. . "La m\u00FAsica incidental de la obra de Alphonse Daudet L'Arl\u00E9sienne (normalmente transcrita como 'La chica de Arl\u00E9s') fue compuesta por Georges Bizet para el estreno de la obra el 1 de octubre de 1872 en el Teatro Vodevil (hoy conocido como Teatro Paramount).\u200B La arlesiana, t\u00EDtulo con el que conocida en espa\u00F1ol, consta de 27 n\u00FAmeros (algunos de unos pocos compases) para voz, coro y orquesta de c\u00E1mara, algunos siendo peque\u00F1os solos y otros largos entreactos. El mismo Bizet interpret\u00F3 el armonio tras los bastidores durante el estreno de la obra.\u200B"@es . . . . . . ""@en . "L'Arl\u00E9sienne"@en . . . . . . . . . . "L\u2019Arl\u00E9sienne (deutsch: \u201EDie Arlesierin\u201C) von Georges Bizet entstand 1872 urspr\u00FCnglich als B\u00FChnenmusik zu dem gleichnamigen Schauspiel von Alphonse Daudet und umfasst Orchesterst\u00FCcke, Ch\u00F6re und Melodramen. Daudets Schauspiel hatte keinen Erfolg, um so mehr wurde Bizets Musik schon unmittelbar nach der ersten Auff\u00FChrung vom Pariser Publikum als au\u00DFergew\u00F6hnlich gelungen anerkannt, so dass er eine Orchestersuite aus einigen St\u00FCcken zusammenstellte, die gro\u00DFen Beifall fand und Bizet noch vor seiner Oper Carmen in Paris popul\u00E4r machte. In der heutigen Konzertpraxis sind zwei Suiten pr\u00E4sent, wobei die zweite Suite posthum von Ernest Guiraud zusammengestellt wurde."@de . . . . . . . "left"@en . . . . . . "small orchestra"@en . . . . . "L'Arl\u00E9sienne (l'Arlesiana) \u00E8 una composizione di Georges Bizet destinata ad essere eseguita come musiche di scena dell'opera teatrale omonima che Alphonse Daudet trasse nel 1872 dal suo racconto del 1869."@it . "27"^^ . . "L\u2019Arl\u00E9sienne (deutsch: \u201EDie Arlesierin\u201C) von Georges Bizet entstand 1872 urspr\u00FCnglich als B\u00FChnenmusik zu dem gleichnamigen Schauspiel von Alphonse Daudet und umfasst Orchesterst\u00FCcke, Ch\u00F6re und Melodramen. Daudets Schauspiel hatte keinen Erfolg, um so mehr wurde Bizets Musik schon unmittelbar nach der ersten Auff\u00FChrung vom Pariser Publikum als au\u00DFergew\u00F6hnlich gelungen anerkannt, so dass er eine Orchestersuite aus einigen St\u00FCcken zusammenstellte, die gro\u00DFen Beifall fand und Bizet noch vor seiner Oper Carmen in Paris popul\u00E4r machte. In der heutigen Konzertpraxis sind zwei Suiten pr\u00E4sent, wobei die zweite Suite posthum von Ernest Guiraud zusammengestellt wurde."