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Voice type in French opera
The haute-contre (plural hautes-contre) was the primary French operatic tenor voice, predominant in French Baroque and Classical opera, from the middle
Haute-contre
High classical male singing voice
sing in the alto range with little or no falsetto, equating it with haute-contre and the Italian tenor altino. Adherents to this view maintain that a
Countertenor
includes most of the roles which were created by the leading French hautes-contre of the 17th and 18th centuries, or at least those to be found in operas
List of French haute-contre roles
List_of_French_haute-contre_roles
1745 opera by Jean-Philippe Rameau
known about this production, except that the title role was taken by the haute-contre Pierre Jélyotte, a famous character actor and the leading tenor of the
Platée
Group of voices with similar vocal ranges
also designated a very high tenor voice, the equivalent of the French haute-contre. Until about 1830, all male voices used some falsetto-type voice production
Voice_type
Type of vocal range
contralto; for a male, as a countertenor (or in early French music as haute-contre) or a falsetto singer. A castrato may also sing in this range. The contralto
Alto
Opera by Jean-Baptiste Lully
characters (not mentioned in the original libretto): Famine (haute-contre), War (bass), Flood (haute-contre), Blaze (bass). This part is stated by Parvopassu as
Isis_(Lully)
1762 opera by Christoph Willibald Gluck
other adjustments such as shifting Orpheus down to a high tenor, or haute-contre, from castrato, to suit the convention in French opera for heroic characters
Orfeo_ed_Euridice
Portrayal of a stage character by a performer of the opposite sex
spirits. In Lully's 1686 opera Armide the hero (Renaud) was sung by an haute-contre (a type of high tenor voice) while the female spirit of hatred (La Haine)
Travesti_(theatre)
Opera by Jean-Baptiste Lully
2008) unless otherwise stated. Lajarte, p. 45. According to Parvopassu, haute-contre, but in fact the part is notated in the bass clef in the original printed
Phaëton_(Lully)
credulous Adonis and entreats vengeance of heaven and hell. Mercury (haute-contre) then descends onto the scene assuring the enraged goddess that Venus
Les_surprises_de_l'Amour
Bowed string instrument
Bratsche. The French had their own names: cinquiesme was a small viola, haute contre was a large viola, and taile was a tenor. Today, the French use the term
Viola
Opera by Christoph Willibald Gluck
haute-contre by Brown 1992, p. 1289. The first performer Godard, an erstwhile artist of the Académie Royale de Musique, is also classed as an haute-contre
La_rencontre_imprévue
Opera is an art form combining sung text and musical score in a theatrical setting
Sung-through Surtitles Claque Coup de glotte Divertissement Encore Entr'acte Haute-contre Intermède Overture Répétiteur Roulade Timbre Tragédie en musique Travesti
Outline_of_opera
Art form combining sung text and musical score in a theatrical setting
French disliked castrati, preferring their male heroes to be sung by an haute-contre (a high tenor), of which Joseph Legros (1739–1793) was a leading example
Opera
in the rest of Europe, preferring their male heroes to be sung by the haute-contre, a particularly high tenor voice. Dramatic recitative was at the heart
French_opera
Opera-ballet by Jean-Philippe Rameau
curieuses de la Vie de Topal Osman, Basha & General de l'Armée Ottomane contre les Persans". Mercure Suisse, ou Recueil de Nouvelles Historiques, Politiques
Les_Indes_galantes
French opera singer (died 1702)
his natural and well focused voice, his vocal range was then known as haute-contre. He made his stage debut in 1677, singing a small part in Isis, and then
Louis_Gaulard_Dumesny
1733 opera by Jean-Philippe Rameau
