99 Sentences With "jongleur" | Random Sentence Generator

Works like Christian Rohlfs's 21985 woodcut painted over with gouache, "Tod Als Jongleur" ("Death as a Juggler"), and Max Beckmann's 21995 drypoint print, "Die Granate" ("The Grenade"), evoking the destructive power of war, prove to be a perfect prelude to the Spero exhibition one floor down.

Albertetz cailla si fo uns ioglars dalbezet. . . "Albertet Cailla was a jongleur from Albezet. . ." Albertet Cailla was an Albigeois jongleur and troubadour. According to his vida he was "of slight worth" but beloved by his neighbours and the local women.

At his funeral, Sordello praises him highly. Eglamor's jongleur, Naddo, becomes Sordello's jongleur. Sordello, long reluctant to do so, finally enquires about his birth and origins. He is told that he was the son of an archer who saved the lives of Adelaide and Palma when they were nearly killed by a fire set by Ecelin himself.

One of those criticised is Salh d'Escola. According to the monk, Salh was a jongleur who went to Bergerac and became a merchant. The later source is Salh's vida (a short biography), which probably relied on "Pos Peire d'Alvernh′" to piece together its story. According to the anonymous biographer, Salh was the son of a merchant and became a jongleur.

The jongleur Liliwin relies on a rebec to make music. He is a singer with his voice in the high range, as noted by the Precentor Brother Anselm. The Precentor is completely absorbed in music in his life as a monk, guiding the singing for daily services in the monastery, composing music for special Masses, and educated in both reading and writing the notes, a skill he teaches the jongleur Liliwin. The Precentor is also skilled in making and maintaining musical instruments.

The plot relies in part on the Middle Ages practice in England of sanctuary from the civil authorities if a fugitive stays in a sacred place like a church. In this story, the time of sanctuary allowed the real culprits to be identified, saving a man of a lower class, the jongleur entertaining at the home of a goldsmith, from undeserved punishment. Where the jongleur is here portrayed as the lower class but more diverse performer compared to the troubadour becoming common in this era (compare to the character Rémy of Pertuis in The Holy Thief), the character introduces much description of music, musicians, their skills and their instruments in the twelfth century in the story. The jongleur is an acrobat, a juggler, a singer and player of musical instruments.

Albertet de Sestaro is described as the son of a noble jongleur, presumably a petty noble lineage. Later troubadours especially could belong to lower classes, ranging from the middle class of merchants and "burgers" (persons of urban standing) to tradesmen and others who worked with their hands. Salh d'Escola and Elias de Barjols were described as the sons of merchants and Elias Fonsalada was the son of a burger and jongleur. Perdigon was the son of a "poor fisherman" and Elias Cairel of a blacksmith.

The film titles for the initial program were: Italienischer Bauerntanz, Komisches Reck, Serpentinen Tanz, Der Jongleur Paul Petras, Das Boxende Känguruh, Akrobatisches Potpourri, Kamarinskaja, Ringkampf, and Apotheose. Each film lasted approximately six seconds and would be repeated several times.

It indicates his reputation as a jongleur who spread wild tales.Thiolier- Méjean (1996), p. 6.Atkinson Jenkins (1926), p. liv. Peire's Provençal identity is clinched by his poem La cart cartier aurem nos autri proensal, with its reference to "us Provençals".

He later remembers that the jongleur that adopted him actually caused the death of his mother, he confronts him on the road about this later, and the jongleur, in a fit of drunken rage, pushes him into the corelings. He then sees his mistake, and dies in order to save Rojer's life. With his fiddle Rojer can entrance the corelings with his music causing the corelings to follow him, anger them to rage, make them oblivious to others, or drive them away with jarring music. Rojer tries without success to teach others his skills with the fiddle.

Guilhem d'Autpol or Daspol (fl. 1265-1270) was a troubadour from Hautpoul in the Languedoc. He wrote four works that survive, three dwelling on intensely religious themes. There exists some evidence internal in his songs that he was a jongleur early on.

The term was used mostly for poetry only and in more careful works, like the vidas, is not generally applied to the composition of music or to singing, though the troubadour's poetry itself is not so careful. Sometime in the middle of the 12th century, however, a distinction was definitely being made between an inventor of original verse and the performers of others'. The latter were called joglars in both Occitan and Catalan, from the Latin ioculatores, giving rise also to the French jongleur, Castilian juglar, and English juggler, which has come to refer to a more specific breed of performer. The medieval jongleur/joglar is really a minstrel.

MS I. He is shown playing dice; he has rolled a five, a four and a three. Guillem or Guilhem Magret (; fl. 1195-1210) was a troubadour and jongleur from the Viennois. He left behind eight poems, of which survive a sirventes and a canso with melodies.

312 He took the title role in a production of Massenet's Le Jongleur de Notre Dame by the New England Opera Theatre in Boston in 1961 in a role which required both singing and juggling and dancing.William Allin Storrer. Report from Boston. Opera July 1961, Vol.

The cobla after it in the chansonnier is also addressed to Nino, but has not been assigned by any scholar to Paolo. The other anonymous cobla sometimes ascribed to Paolo was addressed to the "Count of Montfort". The anonymous author of both these coblas calls himself a jongleur.

Dran appeared at the Paris Opéra-Comique from 1953 to 1970, undertaking roles such as Pomponnet in la Fille de Madame Angot, Antonin in Ciboulette, Nadir in Les Pêcheurs de perles, Beppe in Paillasse, Benoît in Le roi l'a dit, Pinkerton in Madama Butterfly, Alfred in La Chauve-Souris and Jean in Le Jongleur de Notre-Dame. In the 1954 revival of Massenet's Jongleur de Notre-Dame one critic commented that Dran took the leading part "with great charm and intelligence. His voice sounded a little strained at times, but a more sensitive rendering of the role could not be imagined : even the juggling tricks and the dances were convincingly performed".Henry-Louis de La Grange.

Paris premieres conducted by Luigini included Chérubin, Hélène, Le jongleur de Notre-Dame and the first staging of Marie- Madeleine.Wolff, Stéphane. Un demi-siècle d'Opéra-Comique 1900–1950. André Bonne, Paris, 1953. As a theatre conductor he followed the old practice of having his conductor’s stand directly against the prompt box.