@de . "L'Arl\u00E9sienne is incidental music composed by Georges Bizet for Alphonse Daudet's drama of the same name, usually translated as The Girl from Arles. It was first performed on 30 September 1872 at the Th\u00E9\u00E2tre du Vaudeville in Paris. Bizet's music consists of 27 numbers for chorus and small orchestra, ranging from pieces of background music (m\u00E9lodrames) only a few measures long, to entr'actes. The score achieves powerful dramatic ends with the most economic of means. Still, the work received poor reviews in the wake of the unsuccessful premiere and is not often performed now in its original form, although recordings are available. However, key pieces of the incidental music, most often heard in the form of two suites for orchestra, have become some of Bizet's most popular compositions."@en . . . . . . . . "\u300A\u963F\u840A\u57CE\u7684\u59D1\u5A18\u300B\uFF08\u6CD5\u8A9E\uFF1AL'Arl\u00E9sienne\uFF09\u662F\u6CD5\u570B\u4F5C\u66F2\u5BB6\u55AC\u6CBB\u00B7\u6BD4\u624D\u4E3A\u963F\u723E\u5C01\u65AF\u00B7\u90FD\u5FB7\u7684\u540C\u540D\u6232\u5287\u4F5C\u54C1\u521B\u4F5C\u7684\u4E8C\u5341\u4E03\u9996\u5305\u542B\u8072\u6A02\u3001\u5408\u5531\u548C\u5C0F\u578B\u7BA1\u7D43\u6A02\u66F2\u7684\u3002\u5728\u53D7\u7D93\u7406\u59D4\u8A17\u4E0B\u5275\u4F5C\uFF0C\u4E8E1872\u5E7410\u67081\u65E5\u5728\u5DF4\u9ECE\u6C83\u5FB7\u7DAD\u723E\u5287\u9662\u9996\u6F14\uFF0C\u6BD4\u624D\u81EA\u5DF1\u4E5F\u5728\u6A02\u5718\u4E2D\u6F14\u594F\u98A8\u7434\u3002\u7531\u65BC\u300A\u963F\u840A\u57CE\u7684\u59D1\u5A18\u300B\u539F\u59CB\u5287\u672C\u7D93\u5BE9\u67E5\u5F8C\u88AB\u7981\u6B62\u6F14\u51FA\uFF0C\u4FEE\u6539\u5F8C\u7684\u5287\u60C5\u4F7F\u89C0\u773E\u5931\u671B\u800C\u5C0E\u81F4\u9996\u6F14\u5931\u6557\uFF0C\u7D42\u7A76\u53EA\u6F14\u51FA\u4E86\u4E8C\u5341\u4E00\u5834\u3002\u5F8C\u4F86\u6BD4\u624D\u5F9E\u4E2D\u64F7\u53D6\u56DB\u9996\u6539\u7DE8\u6210\u7BA1\u7D43\u6A02\u66F2\uFF0C1872\u5E7411\u670810\u65E5\u9996\u6F14\u7531\u6307\u63EE\u800C\u5927\u53D7\u6B61\u8FCE\uFF0C\u9019\u5C31\u662F\u5F8C\u4F86\u5EE3\u70BA\u6D41\u50B3\u7684\u7B2C\u4E00\u7D44\u66F2\uFF0C\u4E5F\u662F\u6BD4\u624D\u70BA\u6578\u4E0D\u591A\u752B\u767C\u8868\u5C31\u6210\u529F\u7684\u4F5C\u54C1\u3002"@zh . . . . . . . . . . . . . . . . . . . . . "chorus"@en . . "L'Arl\u00E9sienne (Bizet)"@es . "L'Arl\u00E9sienne (musiche di scena)"@it . "Sa bhliain 1872 chum Georges Bizet ceol ag gabh\u00E1il leis an dr\u00E1ma, L\u2019Arl\u00E9sienne, le . C\u00E9 gur theip ar an l\u00E9iri\u00FAch\u00E1n mar dhr\u00E1ma, thaitin an ceol le Bizet agus bheartaigh s\u00E9 sraith a chumadh bunaithe ar an gceol. D\u2019\u00E9irigh thar barr leis an tsraith seo agus bheartaigh cara le Bizet, , an dara sraith a chumadh \u00F3n sc\u00F3r bunaidh tar \u00E9is bh\u00E1s Bizet sa bhliain 1875. Is sa dara sraith at\u00E1 Intermezzo agus Farandole."@ga . . . . . . . "L'Arl\u00E9sienne est une musique de sc\u00E8ne compos\u00E9e par Georges Bizet pour le drame en trois actes \u00E9ponyme d'Alphonse Daudet, et cr\u00E9\u00E9e \u00E0 Paris au Th\u00E9\u00E2tre du Vaudeville, le 1er octobre 1872. Jou\u00E9s entre ou en m\u00EAme temps que les dialogues (m\u00E9lodrames), les diff\u00E9rents num\u00E9ros sont li\u00E9s \u00E0 la trame litt\u00E9raire ou th\u00E9\u00E2trale. Ils soulignent la dramaturgie, approfondissent la psychologie des personnages, d\u00E9crivent des \u00E9v\u00E9nements non repr\u00E9sent\u00E9s sur sc\u00E8ne ou assurent la transition entre les sc\u00E8nes ou les actes (intermezzo)."