scores and is notated in the alto (haute-contre) clef. In the main body of the opera, Jélyotte also took the haute-contre travesti role of a Fate, the other
Hippolyte_et_Aricie
1746 tragédie en musique by Jean-Marie Leclair
Divertissements. role en travesti According to The New Grove Dictionary, "haute-contre". Both the first Propoetide and Hecate are notated in the tenor clef
Scylla_et_Glaucus
1783 opera or opéra-ballet in three acts by André Grétry
Seraglio haute-contre Jean-Joseph Rousseau [it] Husca, the chief of the caravan and a slave trader baritone François Lays Saint-Phar, a French slave haute-contre
La_caravane_du_Caire
French opera singer
Pierre Jelyotte. Although considered an excellent actor and musician, his haute-contre voice was thin and nasal, and he specialised in the roles of peasants
Antoine_Trial
Flore (Flora) soprano Pan bass Nerée (Nereus) haute-contre Two nymphs sopranos A sea god haute-contre Chorus of Nymphs from Flora's retinue; Fauns and
Céphale et Procris (Jacquet de La Guerre)
Céphale_et_Procris_(Jacquet_de_La_Guerre)
prologue being suppressed, at the 23rd billing. Sometimes reported as haute-contre roles, the parts of the masters, of music and of dance, are actually
Les_fêtes_vénitiennes
Opera by Henri Desmarets and André Campra
revivals of this opera, it was to be always performed by the principal hautes-contre of the company Sources Original libretto: Iphigénie en Tauride, Tragédie
Iphigénie en Tauride (Desmarets and Campra)
Iphigénie_en_Tauride_(Desmarets_and_Campra)
Opera by Jean-Baptiste Lully
Venus (soprano) L’Amour (boy soprano/haute-contre) Mercure (haute-contre) Vulcain (haute-contre) Zéphir (haute-contre) The king, father of Psyché (bass)
Psyché_(opera)
Opera by Jean-Baptiste Lully
soprano Mlle Beaucreux Iris, a goddess soprano Mlle Des Fronteaux A Zephyr haute-contre Dominique de La Grille Hercule, Anthæe, Castor, Pollux, Lyncée, Idas
Atys_(Lully)
Opera by Jean-Philippe Rameau
Conductor: André Chéron [de; fr] Revised version 19 January 1756 Zoroastre haute-contre Pierre Jélyotte François Poirier Abramane basse-taille (bass-baritone)
Zoroastre
Theatre role in which an actress wears male clothing
singer, first a castrato and later, in the revised French version, an haute-contre. Because non-musical stage plays generally have no requirements for vocal
Breeches_role
Belgian operatic tenor (born 1987)
folk-songs and Dumesny, haute-contre de Lully both in 2019, Jéliote, haute-contre de Rameau in 2021, and Legros, haute-contre de Gluck in 2023. Van Mechelen's
Reinoud_Van_Mechelen
Linguistic phenomenon in French
sing.) haute-contre (n. m./f. sing.) haute-forme (n. m. sing.) hautement (adv.) hautesse (n. f.) hauteur (n. f.) hautes-contre (n. m./f. pl.) hautes-formes
Aspirated_h
1749 Jean-Philippe Rameau opera by Jean-Philippe Rameau
Prologue Jupiter basse-taille (bass-baritone) François Le Page Neptune haute-contre Jean-Paul Spesoller [it] called de La Tour (or Latour) Pluton (Pluto)
Naïs
1688 opera by Marc-Antoine Charpentier
types Role Voice type Jonathas boy soprano David haute-contre Une Pythonisse (Witch of Endor) haute-contre Joadab tenor Saül baritone Achis bass L'Ombre
David_et_Jonathas
French opera singer
singing French Baroque music, especially the parts called in French haute-contre, written for a very high tenor voice with no falsetto singing. Specialist
Jean-Paul_Fouchécourt
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
List_of_operatic_pop_artists
1809 opera by Gaspare Spontini
taille voice (lower tenor), or in the alto clef which was used for the haute-contre. According to the original libretto. Score, p. 54. Score, p. 155. Score
Fernand_Cortez
UK singer of early music
contemporary classical music. He has sometimes been identified as an haute-contre tenor. He has performed for over 50 years in choirs and ensembles such
Rogers_Covey-Crump
Opera by Jean-Baptiste Lully
