[44575] in linux-announce channel archive
365 Days of Streaming Bliss for Only $2!
daemon@ATHENA.MIT.EDU (Peacock Membership)
Sat Dec 30 03:24:09 2023
Date: Sat, 30 Dec 2023 09:22:50 +0100
From: "Peacock Membership" <Peacock2Year@brainsaviorx.today>
Reply-To: "Peacock" <Peacock2Year@[domain]>/Year" <Peacock@brainsaviorx.today>
To: <linuxch-announce.discuss@charon.mit.edu>
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365 Days of Streaming Bliss for Only $2!
http://brainsaviorx.today/FZDQhVxgQyyvJX0ZVEk2vpf3IA4BS0SpFbBxh3OzIemzPFGTKA
http://brainsaviorx.today/P78eXutXgJJXQ1FQJbjyghiaF06dgNI4WX7oKmvs7lxIughrBQ
Following the success of François les bas-bleus Messager accepted simultaneous invitations to compose a ballet for the Opéra and an opérette for the Folies-Dramatiques. The opérette, La Fauvette du temple, first performed on 17 November 1885, confirmed Messager's early reputation. It ran well into the following year in Paris, and he was able to sell the British rights immediately, though the work was not staged in London until 1891. The ballet, Les Deux Pigeons, which became one of Messager's best known works, took longer to reach the stage. It was put into rehearsal at the Opéra, but the staging, which showed a tree being struck by lightning in a storm scene, was considered a fire hazard by the police, and the production was temporarily shelved.
A month after the opening of La Fauvette du temple the Bouffes-Parisiens premiered Messager's opéra comique La Béarnaise, with Jeanne Granier in the title role. It ran for three months and was successfully produced in Britain the following year with a cast including Florence St. John and Marie Tempest, running for more than 200 performances. The Times said of this production that it gave Messager a secure footing in London, which led to important results later in his career. A production of La Béarnaise in New York followed in 1887, under the title Jacquette.
In 1886 Les Deux Pigeons was finally produced at the Paris Opéra and was a box office triumph. It was Messager's last popular success for four years. His attempt at a more serious opera, Le Bourgeois de Calais (1888), was not well received. Richard Traubner remarks in Operetta: A Theatrical History on its "boring historical plot, bad lyrics, and a banal score"; a contemporary critic wrote, "That Le Bourgeois de Calais will have a successful career there is not the faintest chance, for all the patriotic bolstering in the world could not make it an attractive piece." Messager followed this with a musical fairy tale, Isoline (1888), which was slightly better received, and a three-act opérette, Le Mari de la reine (1889), which failed, although
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<span style="color:#FFFFFF;font-size:10px;">Following the success of François les bas-bleus Messager accepted simultaneous invitations to compose a ballet for the Opéra and an opérette for the Folies-Dramatiques. The opérette, La Fauvette du temple, first performed on 17 November 1885, confirmed Messager's early reputation. It ran well into the following year in Paris, and he was able to sell the British rights immediately, though the work was not staged in London until 1891. The ballet, Les Deux Pigeons, which became one of Messager's best known works, took longer to reach the stage. It was put into rehearsal at the Opéra, but the staging, which showed a tree being struck by lightning in a storm scene, was considered a fire hazard by the police, and the production was temporarily shelved. A month after the opening of La Fauvette du temple the Bouffes-Parisiens premiered Messager's opéra comique La Béarnaise, with Jeanne Granier in the title role. It ran for three months and was successfully produced in Britain the following year with a cast including Florence St. John and Marie Tempest, running for more than 200 performances. The Times said of this production that it gave Messager a secure footing in London, which led to important results later in his career. A production of La Béarnaise in New York followed in 1887, under the title Jacquette. In 1886 Les Deux Pigeons was finally produced at the Paris Opéra and was a box office triumph. It was Messager's last popular success for four years. His attempt at a more serious opera, Le Bourgeois de Calais (1888), was not well received. Richard Traubner remarks in Operetta: A Theatrical History on its "boring historical plot, bad lyrics, and a banal score"; a contemporary critic wrote, "That Le Bourgeois de Calais will have a successful career there is not the faintest chance, for all the patriotic bolstering in the world could not make it an attractive piece." Messager followed this with a musical fairy tale, Isoline (1888), which was slightly better received, and a three-act opérette, Le Mari de la reine (1889), which failed, although</span><br />
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