@fr . . . . . . . . . . . . "Sa bhliain 1872 chum Georges Bizet ceol ag gabh\u00E1il leis an dr\u00E1ma, L\u2019Arl\u00E9sienne, le . C\u00E9 gur theip ar an l\u00E9iri\u00FAch\u00E1n mar dhr\u00E1ma, thaitin an ceol le Bizet agus bheartaigh s\u00E9 sraith a chumadh bunaithe ar an gceol. D\u2019\u00E9irigh thar barr leis an tsraith seo agus bheartaigh cara le Bizet, , an dara sraith a chumadh \u00F3n sc\u00F3r bunaidh tar \u00E9is bh\u00E1s Bizet sa bhliain 1875. Is sa dara sraith at\u00E1 Intermezzo agus Farandole."@ga . . . . . . . . . . . . . . . . . . . . . . . . . . . "L\u2019Arl\u00E9sienne (Bizet)"@de . . . . . . . . . . . . . . . . . "Structure of the 1885 revival version"@en . . . . "L'Arl\u00E9sienne est une musique de sc\u00E8ne compos\u00E9e par Georges Bizet pour le drame en trois actes \u00E9ponyme d'Alphonse Daudet, et cr\u00E9\u00E9e \u00E0 Paris au Th\u00E9\u00E2tre du Vaudeville, le 1er octobre 1872. Jou\u00E9s entre ou en m\u00EAme temps que les dialogues (m\u00E9lodrames), les diff\u00E9rents num\u00E9ros sont li\u00E9s \u00E0 la trame litt\u00E9raire ou th\u00E9\u00E2trale. Ils soulignent la dramaturgie, approfondissent la psychologie des personnages, d\u00E9crivent des \u00E9v\u00E9nements non repr\u00E9sent\u00E9s sur sc\u00E8ne ou assurent la transition entre les sc\u00E8nes ou les actes (intermezzo). Cette partition a aussi \u00E9t\u00E9 adapt\u00E9e en deux suites de concert pour orchestre symphonique, de quatre mouvements chacune. Certains th\u00E8mes comme les chants de No\u00EBl \u00AB La Marcho di Rei \u00BB (cf. La Marche des rois reprenant la Marche de Turenne attribu\u00E9e \u00E0 Jean-Baptiste Lully) ou \u00AB La danso di chivau frus \u00BB (La danse des chevaux fringants/fous/en rut) sont directement inspir\u00E9s de musiques traditionnelles proven\u00E7ales. Leurs adaptations et surtout leurs orchestrations resteront, avec Le Songe d\u2019une nuit d\u2019\u00E9t\u00E9 de Felix Mendelssohn et le Peer Gynt d'Edvard Grieg, comme le meilleur exemple du genre th\u00E9\u00E2tro-musical."@fr . . . . . . "B major then changes to D major"@en . . . . . . . "The composer"@en . . . . . . . . . . . . . . . . . . . "L'Arl\u00E9sienne"@en . . "L'Arl\u00E9sienne (Bizet)"@ga . . . . . . . . "La m\u00FAsica incidental de la obra de Alphonse Daudet L'Arl\u00E9sienne (normalmente transcrita como 'La chica de Arl\u00E9s') fue compuesta por Georges Bizet para el estreno de la obra el 1 de octubre de 1872 en el Teatro Vodevil (hoy conocido como Teatro Paramount).