Maurice Léna (24 December 1859 – 31 March 1928) was a French dramatist and librettist of the Parisian Belle Époque. His opera librettos include Jules Massenet's Le jongleur de Notre-Dame (1902), Georges Hüe's Dans l'ombre de la cathédrale (1921), Charles-Marie Widor's Nerto (1924) and Henry Février's La Damnation de Blanchefleur (1920).

Giraut de Salignac Giraut (or Guiraut) de Salignac (or Salinhac) was a jongleur and troubadour from the Quercy. His castle was Salignac. According to his vida he composed cansos, sirventes, and descortz, though only one canso and one descort survive. His composition were characterised, so his biographer says, by "grace and skill".

Uc, from a 13th-century chansonnier Uc de la Bacalaria (fl. 1206Harvey and Paterson, 1162.) was a Limousin troubadour from La Bachellerie near Uzerche, the home town of Gaucelm Faidit. According to his vida, he was a jongleur who travelled infrequently and was hardly known. He composed cansos, tensos, one alba, and one descort.

Alfonso II of Aragon was his rival for Azalais's affections, and according to the razó to one of Arnaut's poems, the king jealously persuaded her to break off her friendship with Arnaut. He fled to Montpellier, where he found a patron in count William VIII. Arnaut's cantaire (singer) and jongleur (minstrel, messenger) was Pistoleta.

Guilhem de la Tor Guilhem de la Tor ( fl. 1216-1233) was an early 13th-century jongleur-troubadour from the Périgord who spent most of his active career in northern Italy. He circulated between the courts of the Este, Malaspina, and Da Romano families. The tor (tower, castle) that was Guilhem's birthplace, does not survive.

His vida goes further in describing him as a handsome man of the middle class, the son of a burgher and jongleur, who himself became a jongleur.Jones, 309. The biographer did not regard him as an accomplished trobaire (troubadour/composer/inventor of poetry) but as a noellaire. This word has been open to interpretation.

Peironet or Peyronet was a Catalan troubadour and jongleur (juglar in contemporary records). "Peironet" is a diminutive of the Occitan name "Peire", meaning Peter. He might be the same person as Pere Salvatge. He was travelling with the entourage of the infante Peter, the heir to James I of Aragon, in October 1268 at Sant Celoni.

Depending on period, region, and sensibilities of a community, a wedding may alternately have had a letz (lit. a clown, here a jongleur or musician) or a marshalik (a master of ceremonies). A particularly elaborate or exuberant traditional wedding might also involve all three.Liptzin, Sol, A History of Yiddish Literature, Jonathan David Publishers, Middle Village, NY, 1972, , pp. 22-23.

In recent years, Alagna has been an advocate of restoring to prominence neglected French operas – Alfano's Cyrano de Bergerac, Massenet's Le jongleur de Notre- Dame, Lalo's Fiesque, and new works – Vladimir Cosma's Marius et Fanny and his brother David Alagna's Le dernier jour d'un condamné. He has also recorded light music with an homage album to Luis Mariano, Sicilien, and Pasión.

In the epilogue, Liliwin and Rannilt marry at the Abbey, and are compensated by the townsfolk for their mistaken judgment of the jongleur. Brother Anselm gives Liliwin his rebec, fully repaired. After the ceremony, Liliwin asks the fate of Iestyn. Beringar will argue in his favour, as Iestyn did no murder, what he stole is returned, and he acted at his lover's behest.

Palla was a Galician-Portuguese troubadour or minstrel from Santiago de Compostela, active at the court of Alfonso VII of León in the mid-twelfth century. Palla is described in contemporary documentation as a iuglar (cognate with "juggler", but signifying jongleur). He was at Alfonso's court at Burgos on 24 April 1136 and again at Toledo on 9 December 1151.

As such, he acted as messenger and herald. Among his duties was directing the battle cry when the king's armies went to war. Pere is first mentioned by name in 1280 as a juglar del rey ("jongleur of the king"). In April 1286 he was charged with distributing compensation in precious metal and money to the other jongleurs who had assisted in Peter's coronation (in 1276).

The Nova Scotia Mass Choir was founded in 1992. In 1993 they performed in Washington, D.C., at a concert in memory of Martin Luther King Jr."Past, present, future combine as Nova Scotia Mass Choir kicks off 25th year" . Local Xpress, Jan 13, 2017 by: Andrea Nemetz In 1995 the choir performed with Oliver Jones in Halifax. That year they released an album on the Jongleur label.

There is little use of imagery and emphasis is obtained by means of oaths. Much of the effect of the work would have been in its manner of recitation by the jongleur. The literary merit of Jordain lies in its characters and not its poetry. Its most original section is the first, which contains a prison sequence that has no parallel in Apollonius of Tyre.

At the Opéra de Monte-Carlo he created the role of Jean in Le jongleur de Notre Dame in 1902, and made his debut at Covent Garden the same year as Don José, also appearing in Faust, Manon and the première of The Princess Osra by Herbert Bunning (1863-1937 ). He retired back to Belgium in 1907, having made a handful of recordings. He died at Brussels, aged 67.

Hugues wrote at least five lyric poems that are preserved in various chansonniers. His last one was written to the troubadour Falquet de Romans, asking his friend to participate in the Crusade with him outra mar. Hugues sent his poem with the jongleur Bernart d'Argentau and it forms an important source of information about both poets. According to Hugues, neither he nor Falquet were young at the time.

Cadfael, Beringar and Liliwin realise that while Susanna could not have attacked her father during the party, an accomplice could have done so. Then Susanna retrieved the treasure from the well bucket and hid it in that oatmeal bin when the men chased after the jongleur. When Peche's servant boy gave him the coin from the bucket, Peche attempted to blackmail Susanna, a distinct mistake. Liliwin sees danger for his Rannilt.

Vita Ludovici, ch. VII. Ebles, respecting his previous oaths, refused to make war on the prince. After Louis destroyed the blockade of Montaigu, the allies turned on him. The princely army and the army of Ebles and Enguerrand menaced each other with trumpets and spear-rattling across a river for two days before the prince impetuously charged (provoked, Suger, says, by the taunts of an enemy jongleur who entered his camp).

