|
gptkbp:instance_of
|
gptkb:opera
gptkb:play
|
|
gptkbp:adaptation
|
gptkb:Film_adaptations
Television adaptations
adapted into a film
The Triumph of Love (opera)
|
|
gptkbp:adaptation_year
|
gptkb:2001
gptkb:2010
|
|
gptkbp:adapted_into
|
gptkb:musical
gptkb:film
|
|
gptkbp:audience
|
popular among audiences
performed in various languages
|
|
gptkbp:based_on
|
The Triumph of Love (play)
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|
gptkbp:character
|
gptkb:philosopher
gptkb:Hermocrate
gptkb:Princess_Léonide
gptkb:Hermocrates
Agis
Leontine
Damis
Léonide
|
|
gptkbp:character_development
|
Agis's self-discovery
Hermocrate's acceptance of love
Leontine's transformation
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|
gptkbp:character_motivation
|
Agis's quest for identity
Hermocrate's protective nature
Leontine's love for Agis
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|
gptkbp:character_relationships
|
Hermocrate and Agis
Leontine and Agis
Leontine and Hermocrate
Agis and Hermocrate
Léonide and Agis
Léonide and Hermocrate
|
|
gptkbp:composer
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gptkb:Francis_Poulenc
|
|
gptkbp:critical_reception
|
Positive reviews
generally positive
well-received
Scholarly analysis
|
|
gptkbp:cultural_impact
|
inspired modern adaptations
influenced modern operas
Influence on French theatre
|
|
gptkbp:cultural_significance
|
Exploration of gender roles
Examination of social norms
Reflection on love and relationships
|
|
gptkbp:director
|
gptkb:Jean-Pierre_Ponnelle
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|
gptkbp:first_performance
|
gptkb:Théâtre_de_l'_Opéra-Comique
1732
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|
gptkbp:genre
|
gptkb:comedy
|
|
gptkbp:historical_context
|
Enlightenment era
French theatre evolution
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The Triumph of Love
|
|
gptkbp:influence
|
gptkb:Modern_adaptations
French theatre
|
|
gptkbp:influenced_by
|
gptkb:Corneille
gptkb:Molière
gptkb:Racine
gptkb:French_farce
gptkb:Commedia_dell'arte
French opera tradition
|
|
gptkbp:inspiration
|
gptkb:Commedia_dell'arte
inspired by Greek mythology
|
|
gptkbp:language
|
gptkb:French
|
|
gptkbp:legacy
|
considered a classic
studied in literature courses
|
|
gptkbp:librettist
|
gptkb:Jean_Cocteau
|
|
gptkbp:main_character
|
gptkb:philosopher
gptkb:Hermocrate
gptkb:Princess_Léonide
Agis
Leontine
|
|
gptkbp:music_style
|
French classical theatre
Romantic theatre
|
|
gptkbp:notable_aria
|
Je suis un peu trop triste
|
|
gptkbp:notable_artist
|
gptkb:Pretty_Yende
gptkb:Juan_Diego_Flórez
gptkb:Thomas_Hampson
gptkb:Barbara_Bonney
gptkb:Anna_Netrebko
gptkb:Diana_Damrau
gptkb:Elīna_Garanča
gptkb:Joyce_Di_Donato
gptkb:Lucia_Popp
gptkb:Renato_Bruson
gptkb:Natalie_Dessay
gptkb:Alfredo_Kraus
gptkb:Angela_Gheorghiu
gptkb:Renée_Fleming
gptkb:Sumi_Jo
gptkb:Sondra_Radvanovsky
gptkb:Nadine_Sierra
gptkb:Violeta_Urmana
gptkb:Ailyn_Pérez
gptkb:Patricia_Petibon
gptkb:Marina_Poplavskaya
gptkb:Kiri_Te_Kanawa
gptkb:Lisette_Oropesa
|
|
gptkbp:notable_conductors
|
gptkb:Charles_Mackerras
|
|
gptkbp:notable_production
|
gptkb:Theatre_Royal,_Bath
gptkb:Royal_Shakespeare_Company
gptkb:Comédie-Française
2001 production at the Opéra-Comique
|
|
gptkbp:notable_quote
|
“ The heart has its reasons which reason knows not.”
" Love is a game that two can play and both win."
“ To love is to be vulnerable.”
“ Love is a game that two can play and both win.”
|
|
gptkbp:number_of_acts
|
gptkb:3
|
|
gptkbp:orchestration
|
gptkb:orchestra
|
|
gptkbp:original_language
|
gptkb:French
|
|
gptkbp:performance
|
approximately 2 hours
|
|
gptkbp:performance_style
|
gptkb:romantic_comedy
Satire
Farce
farce
|
|
gptkbp:plot
|
Love and deception
Search for identity
Resolution of conflicts
|
|
gptkbp:premiere_date
|
gptkb:1922
|
|
gptkbp:premiere_location
|
gptkb:Paris
|
|
gptkbp:published_in
|
1732
|
|
gptkbp:recordings
|
gptkb:Decca_Records
|
|
gptkbp:revival
|
frequently revived
|
|
gptkbp:setting
|
gptkb:Ancient_Greece
|
|
gptkbp:style
|
gptkb:Romanticism
lyrical
satirical
|
|
gptkbp:symbolism
|
gptkb:social_class
the nature of love
masking and unmasking
|
|
gptkbp:theme
|
gptkb:Love
gptkb:Deception
gptkb:deception
gptkb:identity
love
|
|
gptkbp:written_by
|
gptkb:Pierre_de_Marivaux
|
|
gptkbp:bfsParent
|
gptkb:The_Magic_Flute
|
|
gptkbp:bfsLayer
|
4
|