\u200B La arlesiana, t\u00EDtulo con el que conocida en espa\u00F1ol, consta de 27 n\u00FAmeros (algunos de unos pocos compases) para voz, coro y orquesta de c\u00E1mara, algunos siendo peque\u00F1os solos y otros largos entreactos. El mismo Bizet interpret\u00F3 el armonio tras los bastidores durante el estreno de la obra.\u200B Bizet escribi\u00F3 varios temas semipopulares para la m\u00FAsica pero tambi\u00E9n incorpor\u00F3 tres melod\u00EDas existentes pertenecientes a una colecci\u00F3n de m\u00FAsica popular publicada por Vidal de Aix en 1864: Marcha de los reyes (Marcho dei Rei), Danza de los caballos fogosos (Danse dei Chivau-Frus) y Er dou Guet. La partitura alcanza finales de gran poder dram\u00E1tico con una gran econom\u00EDa de medios.\u200B Aun as\u00ED recibi\u00F3 cr\u00EDticas negativas tras su estreno y no se interpreta habitualmente en su forma original. La obra en s\u00ED no tuvo \u00E9xito y concluy\u00F3 tras s\u00F3lo 21 interpretaciones. El caso es que hab\u00EDa sido montada como reemplazo de \u00FAltima hora para otra obra que hab\u00EDa sido prohibida por los censores y, por ello, la audiencia no estaba tan predispuesta a la nueva obra.\u200B La m\u00FAsica incidental ha sobrevivido y florecido, a pesar de todo. Se puede escuchar m\u00E1s frecuentemente en forma de dos suites, pero tambi\u00E9n hay grabaciones completas de la m\u00FAsica."@es . "L'Arl\u00E9sienne (Bizet)"@fr . . "L'Arl\u00E9sienne"@en . . . "\u30A2\u30EB\u30EB\u306E\u5973"@ja . . . . . . . . . "\u300E\u30A2\u30EB\u30EB\u306E\u5973\u300F\uFF08\u30A2\u30EB\u30EB\u306E\u304A\u3093\u306A\u3001\u30D5\u30E9\u30F3\u30B9\u8A9E: L'Arl\u00E9sienne\uFF09\u306F\u3001\u30B8\u30E7\u30EB\u30B8\u30E5\u30FB\u30D3\u30BC\u30FC\u306B\u3088\u308B\u516827\u66F2\u306E\u4ED8\u968F\u97F3\u697D\u3067\u3042\u308A\u3001\u30A2\u30EB\u30D5\u30A9\u30F3\u30B9\u30FB\u30C9\u30FC\u30C7\u306E\u540C\u540D\u306E\u77ED\u7DE8\u5C0F\u8AAC\u300E\u300F\u304A\u3088\u3073\u305D\u308C\u306B\u57FA\u3065\u304F\u622F\u66F2\u306E\u4E0A\u6F14\u306E\u305F\u3081\u306B1872\u5E74\u306B\u4F5C\u66F2\u3055\u308C\u305F\u3082\u306E\u3067\u3042\u308B\u3002\u4ED8\u968F\u97F3\u697D\u304B\u3089\u7DE8\u66F2\u3055\u308C\u305F2\u3064\u306E\u7D44\u66F2\u304C\u4E00\u822C\u306B\u306F\u6700\u3082\u5E83\u304F\u77E5\u3089\u308C\u3066\u3044\u308B\u3002"@ja . . . . . "3925088"^^ . . . "L'Arl\u00E9sienne is incidental music composed by Georges Bizet for Alphonse Daudet's drama of the same name, usually translated as The Girl from Arles. It was first performed on 30 September 1872 at the Th\u00E9\u00E2tre du Vaudeville in Paris. Bizet's music consists of 27 numbers for chorus and small orchestra, ranging from pieces of background music (m\u00E9lodrames) only a few measures long, to entr'actes. The score achieves powerful dramatic ends with the most economic of means. Still, the work received poor reviews in the wake of the unsuccessful premiere and is not often performed now in its original form, although recordings are available. However, key pieces of the incidental music, most often heard in the form of two suites for orchestra, have become some of Bizet's most popular compositions."