Inside the MUSÉE DE LA MUSIQUE (Museum of Music), Cité de la musique - Philharmonie de Paris

#paris #france #music Inside the MUSÉE DE LA MUSIQUE (Museum of Music) in , Cité de la musique - Philharmonie de Paris, France 00:00:00 The Entrance 00:00:57 Bookstore-shop 00:01:44 17th century : Rise of the opera 00:06:04 18th century: Music of the Enlightenment 00:06:36 19th Century: The romantic Europe 00:08:20 Didgeridoo Workshop 00:14:08 20th century: An accelerated History 00:20:19 World music instruments "With a national collection of over 7000 objects, the Museum of Music combines instrument conservation, scientific research, interaction with musicians and meetings with the public. Discover remarkable instruments and works of art at the Museum of Music. Read, Watch, Listen" - ttps://artsandculture.google.com/story/KQWhqDIFw98kJg "The Museum of Music has become world renowned for its collection and presentation of musical instruments. The historical heritage within its walls spans centuries. Live performances are put on every day in the Museum." - ttps://philharmoniedeparis.fr/en/musee-de-la-musique "Created on November 8, 1793, the Conservatory of Music includes an "instrument cabinet", presenting pieces from the confiscations from the people who had to flee the Country during the French Revolution. In 1861, the State decided to buy the collection of instruments of Louis Clapisson, composer and member of the Institute, for the benefit of the Conservatory. Among its first curators, we can name : Louis Clapisson, Hector Berlioz and Gustave Chouquet. In 1961, the Countess Geneviève de Chambure was appointed curator of the Instrumental Museum, which was then attached to the National Conservatory of Music in Paris. She held this position until 1973. In 1978, the collections were transfered from the National Conservatory to the State. A new museographic project was set up, carried out by François Lesure and Henri Loyrette. The opening of the Cité de la musique in 1995 was the starting point of a new adventure for the collections of the Instrumental Museum of the Paris Conservatory of Music. Entirely thought out and designed by Franck Hammoutène, the scenography and architecture form a unique setting for this new Museum which opened its doors in early 1997. In 2015, the integration of the Music Museum into the new Philharmonie de Paris opened a new page in its history. Benefiting from the influence of the institution, the Museum pursues several goals : accessibility to all types of audiences, digital transition, dialogue with the contemporary artistic creation, and the continued integration of music into a global history of the arts. Optimally showcasing the permanent collection is also a priority, with the introduction of the Pierre Henry Studio (2019), the creation of new thematic exhibitions related to current cultural issues, an updated acquisition policy including contemporary and non-Western music, and regular live performance within the Museum. The Museum’s cultural and scientific project helps strengthening its standing in the international art world and among the museums of France." - ttps://philharmoniedeparis.fr/en/musee-de-la-musique/history-museum

Inside the Opéra National de Paris - Palais Garnier, Paris, France

#paris #opera #concerthall 00:00:00 The Exterior 00:01:05 Rotonde 00:02:06 Cave of Pythia 00:03:09 Grand Staircase 00:05:05 Auditorium 00:07:52 Lodge of the Phantom of the Opera 00:09:35 The Salons of the Sun and Moon 00:10:00 Grand Foyer "After Charles Garnier designed the Paris Opera in the 1870's, he called acoustics a ''bizarre science.'' ''Nowhere did I find a positive rule to guide me,'' he wrote. ''I must explain that I have adopted no principle, that my plan has been based on no theory, and that I leave success or failure to chance alone.'' He compared the acoustician to an acrobat ''who closes his eyes and clings to the ropes of an ascending balloon.''" - ttps://www.nytimes.com/2004/05/22/arts/if-music-is-the-architect.html "The auditorium has a traditional Italian horseshoe shape and can seat 1,979. The stage is the largest in Europe and can accommodate as many as 450 artists. The canvas house curtain was painted to represent a draped curtain, complete with tassels and braid. In the tradition of Italian theaters, the French-style horseshoe-shaped performance hall, because of the seating arrangement according to category, was designed to see and be seen. Its metal structure, masked by marble, stucco, velvet and gilding, supports the 8 tons weighing bronze and crystal chandelier equipped with 340 lights. The stage curtain was created by the theater painters-decorators Auguste Rubé (1817-1899) and Philippe Chaperon (1823-1906), according to the indications of Charles Garnier. The curtain was replaced in the same way in 1951 then in 1996. The ceiling painted by Marc Chagall and commissioned by the Minister of Culture André Malraux was inaugurated on September 23, 1964. Located exactly above the vault of the former rotunda of subscribers, the large auditorium is the heart of the palace. In a horseshoe shape, with four balconies, lodges and five-storey stalls, the place is designed according to the model of Italian theater where visibility is variable. Its dimensional characteristics are impressive: nearly thirty-one meters wide, thirty-two meters deep and twenty meters high. His gauge is approaching two thousand seats, with a little more than one thousand nine hundred seats. This place is dressed in dominant tones of reds and golds. The ceiling area which surrounds the chandelier was originally painted by Jules Eugène Lenepveu. In 1964 a new ceiling painted by Marc Chagall was installed on a removable frame over the original. It depicts scenes from operas by 14 composers – Mussorgsky, Mozart, Wagner, Berlioz, Rameau, Debussy, Ravel, Stravinsky, Tchaikovsky, Adam, Bizet, Verdi, Beethoven, and Gluck. Although praised by some, others feel Chagall’s work creates “a false note in Garnier’s carefully orchestrated interior.” Large clearances provide access to the five levels with mosaic floors. All doors are mahogany and have a porthole. The orchestra (formerly parterre and parquet) The fourteen rows of seats in the orchestra are located on either side of a central aisle, the armchairs are in black wood and dressed in velvet, their padded backs are covered with an elegant bronze easel bearing the number of the armchair. At this level are the baths which are lodges on the ground floor. ... The lodges The boxes and backs, and their seats and benches are dressed in velvet and their partitions, damask and hangings. All the furnishing materials have a subtle play of crimson shades. The most famous and mysterious lodge has a gateway where (since 2011) is a bronze plaque indicating “Lodge of the Phantom of the Opera”; it is located at the level of the first lodges. This famous box bears the no. 5 proscenium lodges overlook the orchestra pit in the arc Doubleau forming the proscenium. For centuries, it was customary to have ten lodges directly on the stage, for the authors, composers and other actors of the show. Garnier had not been able to remove this obligation from his plans. In 1916, director Jacques Rouché announced his intention to suppress and redevelop these sites in order to install the control rooms and command posts, which was done in 1917. Immediately, Marie Garnier, widow of the architect, s’ indignera by writing to the newspaper Le Figaro: “We dare to attack the beautiful work of Charles Garnier, without fear of destroying this admirable acoustics, without worrying about the art with which the room was connected to the scene by these boxes” These locations, d a width of 1.70 meters, are used to reinforce the access to the projectors installed on the bridge and the frames forming the mobile frame." - ttps://www.hisour.com/auditorium-palais-garnier-51031/