on 19 April 1951[3] with Mario Petri and Ira Malaniuk. The work's La Scala debut occurred on 28 January 1954 with Petri and Dorothy Dow. This was followed by several other productions at major opera houses in Italy, including the Teatro Regio di Torino (1961), Teatro dell'Opera di Roma (1962), Teatro Comunale di Bologna (1966), La Fenice (1967), and the Teatro Regio di Parma (1970).
The first American performance was by the Dallas Symphony Orchestra broadcast on NBC Radio's Orchestras of the Nation on 9 January 1949, followed by a concert performance at the Music Hall at Fair Park in Dallas, Texas, on 10 January. Both performances were led by conductor Antal Dorti, a former Bartk student.[4] Other sources mention a 1946 concert performance in Dallas.[5][6][7] The first fully staged American production was at the New York City Opera on 2 October 1952 with conductor Joseph Rosenstock and singers James Pease and Catherine Ayres.[8] The Metropolitan Opera mounted the opera for the first time on 10 June 1974 with conductor Sixten Ehrling and singers David Ward and Shirley Verrett.
Bluebeard's Castle received its French premiere on 17 April 1950 in a radio broadcast on Radiodiffusion-Tlvision Franaise. Ernest Ansermet conducted the performance, which featured Rene Gilly as Judith and Lucien Lovano as Bluebeard. The first staged production of the work in France was at the Opra national du Rhin on 29 April 1954 with Heinz Rehfuss in the title role, Elsa Cavelti as Judith, and conductor Ernest Bour. The first performance in Paris was at the Opra-Comique on 8 October 1959[3] with soprano Berthe Monmart and bass Xavier Depraz. The production was directed by Marcel Lamy and used a French translation by Michel-Dimitri Calvocoressi.
The London premire took place on 16 January 1957 at the Rudolf Steiner Theatre during the English tour of Scottish composer Erik Chisholm directing the University of Cape Town Opera Company whose Dsire Talbot was Judith. A few years earlier, Chisholm had premired this work in South Africa at the Little Theatre in Cape Town.
The work was first performed in Japan on 29 April 1954 by the Youth Group of the Fujiwara Opera Company (under conductor Yoichiro Fukunaga with piano accompaniment). The opera was presented with full orchestra in the 348th regular concert of the NHK Symphony Orchestra on 16 March 1957.
In Israel, the opera premiered on 15 December 2010 at the New Israeli Opera in Tel Aviv. Vladimir Braun was Bluebeard[9] and Svetlana Sandler sang Judith.[10] Shirit Lee Weiss directed[11] and Ilan Volkov[12][failed verification] conducted. The sets, originally used in the Seattle Symphony's 2007 performance were designed by glass artist Dale Chihuly.
The Taiwanese premire, directed and conducted by Tseng Dau-Hsiong, took place in the National Theater in Taipei on 30 December 2011.[14] In January 2015, the Metropolitan Opera presented its first production of Bluebeard's Castle in the original Hungarian, starring Mikhail Petrenko as Bluebeard and Nadja Michael as Judith. In 2022 the Teatro Coln of Buenos Aires broadcast a staging directed by Sophie Hunter.[15]
Judith and Bluebeard arrive at his castle, which is all dark. Bluebeard asks Judith if she wants to stay and even offers her an opportunity to leave, but she decides to stay. Judith insists that all the doors be opened, to allow light to enter into the forbidding interior, insisting further that her demands are based on her love for Bluebeard. Bluebeard refuses, saying that there are private places not to be explored by others, and asking Judith to love him but ask no questions. Judith persists, and eventually prevails over his resistance.
The first door opens to reveal a torture chamber, stained with blood. Repelled, but then intrigued, Judith pushes on. Behind the second door is a storehouse of weapons, and behind the third a storehouse of riches. Bluebeard urges her on. Behind the fourth door is a secret garden of great beauty; behind the fifth, a window onto Bluebeard's vast kingdom. All is now sunlit, but blood has stained the riches, watered the garden, and grim clouds throw blood-red shadows over Bluebeard's kingdom.
Bluebeard pleads with her to stop: the castle is as bright as it can get, and will not get any brighter, but Judith refuses to be stopped after coming this far, and opens the penultimate sixth door, as a shadow passes over the castle. This is the first room that has not been somehow stained with blood; a silent silvery lake is all that lies within, "a lake of tears". Bluebeard begs Judith to simply love him, and ask no more questions. The last door must be shut forever. But she persists, asking him about his former wives, and then accusing him of having murdered them, suggesting that their blood was the blood everywhere, that their tears were those that filled the lake, and that their bodies lie behind the last door. At this, Bluebeard hands over the last key.
Behind the door are Bluebeard's three former wives, but still alive, dressed in crowns and jewellery. They emerge silently, and Bluebeard, overcome with emotion, prostrates himself before them and praises each in turn (as his wives of dawn, midday and dusk), finally turning to Judith and beginning to praise her as his fourth wife (of the night). She is horrified and begs him to stop, but it is too late. He dresses her in the jewellery they wear, which she finds exceedingly heavy. Her head drooping under the weight, she follows the other wives along a beam of moonlight through the seventh door. It closes behind her, and Bluebeard is left alone as all fades to total darkness.
The Hungarian conductor Istvn Kertsz believed that we should not relate this to the fairy tale on which it was based, but that Bluebeard was Bartk himself, and that it portrays his personal suffering and his reluctance to reveal the inner secrets of his soul, which are progressively invaded by Judith. In this way he can be seen as Everyman, although the composer himself was an intensely private man. Here the blood that pervades the story is the symbol of his suffering. The Prologue (often omitted) points to the story that is portrayed as occurring in the imagination of the audience. While Kertsz felt Judith is a villain in this sense, Christa Ludwig, who had sung the role, disagreed, stating that she only voices all that she has heard about Bluebeard. She refers repeatedly to the rumours (hr), Jaj, igaz hr; suttog hr (Ah, truthful whispered rumours). Ludwig also believed that Judith was telling the truth every time she says to him, Szeretlek! (I love you!).[16]
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