Charpentier: David et Jonathas: ABC CLASSICS [RH] August MusicWeb-International
David, Jonathan, King Saul in BAM: Marc-Antoine Charpentier's opera “David et Jonathas”. TAGS: BAM, PHOTO. THEME: NYC. By Ann Tyller. Then Jonathan made a covenant with David because he loved him as himself. In setting Père François Bretonneau's libretto, Charpentier, who never Despite its fevered theatricality, this connection of the dead wife to the. Marc-Antoine CHARPENTIER () David et Jonathas ()  Fraser; A Warrior - David Greco; One of Jonathan's company - Ashley Giles One of the ways he did this was to establish a relationship with the.
David and Jonathan
David and Jonathan 1Sam. This devotion between Jonathan and David has been interpreted by some in recent decades to suggest a homosexual relationship. This discussion has become more heated in recent years because of the major controversy which has arisen both within and outside the Church over whether homosexuality is permissible according to the Bible.
The preponderance of the evidence shows that although David and Jonathan were close, their intimacy was not unusual for heterosexual male friends in that culture - leaving insufficient reasons to suggest any sort of romantic relationship between them. One of the main arguments used in favor of romance between them is the strong language used to describe their relationship.True Friends - David And Jonathan - Shawn Stone
David and Jonathan Public Domain Although this sounds odd to Westerners, it would not have been out of place in dialogue between heterosexual male friends in the ancient Near East; where stronger language and exaggeration tend to be used in describing intimate non-romantic and non-sexual relationships.
A modern example would be pictures of male Middle Eastern leaders kissing each other on the cheek.
David and Jonathan: A Secret Biblical Bromance? | Ancient Origins
This is not a sign of romantic involvement between them but rather the equivalent to a warm handshake. Harmonia Mundi's release of a major dramatic work has coincided with a festival of his music organized by the recently established Baroque Music Centre at Versailles. France Musique, an approximate counterpart to BBC Radio 3, devoted two whole days to Charpentier's music at the beginning of October in the course of which this recording of David et Jonathas was broadcast along with a great many other works, some wellknown, others hardly known at all.
Erato capitalizing on the event, timed the CD issue of their earlier recording of the opera to coincide with the Versailles weekend and, I could not help noticing that, in time-honoured Parisian fashion, the widely differing styles of performance of the two versions at once provoked opposing factions.
A tradition of performing sacred tragedies, in Latin, had grown up there from the sixteenth century but, to alleviate austerity musical interludes, sung in French but retaining the moral bias of the occasion, were interspersed among the acts. By the s these had developed into a form of entertainment more closely resembling Lully's well-established tragedies en musique.
Intense love, gorgeous music in biblical story of two men
Charpentier's David et Jonathas was commissioned by the College to alternate with a Latin play Saul, by Etienne Chamillard, one of the Jesuit Fathers, Charpentier's libretto, closely allied to the play, was by another Jesuit, Francois Bretonneau. David et Jonathas, although designed ''pour servir d'intermedes a la piece Latine'', is a tragedie en musique of the Lullian pattern though with marked differences, and was first performed at the College in February Lully was dead and the hateful ordinances, affecting theatre music by other composers, lifted.
David et Jonathas consists of an Overture, Prologue and five acts though, unlike Lully's operas, the work was not conceived autonomously but in relationship with Chamillard's play. This need not concern listeners over much today since the opera is very much a work in its own right. Nevertheless the peculiar function of the opera did influence its design.
David and Jonathan - Wikipedia
The Prologue, for instance, introduced not only the opera but also the play and, since the play provided the action, the opera could hardly repeat the action all over again. Both Bretonneau and Charpentier understood this very well and placed the emphasis, instead, on the portrayal and psychological development of the principal characters.
In Act 1 David is the focal point, Act 2 is something of a study in Joabel's jealousy. Saul is the centre of attention in Act 3 whereas in Act 4 it is Jonathas. Only in Act 5 does action momentarily take precedence over reflection and contemplation as we see Saul beaten in battle and Jonathas mortally wounded.
I am distressed for you, my brother Jonathan; You have been very pleasant to me. Your love to me was more wonderful than the love of women. How have the mighty fallen, And the weapons of war perished! Which love depended on a selfish end? This was the love of Amnon and Tamar. And which did not depend on a selfish end?
This was the love of David and Jonathan. This argues that the relationship between the two, although strong and close, is ultimately a platonic friendship.
The covenant that is made is political, and not erotic; while any intimacy is a case of male bonding and homosociality. Neither of the men is described as having problems in their heterosexual married life. David had an abundance of wives and concubines as well as an adulterous affair with Bathshebaand apparently suffered impotence only as an old man, while Jonathan had a five-year-old son at his death.
Emotional and even physical closeness of two males did not seem to concern the editors of the story, nor was such a relationship prohibited by Leviticus. The story has also frequently been used as a coded reference to homoerotic relations when the mention was socially discouraged or even punished.
Jonathan cherished David, Achilles loved Patroclus. David had mourned for Jonathan.