Saint-Christophe (or Saint-Christophle) Jupiter bass Godonesche Alphée (Alpheus) haute-contre Bernard Cledière Aréthuse (Arethusa) soprano Catherine Ferdinand Mercure
Proserpine_(Lully)
Italian-French composer (1632–1687)
five voices of strings such as dessus (a higher range than soprano), haute-contre (the instrumental equivalent of the high tenor voice by that name), taille
Jean-Baptiste_Lully
Opera by Jean-Baptiste Lully
Voice type Premiere cast, 18 April 1682 Persée son of Jupiter and Danaë haute-contre Louis Gaulard Dumesny Andromède daughter of Céphée soprano Marie Aubry
Persée_(Lully)
Operatic aria expressing rage
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Rage_aria
1739 opera by Jean-Philippe Rameau
Bourbonnois) Marie-Angélique Coupé Dardanus, son of Electra and Jupiter haute-contre Pierre Jélyotte Pierre Jélyotte Iphise, daughter of Teucer soprano Marie
Dardanus_(Rameau)
French opera singer (1739–1793)
composer of the 18th century. He is usually regarded as the most prominent haute-contre of his generation, though his acting is reputed to have been mediocre
Joseph_Legros
Type of tenor voice in Italian opera
had been developing since the 17th century. This voice type was called haute-contre, and the majority of heroic and amatory parts were written for it in
Tenore_contraltino
Tenor with a lower mid-range
France, young lover roles were assigned to the high male voices of hautes-contre. Today the taille roles are most often performed by baritones.[citation
Baritenor
French composer (1643–1704)
male monastic community required male voices, he would write for an haute-contre, a tenor and a bass, plus the same instruments. Then, about 1680, Mlle
Marc-Antoine_Charpentier
Opera by Marin Marais
Marie-Louise Desmatins Ceyx haute-contre Marin Boutelou fils Pelée (Peleus) baritone Gabriel-Vincent Thévenard Sommeil (Sleep) haute-contre Pierre Chopelet Pan/
Alcyone_(opera)
Opera by Jean-Baptiste Lully
Desfronteaux) Apollon, haute-contre Le Roy Proserpine, soprano Mlle Bony The Ghost of Alcestis, silent role Alecton, a Fury haute-contre (en travesti) Le Roy
Alceste_(Lully)
1760 opera by Rameau
Henri Larrivée Nérine soprano Marie-Jeanne Lemière Atis haute-contre Lombard La fée Manto haute-contre Jean-Pierre Pillot Un paladin haute-contre Muguet
Les_Paladins
vanquished kings, three of whom, Poirier, Latour and Lefevre, were hautes-contre (p. 32). The period score cited below, on the contrary, lists but five
Le_temple_de_la_Gloire
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
List_of_operas_by_title
Opera by Antonio Sacchini
reason of its being notated in the alto clef, normally used in France for haute-contre parts. This role is not mentioned in the cast list of the original libretto
Œdipe_à_Colone
Compact, low-power binoculars
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Opera_glasses
Opera by Marc-Antoine Charpentier
fall hunting season) it was revised to change the title role from an haute-contre role (perhaps originally sung by Charpentier) to a soprano part, and
Actéon_(opera)
Subgenre of pop music
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Operatic_pop
Opera by Jean-Philippe Rameau
lifetime) Alphise soprano Sémire soprano Borilée baritone Calisis haute-contre Abaris haute-contre Adamas baritone A nymph soprano L'Amour (Cupid) soprano Polymnie
Les_Boréades
1739 opera by Jean-Philippe Rameau
Première entrée: La poésie Sapho soprano Mlle Erémans Thélème (Thelemus) haute-contre Pierre Jélyotte Alcée (Alcaeus) basse-taille (bass-baritone) Mr Albert
Les_fêtes_d'Hébé
Music genre
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Spanish_opera
Musical symbol used to indicate the written pitches of notes
parts along with the alto clef. It was used for the second violin part ('haute-contre') in 17th century French music. Starting in the 18th century, music for
Clef
Opera by Jean-Baptiste Lully
magician, niece of Hidraot soprano Marie Le Rochois Renaud, a knight haute-contre Louis Gaulard Dumesny Phénice, a confidante of Armide soprano Marie-Louise