@en . . . . . . "\u300E\u30A2\u30EB\u30EB\u306E\u5973\u300F\uFF08\u30A2\u30EB\u30EB\u306E\u304A\u3093\u306A\u3001\u30D5\u30E9\u30F3\u30B9\u8A9E: L'Arl\u00E9sienne\uFF09\u306F\u3001\u30B8\u30E7\u30EB\u30B8\u30E5\u30FB\u30D3\u30BC\u30FC\u306B\u3088\u308B\u516827\u66F2\u306E\u4ED8\u968F\u97F3\u697D\u3067\u3042\u308A\u3001\u30A2\u30EB\u30D5\u30A9\u30F3\u30B9\u30FB\u30C9\u30FC\u30C7\u306E\u540C\u540D\u306E\u77ED\u7DE8\u5C0F\u8AAC\u300E\u300F\u304A\u3088\u3073\u305D\u308C\u306B\u57FA\u3065\u304F\u622F\u66F2\u306E\u4E0A\u6F14\u306E\u305F\u3081\u306B1872\u5E74\u306B\u4F5C\u66F2\u3055\u308C\u305F\u3082\u306E\u3067\u3042\u308B\u3002\u4ED8\u968F\u97F3\u697D\u304B\u3089\u7DE8\u66F2\u3055\u308C\u305F2\u3064\u306E\u7D44\u66F2\u304C\u4E00\u822C\u306B\u306F\u6700\u3082\u5E83\u304F\u77E5\u3089\u308C\u3066\u3044\u308B\u3002"@ja . . . . . . . . . . . . . . . . . . . . . . . . . . . "\u300A\u963F\u840A\u57CE\u7684\u59D1\u5A18\u300B\uFF08\u6CD5\u8A9E\uFF1AL'Arl\u00E9sienne\uFF09\u662F\u6CD5\u570B\u4F5C\u66F2\u5BB6\u55AC\u6CBB\u00B7\u6BD4\u624D\u4E3A\u963F\u723E\u5C01\u65AF\u00B7\u90FD\u5FB7\u7684\u540C\u540D\u6232\u5287\u4F5C\u54C1\u521B\u4F5C\u7684\u4E8C\u5341\u4E03\u9996\u5305\u542B\u8072\u6A02\u3001\u5408\u5531\u548C\u5C0F\u578B\u7BA1\u7D43\u6A02\u66F2\u7684\u3002\u5728\u53D7\u7D93\u7406\u59D4\u8A17\u4E0B\u5275\u4F5C\uFF0C\u4E8E1872\u5E7410\u67081\u65E5\u5728\u5DF4\u9ECE\u6C83\u5FB7\u7DAD\u723E\u5287\u9662\u9996\u6F14\uFF0C\u6BD4\u624D\u81EA\u5DF1\u4E5F\u5728\u6A02\u5718\u4E2D\u6F14\u594F\u98A8\u7434\u3002\u7531\u65BC\u300A\u963F\u840A\u57CE\u7684\u59D1\u5A18\u300B\u539F\u59CB\u5287\u672C\u7D93\u5BE9\u67E5\u5F8C\u88AB\u7981\u6B62\u6F14\u51FA\uFF0C\u4FEE\u6539\u5F8C\u7684\u5287\u60C5\u4F7F\u89C0\u773E\u5931\u671B\u800C\u5C0E\u81F4\u9996\u6F14\u5931\u6557\uFF0C\u7D42\u7A76\u53EA\u6F14\u51FA\u4E86\u4E8C\u5341\u4E00\u5834\u3002\u5F8C\u4F86\u6BD4\u624D\u5F9E\u4E2D\u64F7\u53D6\u56DB\u9996\u6539\u7DE8\u6210\u7BA1\u7D43\u6A02\u66F2\uFF0C1872\u5E7411\u670810\u65E5\u9996\u6F14\u7531\u6307\u63EE\u800C\u5927\u53D7\u6B61\u8FCE\uFF0C\u9019\u5C31\u662F\u5F8C\u4F86\u5EE3\u70BA\u6D41\u50B3\u7684\u7B2C\u4E00\u7D44\u66F2\uFF0C\u4E5F\u662F\u6BD4\u624D\u70BA\u6578\u4E0D\u591A\u752B\u767C\u8868\u5C31\u6210\u529F\u7684\u4F5C\u54C1\u3002"@zh . . "Structure of the 1872 original version"@en . . "L'Arl\u00E9sienne (Bizet)"@en . . "\u963F\u83B1\u57CE\u7684\u59D1\u5A18"@zh . . . . . . . . . . . . . . . . . "1124556024"^^ . . "49762"^^ . . . . . "L'Arl\u00E9sienne (l'Arlesiana) \u00E8 una composizione di Georges Bizet destinata ad essere eseguita come musiche di scena dell'opera teatrale omonima che Alphonse Daudet trasse nel 1872 dal suo racconto del 1869."@it .