Qui n'a jamais rougi ? C'est une réaction banale et a priori bénigne. Mais certaines personnes en souffrent énormément. Un regard, un geste, un simple mot peuvent suffire à déclencher le malaise. Peu à peu, les situations sociales deviennent sources de peur et de honte. On finit par les fuir et se couper du monde. Longtemps négligée par les soignants, l'éreutophobie, c'est-à-dire la peur de rougir, est aujourd'hui l'objet d'études scientifiques qui ont permis de mettre au point des méthodes de traitement efficaces. …
'Titon et l'Aurore' is an opera in three acts and a prologue by the French composer Jean-Joseph de Mondonville which was first performed at the Académie royale de musique, Paris on 9 January 1753. The authorship of the libretto has been subject to debate; Mondonville's contemporaries ascribed the prologue to Antoine Houdar de la Motte and the three acts of the opera to the Abbé de La Marre. Titon et l'Aurore belongs to the genre known as the pastorale héroïque. The work played an important role in the so-called Querelle des Bouffons, a dispute over the relative merits of the French and Italian operatic traditions which dominated the intellectual life of Paris in the early 1750s. The tremendous success of Mondonville's opera at its premiere was an important victory for the French camp (although their Italian rivals claimed that this was because they had been excluded from their seats by members of the army). Titon was one of Mondonville's most popular works and went on to enjoy several revivals during his lifetime.
Shot in 16mm, Berenice is Rohmer’s first finished film. The film is based on a story by Edgar Allen Poe about a man who becomes obsessed with his fiancé’s teeth. The film was shot at Andre Bazin’s house by Jacques Rivette. Rivette also edited the film.
This is Paisiello's one French opera and he adapted to the requirements and traditions of French opera with remarkable success. The result is that the usual French declamatory method of moving the plot forward – rather than using recitativo – is handled with great musical success where often, especially for non-French composers, it can deteriorate into ugly hollering. The orchestra is given a prominent role, not only in the dance sequences, but also more generally in the opera. The orchestration is remarkably rich and veried, with some very distinguished writing for the winds. In addition, the chorus is given a more prominent role than is usual in Paisiello's Italian operas. This is combined with some very lovely and molodic writing for all elements. Indeed, the opera is a listening joy, and it may be better heard this way than in an actual performance, since the libretto is a rather stilted retelling of Greek myth.