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原文

Jean-Philippe Rameau. Les Fetes De l'Hymen Et De l'Amour. Urtext. Sheet Music. Opera. OPERA. Jean-Philippe Rameau.

译文

让 - 菲利普·拉莫. 在祝宴德处女膜和爱. Urtext. 乐谱. 歌剧. OPERA. 让 - 菲利普·拉莫.

原文

With a brief foreword. Fr. Eng. containing salient information on the genesis of the work, the synopsis and the edition. Les Fêtes de l’Hymen et de l’Amour was performed on 15 March 1747 on the occasion of the second marriage of the Dauphin Louis Ferdinand de Bourbon and Maria Josepha of Saxony in the Manège de la Grande Écurie in Versailles. This second collaboration between Rameau and Cahusac makes use of the “ballet héroïque” genre, usually known today as “opéra-ballet” based on various story lines which run independently of each other. The score is based on a libretto inspired by Egyptian mythology and freemasonry. Rameau's “Les Fêtes de l'Hymen et de l'Amour” was long considered second-rate because its première was associated with a political event. Yet this ballet abounds in novel dramaturgical effects that foreshadow his later operas, such as “Zaïs”, “Zoroastre” and “Les Boréades”. Working together with his librettist Cahusac, Rameau sought to weave the dance numbers, choruses and stage machinery more tightly into the main plot. He also experimented with stylistic devices unique to this work, the most famous being unquestionably the scene in which the Nile overflows its banks. an impressive ten-voice double chorus with solo voices and orchestra. and the sextet from “Aruéris”, a scoring found nowhere else in his œuvre. For the first time, this scholarly-critical edition of “Les Fêtes de l'Hymen et de l'Amour” presents a reference version of the work that is based on all the major sources for both the libretto and the music, including two recent musical discoveries. As most of the performance material for the première has vanished, this edition is based on the version prepared for the Académie Royale de Musique in 1748.

译文

一个简短的前言. 神父. 密切. 载有工作的起源，故事大纲和编辑显着的信息. 莱斯祝宴DE L'处女膜和de l'倾慕于1747年3月15日在凡尔赛宫进行的第二次婚姻萨克森州的多芬路易斯·费迪南德·德·波旁和玛丽亚·约瑟之际，在Manège德拉大ECURIE. 拉莫和Cahusac之间的第二次合作充分利用了“芭蕾héroïque”流派，通常称为今天的基础上相互独立运行哪些不同的故事线“歌剧，芭蕾舞剧”. 得分是基于剧本灵感来自埃及神话和共济会. 拉摩的“处女膜和爱的节日”是长期以来被认为是二流因为它的第一个相关的是与一个政治事件. 然而，这芭蕾舞盛产在预示着他后来的小说的歌剧效果类戏剧，如“Zaïs”，“Zoroastre”和“莱斯Boréades”. 他的歌词Cahusac一起工作，拉莫寻求更紧密编织的舞曲，合唱及舞台机械为主要情节. 他还尝试用独特这项工作风格的设备，最有名的无疑是幸福的场景，尼罗河溢出河岸. 令人印象深刻的十声合唱双与独奏的声音和乐队. 从“Aruéris”，一个得分的六重奏在他的作品中发现无处. 这是第一次，这种学术关键版“莱斯祝宴DE L'处女膜和de l'倾慕”提出了一个基于所有为剧本和音乐的主要来源工作的参考版本，包括最近的两个音乐的发现. 由于大部分的首演表现材料已经消失了，这个版本是基于在1748年准备的法兰西皇家音乐学院的版本.