Mylio Photos’ automatic and highly customizable organization tools make it faster and easier to find photos than on your computer or phone’s default photo app. Sync and backup your Android or iOS camera roll, protecting your mobile photos and providing convenient editing and powerful search tools. Mylio Photos helps users set up one or more Vaults (computers, external storage drives, or cloud services) where full-quality original image files are stored, serving as a backup.Ĭonnect to photo-sharing services like Facebook, Instagram, and Google to easily download and backup images you've previously shared. Rest assured knowing your photos are safe by adding a Vault. Mylio Photos adds industry-standard IPTC metadata that most photo applications can read. Organize images with easy-to-use but powerful tools. ![]() Work with your photos and videos stored locally on your computer or external hard drive, and then sync across all your devices. Seamlessly connect all your devices, even mixing and matching operating systems like macOS, Windows, iOS, and Android.Ĭonveniently browse and search across every device and hard drive you’ve connected to Mylio Photos to find your important images. Allons, pas de lâche faiblesse! (Karnac)Ġ7.No matter how you store or organize your images, Mylio Photos provides unique benefits you’ll find nowhere else. Que demain au lever de l’aurore (the King)Ġ3. Desireux d’accomplir l’union résolue (Karnac)Ġ9. Si le ciel est plein de flammes (Mylio)Ġ6. If the excellent Belgian bass-baritone Werner van Mechelen (Karnac) is a definite asset, also the rest of the cast merits an applause, in particular Giuseppina Piunti (Margared), at ease in the register of her role Sébastien Guèze (Mylio), with his attractive tenor voice Canadian soprano Guylaine Girard in the role of Rozenn and Eric Martin-Bonnet, who interprets a Roi d’Ys with great stage presence. Andreas Laska - įrom the point of view of the cast, the listener will not be disappointed: the singers, who pronounce French correctly (an invaluable luxury in this type of repertoire), bring great vitality to the work. At the same time, he never loses sight of the soloists, whom he accompanies with sensitivity and care. ![]() (.) Patrick Davin, musical director of the Opéra de Liège, gives a dramatic and fascinating reading, underlining the romantic aspects and dark colours (wonderful the cellos!) of this rich work. Impressing sets, with large rocks, underline the mythical subject costumes skilfully blend medieval and 19th-century elements. It essentially revolves around two principles: readability and sobriety. This Liège production, directed by Jean-Louis Pichon, comes from Saint-Etienne. Developing heart disease in 1891, he died in Paris on April 23, 1892, less than four years after the opera’s triumphant premiere. Lalo was not able to enjoy the success of Le Roi d’Ys for very long. It is impossible to know what changes he made, since the first version of the opera was destroyed. The first version of the score was completed in 1881, but in 1886, Lalo decided to rewrite it completely. Even so, Le Roi d’Ys certainly remains a profoundly and decidedly French opera in all of its main features.īlau’s libretto has the virtue of being ”simple, clear, uncluttered by historical complications, easy to understand, and sufficiently rich in dramatic strands”, in the words of Lalo’s first biographer Georges Servières in his brief though pithy monograph on the composer. Another link to Wagner lies in his use of leitmotifs associated with each of the principal characters (Rozenn, Karnac, and Margared), though Lalo is quite prudent in his use of these. Lalo furthermore made use of various elements of popular music inspired by Breton folklore that give the entire score a special character and flavour. Le Roi d’Ys is based on an ancient Breton legend even the choice of a subject based on legend illustrates the ideological link between Lalo’s opera and the Wagnerianism so prevalent throughout Europe at the time. The initial unexpected success did not diminish with time: by 1940, the opera had already seen more than 400 performances between the Opéra-Comique and the Opéra. Despite a mediocre staging, the premiere of Le Roi d’Ys at the Opéra-Comique on was greeted with a warm reception that no one in the French music world could have expected. In 1888, a 65-year-old Lalo, unconcerned with the horrid precedent of the Namouna disaster, set his hand to an opera for the second time - and this time, fortune finally smiled on him. Success in this came late to him, in 1873, when the great Basque violinist Pablo de Sarasate performed - and firmly established in the repertory -Lalo’s Violin Concerto in F, op. Paris 1892) spent his entire life seeking suitable models for a renewal of French music, drawing generally on Romanticism and on German instrumental music. Orchestra and Chorus of the Opéra Royal de WallonieĮdouard Lalo (b.
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