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Le Diable À Quatre
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Le diable à quatre
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Le diable a quatre
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A Fairy Tale
If ever a scorned woman gets her revenge on a man, the Marquise is a model of the type! She cleverly forces him to marry her (for her fortune, of course!), and then gets him framed for murdering her. And, in the end, she comes to his rescue, nimbly extricating him from the trap she's prepared for him. You don't want to cross this lady! A Fairy Tale (Un Conte de fees) was one of the few actual collaborations between Alexandre Dumas and his close friend, Adolphe de Leuven, who penned some 170 dramas and librettos. A delightful comedy of crime and love!
Adolphe Adam, Master of the Romantic Ballet, 1830-1856
The composer Adolphe-Charles Adam (1803-1856) is particularly famous for the Christmas anthem ‘Minuit chrétiens’ (‘O Holy Night’). He was renowned as a composer for the lyric stage. With Boïeldieu, Hérold and Auber, Adam forms one of the quartet of masters that represent the second school of that profoundly French genre of opéra-comique, producing the charming Le Chalet (1834) and the adorable and enduringly popular Le Postillon de Lonjumeau (1836). However, Adam’s greatest originality and most substantial achievement lay in the field of ballet. Giselle (1841) is the quintessence of mystical Romanticism and one of the most enduring works of the dance repertoire. His series of ballets, principally for the Paris Opéra, but also for London, St Petersburg and Berlin, helped to establish this genre as a serious and integral musical form. His last work Le Corsaire (1856) attains sublime heights. This book concentrates on the dance aspect of Adam’s art, examining his 14 works in this genre in the context of the emergence and efflorescence of the Romantic ballet within the vibrant musical scene in Paris from 1830-1860.
Zanetta
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