"The Royal Opera", The Times, 15 July 1902, p. 7 He next conducted there in 1904 in the British premiere of Saint-Saëns's Hélène, followed in 1905 by Carmen, Don Giovanni, Faust, the world première of Franco Leoni's L'oracolo, Orphée et Euridice and Roméo et Juliette; in his final year, 1906, he conducted Armide, Carmen, Don Giovanni, Faust, the British premiere of Le Jongleur de Notre- Dame, and Roméo et Juliette.Rosenthal, p.

According to Hugues, neither he nor Falquet were young at the time. Indeed, he was dead by August 1220, which provides an ante quem date for the poem. Hugues also states that Falquet had once been a jongleur, a detail also furnished by Falquet's vida. Though the poetic exchange had been dated to 1201 or November 1220-September 1221, the former date is too early and the latter invalidated by Hugues's death.

His name is not mentioned by his contemporaries. He frequently plays in his verse on the word Rutebeuf, which was a nom de plume, and is variously explained by him as derived from rude boeuf and rude oeuvre ("coarse ox" or "rustic piece of work"). Paulin Paris thought that he began life in the lowest rank of the minstrel profession as a jongleur (juggler and musician). Some of his poems have autobiographical value.

The Landais is used as a riding horse – often by children – for hacking out and trekking, and in competition sports such as jumping, eventing and dressage. It is an excellent trotter, and is used in trotting races and in competitive driving; a Landais named Jongleur holds the trotting record for the run between Paris and Chartres. The Landais was among the breeds used in the creation of the Poney Français de Selle or French Riding Pony.

Paolo finally ascribes his wretched condition to a war between God and Nature which occurred at his birth. His final two works employ the analogy of the wheel of fortune (rota fortunae) and may have been accompanied by visual aids in performance, much as has been suspected of jongleur performances elsewhere.Kleinhenz, 196. Paolo has usually been placed either within the school of Guittone d'Arezzo, the guittoniani, or in a transitional place between them and the Dolce Stil Novo.

Ogiers si fo uns ioglars de vianes, questet lonc temps in lombardia. . . "Augier was a jongleur from the Viennois, who stayed a long time in Lombardy. . ." Guillem AugierHis surname is variously spelled Ogier or Ozier, and on chansonnier names him Guillem Mogier de Bezers, making him from Béziers. Novella was a troubadour from Vienne in the Dauphinois who lived most of his adulthood in Lombardy and was active as a minstrel in the early or mid thirteenth century.

It was probably there, between 1220 and 1226, that he wrote his sirventes urging the emperor to "rescue" the Holy Land. Falquet was in communication with the trouvère Hugues IV de Berzé (N'Ugo de Bersie) who wrote a poem to Falquet (calling him Fouquet or Fouquez) asking him to join him on an imminent Crusade outra mar (overseas). Hugues's poem was sent with the jongleur Bernart (or Bernarz) d'Argentau. It is rife with information about the poets.

From this background he became a jongleur and then a troubadour, but he never, according to his vida, composed any music. Nonetheless, one of his songs is accompanied by a melody in one manuscript; the melody may be Uc's or somebody else's. Uc's vida provides an interesting story which cannot be verified that Uc fell in love with a bourgeois women named Galiana, from Aurillac. She dismissed him, however, and took Hugh of Rodez as her lover.

It seems possible that Azalais's poem was composed in an earlier form while Raimbaut was still alive, because in his poem A mon vers dirai chanso he appears to contribute to the poetical debate begun by Guilhem de Saint-Leidier and taken up by Azalais as to whether a lady is dishonoured by taking a lover who is richer than herself. Aimo Sakari argues that Azalais is the mysterious joglar ("jongleur") addressed in several poems by Raimbaut.

Ponç de la Guàrdia (or Pons de la Guardia; fl. 1154–1188) was a Catalan knight of the family of Saguàrdia, lords of the castle of Ripoll. He was not a professional jongleur, but a troubadour who wrote songs for amusement which were much celebrated, so we are told, by Occitan women. Ponç participated in the Siege of Conca (1177) on the side of Alfonso II of Aragon and a little later in the campaign to bring Raymond V of Toulouse to heel.

The earliest known fabliau is the anonymous RicheutMatthews 424. (c. 1159–11751159 in Cuddon 301; 1175 in "Fabliau", Merriam-Webster 399.); one of the earliest known writers of fabliaux is Rutebeuf, "the prototype of the jongleur of medieval literature."Hellman 142. The genre has been quite influential: passages in longer medieval poems such as Le Roman de Renart as well as tales found in collections like Giovanni Boccaccio's Decamerone and Geoffrey Chaucer's Canterbury Tales have their origin in one or several fabliaux.

In 1883, he was elected to the Royal Institute of Painters in Water-Colours. About this time, he was appraised critically by the American writer, S.G.W. Benjamin: He also created illustrations for Goldsmith's She Stoops to Conquer (1887), for a volume of Old Songs (1889), and for the comedies (and a few of the tragedies) of Shakespeare. Among his water-colours are "The Evil Eye" (1877), "The Rose in October" (1879), "An Old Song" (1886), "The Visitors" (1890), and "The Jongleur" (1892).

The number of songs in a song cycle may be as brief as two songsCalled dyad-cycles, according to Youens. or as long as 30 or more songs. The term "song cycle" did not enter lexicography until 1865, in Arrey von Dommer's edition of Koch’s Musikalisches Lexikon, but works definable in retrospect as song cycles existed long before then. One of the earliest examples may be the set of seven Cantigas de amigo by the 13th-century Galician jongleur Martin Codax.Ferreira.

Cerverí, like Bernart, was patronised by Ramon Folc, but unlike Bernart he became a court poet to the Aragonese kings. Professional jealousy may have been involved in his spat with En Roenach, for he certainly remained on good terms with Ramon Folc. The only piece of Bernart's work that cannot be dated with precision is Una sirventesca, written sometimes between 1241 and 1253. It is a sirventes joglaresc, that is, a sirventes making fun of a jongleur, in this case named Rainier.