Armide_(Lully)
Genre of French drama
Oxford: Oxford University Press. ISBN 9780198165996. Sawkins, Lionel, "Haute-contre", in The New Grove Dictionary of Opera (cit., II, pp. 668–69) Portions
Comédie-ballet
Work of Rousseau
Role Voice type Premiere Cast, 18 October 1752 (Conductor:) Colin haute-contre Pierre Jélyotte Colette soprano Marie Fel The Soothsayer basse-taille (bass-baritone)
Le_devin_du_village
1732 opera by Michel Pignolet de Montéclair
soprano Catherine-Nicole Le Maure Ammon haute-contre Denis-François Tribou Phinée bass Jean Dun Abdon haute-contre M. Dumast Almasie soprano Marie Antier
Jephté
Opera by Marc-Antoine Charpentier
Rochois Nérine, Medea's confidante soprano Jason, Prince of Thessaly haute-contre Louis Gaulard Dumesny Arcas, Jason's confidant tenor Créon, King of Corinth
Médée_(Charpentier)
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Chinese_opera
Belgian operatic soprano
voice type referred to in French as haute-contre, so Gluck transposed and adapted the role of Orphée for the haute-contre Joseph Legros. Unfortunately, the
Marie_Sasse
Opera by Jean-Baptiste Lully
( Conductor: – ) Pleasures haute-contre, tenor Langeais, Miracle Un Jeu bass François Beaumavieille Bacchus haute-contre La Grille Venus soprano Beaucreux
Thésée_(Lully)
1712 opera by André Campra
bass-baritone Charles Hardouin Idamante haute-contre Jacques Cochereau Ilione soprano Françoise Journet Arcas haute-contre Jean-Baptiste Buseau Dircé soprano
Idoménée
Opera by Jean-Baptiste Lully
Marie Le Rochois Médor (Medoro) haute-contre Louis Gaulard Dumesny Témire soprano Mlle Armand Astolfe (Astolfo) haute-contre Logistille (Logistilla) soprano
Roland_(Lully)
Opera by Marc-Antoine Charpentier
(Conductor: – ) Orphée haute-contre François Antoine Euridice soprano Pluton bass-baritone Proserpine soprano Ixion haute-contre Marc-Antoine Charpentier
La descente d'Orphée aux enfers
La_descente_d'Orphée_aux_enfers
Opera by Antonio Salieri
former singer emerged from the Chapels of Italy, being sensitive and gay haute-contre Jean-Joseph Rousseau [it] Spinette, a European slave woman, Calpigi's
Tarare_(opera)
Musical settings of biblical text
Noemi Rime, soprano, Nathalie Stutzmann, contralto, Charles Brett, haute-contre, Howard Crook, ténor, Virgin classics 1989 Neuf leçons de Ténèbres, Marc
Lamentations of Jeremiah the Prophet
Lamentations_of_Jeremiah_the_Prophet
du Bourg (Dubourg) Claude-Louis-Dominique Chassé de Chinais Mercure haute-contre Louis Murayre (Muraire) Denis-François Tribou A Hora soprano Mlle Mignier
Les_élémens
Opera by Christoph Willibald Gluck
Girardin Narcisse, a hunter, son of Cephisus haute-contre Étienne Lainez Cynire, friend of Narcisse haute-contre Joseph Legros Sylphie, a nymph soprano Thanais
Écho_et_Narcisse
Type of music ornamentation
Surtitles French Claque Coup de glotte Divertissement Encore Entr'acte Haute-contre Intermède Overture Répétiteur Roulade Timbre Tragédie en musique Travesti
Roulade_(music)
Opera by Marc-Antoine Charpentier
Brion La Poésie, Poetry soprano Antoinette Talon La Peinture, Painting haute-contre Marc-Antoine Charpentier L'Architecture, Architecture mezzo-soprano Marie
Les_arts_florissants_(opera)
Operas in Italy or in the Italian language
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Italian_opera
French Baroque music genre
Noemi Rime, soprano, Nathalie Stutzmann, contralto, Charles Brett, haute-contre, Howard Crook, ténor, Virgin classics 1989 Neuf leçons de Ténèbres, Marc
Leçons_de_ténèbres
1680s-90s composition by Marc-Antoine Charpentier
trumpet and timpani (playing the same part), 2 violins, 2 violas ("haute-contres de violon" and "tailles de violon") and basso continuo. The bass part
Te_Deum_(Charpentier)
Opera by Étienne Méhul
are notated in the alto clef, which was ordinarily used only for the haute-contre voice. She was born Anne-Marie Simonet (1763–1829) and was also known
