Writing

Étienne de Jouy

Born September 12, 1784 · Jouy-en-Josas, Yvelines, France

Died September 4, 1846 · aged 61

No biography available.

Known For

Rossini: Moïse et PharaonRossini: Moïse et Pharaon · 2003
Rossini: Moïse et Pharaon
★ 6.52003
MovieMusic
Live from La Scala Wednesday 10 December 2003
Guglielmo TellGuglielmo Tell · 1988
Guglielmo Tell
★ 7.01988
MovieMusic
Live from La Scala Wednesday 14 December 1988.
Guillaume TellGuillaume Tell · 2014
Guillaume Tell
2014
MovieMusic
Live from Munich June 2014. Guillaume Tell , in a new production by 30-year-old Wunderkind stage director Antú Romero Nunes, opens this year’s Munich Opera Festival with an orgy of fabulous singing.
Rossini: Guillaume TellRossini: Guillaume Tell · 2013
Rossini: Guillaume Tell
★ 6.52013
MovieMusic
The hero of this admirably complete August 2013 Guillaume Tell from Pesaro is homegrown maestro Michele Mariotti. The inimitable overture is (mercifully) unstaged and terrifically played, with splendid cello and flute solos: the fine standard never flags. Rossini’s extraordinary 1829 score audibly presages Meyerbeer, Berlioz, Glinka, Verdi and Wagner, among many others. Graham Vick’s direction privileges class conflict, with a clenched fist on the red-and-white forecurtain. The Edwardian costumes place Austrians in white evening garb; the black-clad Swiss polish the floor while the rulers savor a filming (much of that to follow) — the fisherman Ruodi, in a boat with a blonde and fake scenery, with Tell and his family providing tech support. Vick deploys geographical and historical kitsch liberally but not (always) pointlessly. Ron Howell’s pretentious, mannered choreography, however, beggars belief.
Guillaume TellGuillaume Tell · 2015
Guillaume Tell
2015
MovieMusic
New production. Recorded live at Royal Opera House, July, 05, 2015.

Filmography

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Rossini: Guillaume TellRossini: Guillaume Tell · 2013
Rossini: Guillaume Tell
★ 6.52013
MovieMusic
The hero of this admirably complete August 2013 Guillaume Tell from Pesaro is homegrown maestro Michele Mariotti. The inimitable overture is (mercifully) unstaged and terrifically played, with splendid cello and flute solos: the fine standard never flags. Rossini’s extraordinary 1829 score audibly presages Meyerbeer, Berlioz, Glinka, Verdi and Wagner, among many others. Graham Vick’s direction privileges class conflict, with a clenched fist on the red-and-white forecurtain. The Edwardian costumes place Austrians in white evening garb; the black-clad Swiss polish the floor while the rulers savor a filming (much of that to follow) — the fisherman Ruodi, in a boat with a blonde and fake scenery, with Tell and his family providing tech support. Vick deploys geographical and historical kitsch liberally but not (always) pointlessly. Ron Howell’s pretentious, mannered choreography, however, beggars belief.

Writer