Much admired in parts written by the bel canto composers Rossini, Donizetti and Bellini, Malipiero was also acclaimed for his performances in Verdi's La traviata, Falstaff and Rigoletto. Other Italian operas in which he sang with considerable successes included Puccini's La bohème, Manon Lescaut and Gianni Schicchi, and Boito's Mefistofele. He did not ignore French music, either. During the 1930s and 1940s he appeared, for instance, in Offenbach's Les Contes d'Hoffmann, Gounod's Faust, and Massenet's Werther and Le jongleur de Notre-Dame.

Will is assigned to a mission to find out who the mysterious magician in Grimsdell Wood is and to stop him from terrorizing the castle of Macindaw. Will goes under disguise as a jongleur; somebody who acts as a jester but doesn't serve a king, going around the kingdom entertaining for money. He does this because people tend to trust jongleurs, whereas people often clammed up around Rangers, due to the mystery surrounding their position. This would, in turn, help him to get information on Grimsdell Wood.

BEIC) Firmin Didot (son of François-Ambroise Didot) was born in 1764 and died in 1836. Firmin Didot was the inventor of stereotypography which entirely changed the book trade. Firmin Didot was the first to engrave slips of so- called "English" and round hand-writing. Among the works which issued from his press were "Les Ruines de Pompéi", "Le Panthéon égyptien" of Champollion- Figeac, and "Historial du Jongleur", printed in Gothic type, with tail-pieces and vignettes, like the editions of the fifteenth century.

The story takes place over 7 days in May 1140. At the midnight services of Matins on a lovely May night, a boy speeds into the Abbey church just ahead of mob after him for theft and murder. Abbot Radulfus stops the mob, grants the victim's request for sanctuary and successfully orders the mob to return in quiet the next morning to discuss their charges. Liliwin is a wandering jongleur and entertainer, evicted from the goldsmith's wedding reception earlier for breaking a wine jug during his routine.

Salv'a lo vescovo senato, also known as the Cantilena giullaresca, because it was written for performance by a jongleur, or Ritmo laurenziano, because it was found in a codex (Santa Croce XV, IV) of the Biblioteca Mediceo Laurenziana in Florence, is a lyric poem in the Tuscan language. It was probably composed in the third quarter of the twelfth century (1150-71) by a Tuscan poet. It is the earliest surviving piece of poetry in an unmistakably Italian dialect. Salv'a lo vescovo senato comprises twenty monorhyming ottonari.

Rojer enters the narrative as a toddler, the only member of his family to survive a coreling attack. He is rescued and adopted by an alcoholic jongleur, a type of roaming jester that frequently travels with messengers and performs in villages on the messenger's route. Rojer has a crippled hand, caused by the loss of two fingers in the coreling attack that killed his parents. This limits his ability to juggle but does not hinder him in the least when he plays his favorite instrument, the fiddle.

Besides Grenoble and Paris Friant also sang at the casino in Biarritz, the Théâtre Royal de La Monnaie in Brussels, the Opéra de Marseille, and the Nice Opera. Friant appeared at the Algiers Opera (now the Théâtre National Algérien) in the 1926/1927 season in Manon, Tosca, Werther, and Le jongleur de Notre Dame; and in the 1931/32 season in La Peau de chagrin. His final performance was at the Opéra de Monte-Carlo on 2 February 1946 in Carmen in the supporting role of Le Dancaïre.

The chastity test involving the drinking horn was narrated in the Lai du Cor (1160) by the jongleur Robert Biket, who said that Cirencester was awarded to Caradoc for winning the drinking horn through the fidelity of his wife, and that the horn was on display there. In 1698, Charlotte-Rose de Caumont de La Force rewrote the tale under the title L'Enchanteur ("The Enchanter"). The story was essentially the same, despite a few changes, including the renaming of several characters: Caradoc the Younger, Cador, Guinier and Ysave became Carados, Candor, Adelis and Isène.

In writing the song, Anderson drew from the aria "Ô Souverain, ô juge, ô père" (O Sovereign, O Judge, O Father) from Jules Massenet's 1885 opera Le Cid. She got the idea after seeing the aria performed in concert by American tenor Charles Holland. The first lines ("O Superman / O Judge / O Mom and Dad") especially echo the original aria ("Ô Souverain / ô juge / ô père"). Susan McClary suggests in her book Feminine Endings that Anderson is also recalling another work by Massenet, his 1902 opera Le jongleur de Notre-Dame.

Nothing is known of the dates of Azalais's birth and death. From her name, and from the statement in the Biographies cited above, it can be concluded that she came from the village of Portiragnes, just east of Béziers and about ten kilometers south of Montpellier, close to the territories that belonged to Gui and to his brothers. Aimo Sakari argues that she is the mysterious joglar ("jongleur") addressed in several poems by Raimbaut of Orange (a neighbour, and a cousin of Gui Guerrejat). One poem attributed to Azalais, classically simple and emotional, survives today.

Jasmin was the most famous forerunner, in Provençal literature, of Frédéric Mistral and the Félibrige. His influence in rehabilitating, for literary purposes, his native dialect, was particularly exercised in the public recitals of his poems he gave. His poetic gift, as well as his fluent voice and fluid bearing, fitted him admirably for this double role of troubadour and jongleur. In 1835, he recited his "Blind Girl of Castel-Cuill" at Bordeaux, and in 1836 at Toulouse, and he met with an enthusiastic reception in both of these important cities.

Nicoletto's tenso with Joan d'Albusson. The large "E" in the centre of the page begins the line En Nicolet ... Nicoletto da Torino (Occitan: Nic(c)olet de Turin or Nicolez de Turrin) was a Piedmontese jongleur and troubadour of the first half of the thirteenth century, probably from Turin, though some believe that to be his father's name. He produced three surviving tensos with Joan d'Albusson, Falquet de Romans, and Uc de Saint Circ. Nicoletto is probably the same person as the "Nicolet" who appears in a list of jongleurs in Li fol e.