La_journée_aux_aventures
1748 opera by Jean-Philippe Rameau
Role Voice type Premiere Cast Zaïs, Genie of the air haute-contre Pierre Jélyotte Zélidie soprano Marie Fel Oromasès, King of the Genies basse-taille (bass-baritone)
Zaïs
classical music concerts with an unruly audience response List of French haute-contre roles List of historical opera characters List of musical families (classical
Classical_music_lists
1783 opera by Antonio Sacchini
the cast contained some of the stars of the Académie, including the haute-contre Joseph Legros and the soprano Rosalie Levasseur as Renaud and Armide
Renaud_(opera)
Opera by Christoph Willibald Gluck
Poggi (not reported) (no role) Choryphaei (chorus leaders) soprano, haute-contre, taille, bass (no role) (not reported) Chorus (1767): courtiers, citizens
Alceste_(Gluck)
Australian opera tenor and composer (born 1960)
the present, Hobson's high lyric tenor voice (he is actually a rare haute-contre or baroque tenor) is best suited to the baroque and bel canto operas
David_Hobson_(tenor)
French opéra comique by Egidio Duni
which enabled him to sing as a basse taille, but also to reach up to the haute-contre tones (Jean Gourret, Histoire de l'Opéra-Comique, Paris, Les publications
L'école_de_la_jeunesse
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Origins_of_opera
Opera by Jean-Baptiste Lully
wife of Alquif (prologue) soprano Amadis, son of King Perion of Gaul haute-contre Louis Gaulard Dumesny Oriane, daughter of King Lisuart of Britain soprano
Amadis_(Lully)
American opera singer
du Jeudy Sainct, H.102, H.103, H.109, Concerto Vocale, René Jacobs, haute-contre, Judith Nelson, soprano, Anne Verkinderen, soprano, William Christie
Judith_Nelson
are notated in the alto clef, which was ordinarily used only for the haute-contre voice. She was born Anne-Marie Simonet (1763-1829) and was also known
Héléna_(opera)
1748 opera by Jean-Philippe Rameau
Role Voice type Premiere cast, 27 August 1748 Pigmalion (Pygmalion) haute-contre Pierre Jélyotte L'Amour (Cupid) soprano Marie-Angélique Coupé Céphise
Pygmalion_(Rameau)
French actor and singer
him to sing as a basse taille (bass-baritone), while also reaching the haute-contre tones. According to Rodolfo Celletti "he was a baritenor and a bass at
Joseph_Caillot
1700 opera by André Campra with libretto by Antoine Danchet
Desmatins Télamon, haute-contre, Pierre Chopelet Cléon, Neptune, bass-baritone, Jean Dun A Grace, Mlle Heusé 'A pleasure', haute-contre, Jean Boutelou Prologue
Hésione
Early wind instrument with a cup mouthpiece
lowest note is F3. The 1911 Encyclopædia Britannica called this the haute-contre or alto cornet. Baines said that the use of this variant for an alto
Cornett
the chief of arts; the Muses 1st entrée: La Fable Alcide (Hercules) haute-contre Pierre Jélyotte Hébé (Hebe) soprano Marie Fel Jupiter bass Joseph Le
Les_fêtes_de_Polymnie
Music genre
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
Opera_in_English
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
List_of_prominent_operas
Spinto Dramatic Mezzo-soprano Contralto (Alto) Countertenor Sopranist Haute-contre Castrato Tenor Tenore contraltino Tenore di grazia Baritenor Baritone
List_of_opera_houses
pleasure) soprano Mlle Rotisset de Romainville L'Hymen (The god Hymen) haute-contre François Poirier Chorus:Les Graces, les Plaisirs, les Jeux, les Ris (The
Les fêtes de l'Hymen et de l'Amour
Les_fêtes_de_l'Hymen_et_de_l'Amour
soprano Mlle Armand Melisse soprano Mlle Dujardin Astolphe haute-contre M Poussin Crisalde haute-contre Pierre Chopelet Nymphs of Alcine's court sopranos Mlles
Alcine
HAUTE CONTRE
HAUTE CONTRE
Boy/Male
Sikh
One who is without enmity, Hate (1)
Boy/Male
Australian, German, Polish
Heart; Mind; Spirit
Surname or Lastname
German
German : variant of Hauck.English : variant of Hawk.