105–106 The critic Alan Blyth comments that they embody the original, intimate Opéra-Comique style of performing Massenet. Of Massenet's operas, the two best known, Manon and Werther, have been recorded many times, and studio or live recordings have been issued of many of the others, including Cendrillon, Le Cid, Don Quichotte, Esclarmonde, Hérodiade, Le jongleur de Notre-Dame, Le mage, La Navarraise and Thaïs. Conductors on these discs include Sir Thomas Beecham, Richard Bonynge, Riccardo Chailly, Sir Colin Davis, Patrick Fournillier, Sir Charles Mackerras, Pierre Monteux, Sir Antonio Pappano and Michel Plasson.

Will travels to Macindaw, where their Baron, Lord Syron, has been poisoned and is now in the hospital. His son Orman has taken over the castle while his father is ill, but Orman's cousin Keren has been trying to take over as Baron, but Will does not know this yet. Will rides to Grimsdell and sees the Night Warrior, one of the ghosts in Grimsdell, and flees in fear on his horse Tug. Will performs for Orman during his dinner (in the great hall), but Orman claims he is a very bad jongleur due to his inability to play classical music.

According to his vida, he was a gambler and publican who could not keep the money he earned but spent it away gambling and frequenting taverns, and so he was always ill-equipped for riding. In Maigret, pujat m’es el cap, a tenso with Guilhem Rainol d'Apt, he is despised by his debate partner as a joglar vielh, nesci, badoc: "an old, silly, stupid jongleur". Despite this, his biographer notes that he was well liked and honoured and his songs were "good". Guillem travelled widely in Spain, sojourning at the courts of Peter II of Aragon and Alfonso IX of León.

He was respected and admired by contemporaries, judging by the widespread inclusion of his work in chansonniers and in citations by other troubadours. Though his biography is made confounding by contradicting statements in his vida and allusions in his and others' poems, Perdigon's status as a jongleur from youth and an accomplished fiddler is well-attested in contemporary works (by him and others) and manuscript illustrations depicting him with his fiddle. Perdigon travelled widely and was patronised by Dalfi d'Alvernha, the Baux,Probably Guillem des Baux (Aubrey, 218). Peter II of Aragon, and Barral of Marseille.

Oscar Hammerstein I (left) with conductor Cleofonte Campanini in New York, 1908. In 1906, Hammerstein, dissatisfied with the Metropolitan Opera's productions, opened an eighth theater, his second Manhattan Opera House, to directly (and successfully) compete with it. He also opened the Philadelphia Opera House in 1908, which, however, he sold early in 1910."Philadelphia Opera House" at the New International Encyclopedia He produced contemporary operas and presented the American premieres of Louise, Pelleas et Melisande, Elektra, Le jongleur de Notre-Dame, Thaïs, and Salome, as well as the American debuts of Mary Garden and Luisa Tetrazzini.

Bauerntanz zweier Kinder (also known as Italienischer Bauerntanz or Italian Folk dance) is an 1895 German short black-and-white silent documentary film directed by Max Skladanowsky. The film captures two children from Ploetz- Lorello, performing a dance. It was one of a series of films produced to be projected by a magic lantern and formed part of the Wintergarten Performances, the first projections of film in Europe to a paying audience. The film titles for the initial program were: Bauerntanz zweier Kinder, Komisches Reck, Serpentinen Tanz, Der Jongleur Paul Petras, Das Boxende Känguruh, Akrobatisches Potpourri, Kamarinskaja, Ringkampf, and Apotheose.

Using gravity by a one metre wide and two metres deep canal, sealed inside with lead, the water was directed toward the tour du Jongleur ("tower of the Juggler") at the southern end of the aqueduct. From there, a siphon ensured the supply of a reservoir called réservoir des Deux Portes and the nearby tanks of Marly and Louveciennes. The aqueduct was retired from service in 1866 and replaced by underground pipes. During the Siege of Paris (1870-1871), the tour du Levant was used as an observation point by the future German emperor William I and the chancellor Bismarck.

The troubadour has been identified with a person bearing the initials "G.R." marked on a tomb in the monastery of Sant Daniel de Girona and lying next to the tomb of his mother, Brunissendis de Gerundella. If this identification is correct, then Guillem Ramon was the canon Guillelmus Raimundi de Gerundella whose death is recorded in monastic records on 8 July of an unknown year. All of Guillem Ramon's surviving poetry, four works in total, is preserved in a single chansonnier, three cansos under the full name Guilem Raimon de Gironela and one partimen with the jongleur Pouzet under the name Guilem Raimon.

The company played the Knights of Columbus hall in Quebec city starting March 27, and in April the performances took place at the Palais Montcalm. He joined the Société canadienne d'opérette run by Honoré Vaillancourt, where he performed in Le Carillon de Saint-Arlon (1924), Rêve de valse (1924), La Cocarde de Mimi Pinson (1925), Ordre de l'empereur (1925), Les Cloches de Corneville (1926), Le Beau Voyage (1926), Le Jongleur de Notre-Dame (1928) and La Dernière Valse (1929). In the 1930s Belleval retired from the music business, opening a retail shop in Contrecœur. There he created the Association des marchands détaillants.

Berenguier de Poizrengier or Peizrenger (floruit after 1195) was a minor troubadour or jongleur, the author of one cobla esparsa, "Mal'aventura do Deus a mas mas", about some bad luck in a game of dice, and some corresponding good fortune in love. Metrically it is modelled off of "Bon'aventura do Deus als Pizans" by Peire Vidal, which can be confidentially dated to 1195. It was probably composed in Languedoc, because of a reference to cen solz de Malgoires. The cobla is preserved only in the chansonnier known as H, where the poet is named as berengiers d(e) peiz renger in the rubric.

That meant no interchangeable lines as in troubadour poetry and fewer repetitions: for a French jongleur who sang his poems these were necessary, but they sounded redundant to the Sicilian authors. Their poetry was music to the eye, not to the ear, and their legacy is also apparent in Dante and Petrarch's lyrics. The sonnet is even more exacting on this point: the separation between the octave and the sestet is purely a logical one, the rimes drawing a visual line between the first and last part. However, the fact that Italian poetry was being made for the reading public may have facilitated its circulation.

Casts for these performances were often extraordinary: Carmen with Emma Calvé, Emma Eames, and Albert Saléza; Don Giovanni with Lilli Lehmann, Lillian Nordica or Emmy Destinn, Suzanne Adams, Zélie de Lussan and Edouard de Reszke; Manon with Mary Garden; Rigoletto with Nellie Melba or Selma Kurz, Enrico Caruso, and Marcel Journet. Renaud toured extensively, appearing at Saint Petersburg, Berlin, Monte Carlo, where he sang in the premières of Massenet's Le jongleur de Notre-Dame (1902) and Chérubin (1905). In 1902 he sang Méphistophélès in Raoul Gunsbourg's staging of Berlioz' La damnation de Faust, both in Monte Carlo and at La Scala with Toscanini conducting.

The only sure way to date Guilhem Peire's life and work is by his tenso with Bernart de la Barta, who was alive in 1229, and by a sirventes of Guilhem Figueira, Un nou sirventes ai en cor que trameta, composed in 1240, which mirrors D'una leu chanso ai cor que m'entremeta, a canso by Guilhem Peire, in metre and rhyme and therefore gives a terminus ante quem for the tenso's composition. Nine of Guilhem Peire's poems are dedicated to a certain friend and jongleur known only by the affectionate senhal Ardit.Senhal is Occitan for "signal" or "sign". Ardit appears in the tornada of Be.m plagr'ueymays qu'ab vos dona, .

He would join the Martina Franca Festival in July 2004 for the unearthing of one of Gounod's forgotten masterpieces, Polyeucte. Among his recent productions, the revival of Dialogues des Carmélites and a new production of the French version of Salome in collaboration with Nice Opera. In 2005, he presents Dialogues des Carmélites in Santiago of Chile and stages Le jongleur de Notre-Dame for the 8th Massenet Festival and Werther in Bordeaux in 2006, then Polyeucte in Saint-Etienne. In June 2006, Jean-Louis Pichon directed Les pêcheurs de perles by Bizet with the Shanghai Opera House before going back to Santiago for a new production of La Gioconda.

He composed a tenso with the infante discussing the war with the County of Urgell that Peter had waged from September to December that year. Peironet and another jongleur who does not participate in the poetic exchange, Arnaut tritxador, were apparently carrying a message to the infante about the status of his father the king. In the tenso Peironet talks about armes i amors, war and love, the two favourite themes of the troubadours. The song, the incipit of which is Can vey En Peyronet ploran ("When Sir Peironet came crying"), consists of two stanzas by the heir and a two-stanza response from the messenger.

Early cylinder and disc recordings by Soulacroix include arias from Rip, Richard Cœur-de-Lion, La Favorite, Hérodiade, Si j’étais roi and Carmen, as well as from roles which he created: "A ton amour simple et sincère" and "Quand tu connaîtras Colette" from La Basoche, and the 'Air du prieur' from Le jongleur de Notre-Dame. Soulacroix recorded a great deal for Pathé, Odéon and the Gramophone Company from 1899 to his death. Some of these recordings have been re-issued on CD. According to Michael Scott in The Record of Singing, they show that "he possessed a smooth, elegant, lyrical voice and an exemplary bel canto technique".

Die Serpentintänzerin (also known as Serpentinen Tanz) is an 1895 German short black-and-white silent documentary film, directed and produced by Max Skladanowsky, one of the German-born brothers responsible for inventing the Bioscop. It was one of a series of films produced to be projected by a magic lantern and formed part of the Wintergarten Performances, the first projections of film in Europe to a paying audience. The film titles for the initial program were: Italienischer Bauerntanz, Komisches Reck, Serpentinen Tanz, Der Jongleur Paul Petras, Das Boxende Känguruh, Akrobatisches Potpourri, Kamarinskaja, Ringkampf and Apotheose. Each film lasted approximately six seconds and would be repeated several times.

He remained at the Opéra Comique for three years, portraying a variety of roles like, Basilio in The Barber of Seville, the title role in Giacomo Puccini's Gianni Schicchi, the Prior in Massenet's Le jongleur de Notre-Dame, des Grieux in Manon, Lothario in Mignon, Ramon in Charles Gounod's Mireille, the four villains in The Tales of Hoffmann, Count Almaviva in Le nozze di Figaro, and Scarpia in Tosca among others. He also sang in the world premiere of Emmanuel Bondeville's L’École des maris (1933) with the company. In 1936 Gauld returned to the United States. He returned to the Met again in 1938 where he had his biggest success at the house as Méphistophélès in Faust.

For her first major postwar recital Caryathis collaborated with author and artist Jean Cocteau, who at that time was a spokesman for Satie and the composers of Les Six, and the program they assembled focused primarily on their music.The finalized program consisted of La belle excentrique, Francis Poulenc's Le Jongleur, Georges Auric's Paris-Sport, Maurice Ravel's Rapsodie espagnole, and an unnamed Spanish dance by Enrique Granados, along with non-choreographed works by Darius Milhaud (Symphonie pastorale) and Arthur Honegger (Pastorale d'été). See Michel Duchesneau, François de Medici, Sylvain Caron, "Music and Modernity in France (1900-1945)", PUM, 2006, p. 103. Satie was paid 500 francs each for his three dance numbers; he threw in the Grande ritournelle for free.

In the end Riquier argued—and Alfonso X seems to agree, though his "response" was probably penned by Riquier—that a joglar was a courtly entertainer (as opposed to popular or low-class one) and a troubadour was a poet and composer. Despite the distinctions noted, many troubadours were also known as jongleurs, either before they began composing or alongside. Aimeric de Belenoi, Aimeric de Sarlat, Albertet Cailla, Arnaut de Mareuil, Elias de Barjols, Elias Fonsalada, Falquet de Romans, Guillem Magret, Guiraut de Calanso, Nicoletto da Torino, Peire Raimon de Tolosa, Peire Rogier, Peire de Valeira, Peirol, Pistoleta, Perdigon, Salh d'Escola, Uc de la Bacalaria, Uc Brunet, and Uc de Saint Circ were jongleur-troubadours.