Biblical
their haste; their sensuality; their silence
Boy/Male
Biblical
Man of haste; or of silence.
Boy/Male
American, Anglo, British, English, Teutonic
From the Dear Meadow; Stag
Boy/Male
Indian
One who is without enmity, Hate
Surname or Lastname
English (of Norman origin)
English (of Norman origin) : possibly a habitational name from Chenevray in Haute-Saône, France.
Male
Italian
Italian form of Latin Ulixes, probably ULISSE means "to be angry, to hate."
Male
Spanish
Spanish form of Latin Ulixes, probably ULISES means "to be angry, to hate."
Boy/Male
Norse
Great.
Male
Arthurian
, the Haut Prince, son of Sir Brewnor.
Biblical
that makes haste; that keeps silence
Boy/Male
Biblical
Man of haste; or of silence.
Girl/Female
Biblical
Their haste, their sensuality, their silence.
Boy/Male
Biblical
That makes haste, that keeps silence.
Surname or Lastname
English
English : variant of Mandeville.French : habitational name from Menville in the Haute-Garonne.
Boy/Male
Teutonic English
Deer.
Biblical
Hushim, man of haste, or of silence
Surname or Lastname
English and French
English and French : metonymic occupational name for a turnspit, i.e. a servant who turned the spit, from Old French haste ‘(roasting) spit’.A bearer of the name Haste from Paris is documented in Montreal in 1662.
HAUTE CONTRE
HAUTE CONTRE
Girl/Female
Arabic, Muslim
Enchantment; Captivation
Boy/Male
Hindu, Indian
Loveable
Boy/Male
Tamil
Horizon
Girl/Female
Muslim
Rose
Male
Portuguese
Portuguese form of Spanish Gonzalo, GONÇALO means "battle genius; war elf."
Boy/Male
Norse American Hebrew French Scandinavian Swedish
Intelligent.
Boy/Male
Hindu, Indian
Cloud
Boy/Male
Tamil
Lord of water
Male
Greek
(Ἰεφθάε) Greek form of Hebrew Yiphtach (English Jephtha), IEPHTHAE means "he opens" or "whom God sets free." In the bible, this is the name of a city and the name of a son of Gilead.Â
Boy/Male
Tamil
Lord of men leader, Master of men
HAUTE CONTRE
HAUTE CONTRE
HAUTE CONTRE
HAUTE CONTRE
HAUTE CONTRE
n.
An assault.
n.
To hasten; to hurry.
v. t.
To hate.
n.
Haste; diligence.
n.
Haste; hurry.
n.
To have a great aversion to, with a strong desire that evil should befall the person toward whom the feeling is directed; to dislike intensely; to detest; as, to hate one's enemies; to hate hypocrisy.
adv.
In haste; foothot.
n.
To be very unwilling; followed by an infinitive, or a substantive clause with that; as, to hate to get into debt; to hate that anything should be wasted.
n.
Expedition; haste; dispatch.
imp. & p. p.
of Hate
n.
The state of being urged or pressed by business; hurry; urgency; sudden excitement of feeling or passion; precipitance; vehemence.
pres. & imp.
of Hote
imp. & p. p.
of Haste
n.
Involving haste; done, made, etc., in haste; as, a hasty sketch.
p. pr. & vb. n.
of Haste
n.
Alt. of Saute
n.
Too great haste.
p. pr. & pr. & vb. n
of Hate