Mese Mariano received its first performance in Turin in 1937 at the Teatro Carignano (in a double bill with Hänsel und Gretel), and in Venice in 1949 at La Fenice (in a double bill with Le jongleur de Notre- Dame). Its US premiere did not come until 1955, when it was presented at Carnegie Hall in New York.The New York Times, 7 June 1955, p. 38. There have been a few late 20th century revivals including those in 1992 at the Teatro del Giglio in Lucca and the Teatro Pergolesi in Jesi and the 1998 performance at the Festival della Valle d'Itria where it was paired with another now- forgotten opera by Giordano, Il re.

This stanza has different readings: The verse is very unclear. The first reading suggests that Raymond V of Toulouse had heard Pere sing. If Pattison's reconstruction of events surrounding Peire d'Alvernhe's satire is correct, however, Pere de Montsó was attached to the Spanish entourage (possibly as a jongleur) of Eleanor, daughter of Henry II of England and fiancée of Alfonso VIII of Castile, who was travelling through Gascony on her way to Spain when she and her entourage were entertained by Peire's satire. Pattison suggest on the basis of this stanza that the troupe had also travelled through the lands of Toulouse and met in the presence of the Count, whose whereabouts at the time are otherwise unrecorded.

Furthermore, according to his vida, Uc's many older brothers sent him off to receive a clerical education in Montpellier. At Montpellier he learned to read and write and discovered "songs and poems and sirventes and tensos and couplets and the deeds and the sayings of the worthy men and the worthy women who were living or had lived in the world." It was through this education that he became a minstrel (jongleur). Uc's gained fame through the coblas and partimens he exchanged with the Count of Rodez, under whom he probably served in the Albigensian Crusade, and through the two tensos he exchanged with Raymond III of Turenne, brother of Maria de Ventadorn.

According to his vida, he became a jongleur and travelled to the court of Alfonso II of Aragon, who bestowed great honour on him. The earliest datable work by Peire Ramon is a planh written on the death of Henry the Young King in 1183. According to his vida Peire passed "a long time" at the courts of Alfonso, William VIII of Montpellier, and a certain "Count Raymond", which could refer to either Raymond V of Toulouse or, more probably, Raymond VI. He also spent time in Italy (Lombardy and Piedmont), at the courts of Thomas I of Savoy, Guglielmo Malaspina, and Azzo VI of Este. Azzo's daughter Beatriz was the addressee of one of Peire's poems.

Indeed, Blanquerna "is made credible precisely because he is prone to make mistakes and to experience temptation, and in the end this gives him an authority which other authorities are obliged to recognize."Arthur Terry, A Companion to Catalan Literature (Boydell & Brewer, 2003), 14. Blanquerna's life takes him through widely varying places and social strata, from uninhabited forests and wildernesses to the dense Roman urban landscape of thieves and prostitutes, from interactions with young maidens to interactions with popes and emperors. As he matures, Blanquerna listens to the advice of a jongleur, a "wise fool" named Ramon. Blanquerna reforms the Church completely as pope, with Ramon’s help, and finally becomes the hermit he had always desired to be.

The bard, as part of the "rogue" group, was one of the standard character classes available in the second edition Player's Handbook; in this edition, the bard was regularized. According to the second edition Player's Handbook, the bard class is a more generalized character than the more precise historical term, which applied only to certain groups of Celtic poets who sang the history of their tribes in long, recitative poems. The book cites historical and legendary examples of bards such as Alan-a-Dale, Will Scarlet, Amergin, and even Homer, noting that every culture has its storyteller or poet, whether such as person is called bard, skald, fili, jongleur, or another name. In AD&D; 2nd edition, bards were of the rogue group.

This was a magnificent plan and would have worked wonderfully, except that opening night ironically fell on November 4, 1929 (again with a delightful performance of Aida) less than a month after the Black Tuesday stock crash. This catastrophe, coupled with the extravagance of the new house, were body blows at the financial health of the civic Opera, starting a chain reaction. Soon Insull, the financial mainstay, lost control of his utilities and transportation companies and became unable to under-write Civic Opera. Mary Garden, the star-power and resident genius of Civic, never happy with the new opera house, retired abruptly after a performance of Massenet's Le jongleur de Notre-Dame at the end of the 1931/2 season.

Louis was still captive in Syria (1254) when Bernart wrote in hopes that the two kings would take advantage of the French monarch's absence. Because of his political poetry, Bernart was very unpopular with the Aragonese court, though he may have travelled into Castile and certainly had a high opinion of Alfonso X of Castile. In 1259-60 he joined the revolt led by Ramon Folc V de Cardona against James of Aragon, which occasion a meg-sirventes (half-sirventes) no longer extant but mentioned in the poem Can aug en cort critz e mazans e brutz by Cerverí de Girona (towards the end of 1259). Bernart's response to Cerverí's criticism that he was nought but a jongleur, if he made one, has not survived.

A miniature of Falquet below his vida (red text) Falquet (or Folquet) de RomansFalquet always appears in Latin documents as Falquetus de Rotmanis and his Occitan name is sometimes spelled Falqet, Falqetz, or Falkez and Rotmans or Roman. His Italian name is Falchetto di Romans. (fl. 1215-1233) was the most famous troubadour attached to the court of Frederick II, Holy Roman Emperor, where he garnered a high reputation despite the fact that his career began as a jongleur. His surviving work consists of fourteen or fifteen pieces: seven sirventes (two religious and two canso sirventes as well as one Crusade song), three tensos (each two coblas long), two or three cansos on courtly love, a salut d'amor (or epistola) of 254 lines, and a religious alba.

City of Golden Shadow, originally published as Otherland, is a science fiction novel by American writer Tad Williams, the first book in his Otherland series. The "Otherland" refers to a virtual world or worlds and the "City Of Golden Shadow" is a city in the Otherland network to which the main characters are being summoned. The novel tells the story of a frightening virtual network created by a group of rich men known as The Grail Brotherhood. These men include: Felix Jongleur, who was a child at the time of the First World War and is currently the world's oldest man; Jiun Biao, a Chinese economist described as "the terror of Asia"; and Robert Wells, the owner of Telemorphix, the world's largest telecommunications company.

According to Hermann Oelsner's contribution to the 1911 Encyclopædia Britannica, Arnaut de Mareuil surpassed his more famous contemporary Arnaut Daniel in "elegant simplicity of form and delicacy of sentiment". This runs against the consensus of both past and modern scholars: Dante, Petrarch, Pound and Eliot, who were familiar with both authors and consistently proclaim Daniel's supremacy His name indicates that he came from Mareuil-sur-Belle in Périgord. He is said to have been a "clerk" from a poor family who eventually became a jongleur; he settled at the courts of Toulouse and then Béziers. He apparently loved the countess Azalais, daughter of Raymond V of Toulouse, married to Roger II Trencavel, and Arnaut's surviving poems may be seen as a sequence (lyric cycle) telling of his love.

Along with Terrisio d'Atina, he described Frederick as the lord of the four elements--air, earth, fire, and water--which he could thus command in his campaigns against the enemies of the Holy Roman Empire. The only certain date in Joan's life is 1229, for he mentions the strengthening of the bond between Boniface II of Montferrat and the emperor in that year. Joan wrote a famous tenso with Sordello da Goito, "Digatz mi s'es vers zo c'om brui" ("Tell me if you are truly what you proclaim"), in which he informs us that the Italian troubadour was forced to be a jongleur at the court of Azzo VII of Este before becoming a troubadour in Provence. Besides his tenso with Sordello, Joan also composed a tenso with another Italian troubadour, Nicoletto da Torino.

Mary Garden in the opera Thaïs Persuaded by Oscar Hammerstein to join his competition against the Metropolitan Opera, Garden quit her frequent Opéra-Comique engagements to join the Manhattan Opera House in New York City. She made her American debut in the Manhattan Opera House on 25 November 1907 in the title role in Thaïs, a role which fitted her personality and art like a glove. She further astounded American audiences with her uncanny portrayal of a young boy in Massenet's Le jongleur de Notre- Dame (1908) and in the United States premiere of Pelléas et Mélisande. In 1908 she returned to Paris to join the roster at the Opéra National de Paris. She sang there for one season, notably portraying Ophelia in Ambroise Thomas's Hamlet (1908) and the title part in Henry Février's Monna Vanna (1909) among other roles.

Poems by troubadours are quoted in the French romances of the beginning of the 13th century; some of them are transcribed in the old collections of French songs, and the preacher Robert de Sorbon informs us in a curious passage that one day a jongleur sang a poem by Folquet of Marseilles at the court of the king of France. Since the countries of the langue d'oil had a full developed literature of their own, the troubadours generally preferred to go to regions where they had less competition. The decline and fall of troubadour poetry was mainly due to political causes. When about the beginning of the 13th century the Albigensian Crusade led by the French king had decimated and ruined the nobility and reduced to lasting poverty a part of the Occitan territories, the profession of troubadour ceased to be lucrative.

In Macdonald's view of the comic works, Cendrillon and Don Quichotte succeed, but Don César de Bazan and Panurge are less satisfying than "the more delicately tuned operas such as Manon, Le portrait de Manon and Le jongleur de Notre-Dame, where comedy serves a more complex purpose." According to Operabase, analysis of productions around the world in 2012–13 shows Massenet as the twentieth most popular of all opera composers, and the fourth most popular French one, after Bizet, Offenbach and Gounod."Composers", Operabase, retrieved 2 August 2014 The most often performed of his operas in the period are shown as Werther (63 productions in all countries), followed by Manon (47), Don Quichotte (22), Thaïs (21), Cendrillon (17), La Navarraise (4), Cléopâtre (3), Thérèse (2), Le Cid (2), Hérodiade (2), Esclarmonde (2), Chérubin (2) and Le mage (1).

He was immediately acclaimed as an extraordinary singer. Friant had a wide repertory, including the title role in Henri Rabaud’s Marouf, Le Chevalier des Grieux in Manon, Gérald in Lakmé, Jean in Le jongleur de Notre Dame (another signature role), Canio in Pagliacci, Cavaradossi in Tosca, and Don José in Carmen. With his acting ability, he was often chosen to create roles in new operas. He sang in the premieres of Le roi Candaule by Alfred Bruneau (as Gygès); and Le Bon Roi Dagobert (as Dagobert), La Hulla (as Narsès), Deux sous de fleurs by Ralph Benatzky, Mandrin by Joseph Szulc (as Antoine), and the title role in Tarass-Boulba by Marcel Louis Auguste Samuel- Rousseau. Other works of his day he was chosen for included le Prince Charmant in Louis Aubert’s La Forêt Bleue and Raphael in Charles Levadé’s La Peau de chagrin.

He served at the court of Dalfi d'Alvernha, but was in love with his sister Salh (or Sail) de Claustra (which means "fled from the cloister"), the wife of Béraut III de Mercœur, and wrote many songs for this "domna" (lady). While Dalfi had brought his sister to his court for Peirol and had helped Peirol cater to her tastes in his compositions, eventually Dalfi grew jealous of the attention his sister gave Peirol and, in part because of the impropriety, had to dismiss Peirol, who could not support himself as a man-at- arms. His biographer indicates, Peirols no se poc mantener per cavallier e venc joglars, et anet per cortz e receup dels barons e draps e deniers e cavals. That is: Peirol being unable to maintain himself as a knight became a jongleur, and travelled from court to court, receiving from barons clothing, money, and horses.

The arrival of Peter the Hermit in Rome The Chanson d'Antioche is a chanson de geste in 9000 lines of s in stanzas called laisses, now known in a version composed about 1180 for a courtly French audience and embedded in a quasi- historical cycle of epic poems inspired by the events of 1097–99, the climax of the First Crusade: the conquest of Antioch and of Jerusalem and the origins of the Crusader states. The Chanson was later reworked and incorporated in an extended Crusade cycle, of the 14th century, which was far more fabulous and embroidered, more distinctly romance than epic. The subject is the preaching of the First Crusade, the preparations for departure, the tearful goodbyes, the arrival at Constantinople and the siege and taking of Antioch. The lost original poem was said to have been composed by an eye-witness, Richard le Pèlerin, ("Richard the Pilgrim"), a North French or Flemish jongleur, who began it partly on the spot, during the eight-month siege of Antioch.