Popular Opera In Eighteenth Century France
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Author | : David Charlton |
Publisher | : Cambridge University Press |
Total Pages | : |
Release | : 2021-12-16 |
Genre | : Music |
ISBN | : 9781009032667 |
This is the first book for a century to explore the development of French opera with spoken dialogue from its beginnings. Musical comedy in this form came in different styles and formed a distinct genre of opera, whose history has been obscured by neglect. Its songs were performed in private homes, where operas themselves were also given. The subject-matter was far wider in scope than is normally thought, with news stories and political themes finding their way onto the popular stage. In this book, David Charlton describes the comedic and musical nature of eighteenth-century popular French opera, considering topics such as Gherardi's theatre, Fair Theatre and the 'musico-dramatic art' created in the mid-eighteenth century. Performance practices, singers, audience experiences and theatre staging are included, as well as a pioneering account of the formation of a core of 'canonical' popular works.
Author | : David Charlton |
Publisher | : Cambridge University Press |
Total Pages | : 393 |
Release | : 2021-12-16 |
Genre | : Music |
ISBN | : 1316515842 |
A major re-orientation in understanding opera, exploring musical comedies with spoken dialogue previously excluded from historical accounts.
Author | : David Charlton |
Publisher | : Cambridge University Press |
Total Pages | : 0 |
Release | : 2023-12-21 |
Genre | : Music |
ISBN | : 9781009011754 |
This is the first book for a century to explore the development of French opera with spoken dialogue from its beginnings. Musical comedy in this form came in different styles and formed a distinct genre of opera, whose history has been obscured by neglect. Its songs were performed in private homes, where operas themselves were also given. The subject-matter was far wider in scope than is normally thought, with news stories and political themes finding their way onto the popular stage. In this book, David Charlton describes the comedic and musical nature of eighteenth-century popular French opera, considering topics such as Gherardi's theatre, Fair Theatre and the 'musico-dramatic art' created in the mid-eighteenth century. Performance practices, singers, audience experiences and theatre staging are included, as well as a pioneering account of the formation of a core of 'canonical' popular works.
Author | : Hervé Lacombe |
Publisher | : Univ of California Press |
Total Pages | : 440 |
Release | : 2001-01-12 |
Genre | : Music |
ISBN | : 9780520217195 |
A lively history of French opera in its cultural and historical context by one of France's leading musicologists.
Author | : Robert James Arnold |
Publisher | : Boydell & Brewer |
Total Pages | : 241 |
Release | : 2017 |
Genre | : History |
ISBN | : 1783272015 |
The first full-length treatment of the operatic querelles in eighteenth-century France, placing individual querelles in historical context and tracing common themes of authority, national prestige and the power of music over popular sentiment.
Author | : David M. Powers |
Publisher | : |
Total Pages | : 428 |
Release | : 2003 |
Genre | : Opera |
ISBN | : |
Author | : William James Gibbons |
Publisher | : University Rochester Press |
Total Pages | : 282 |
Release | : 2013 |
Genre | : History |
ISBN | : 1580464009 |
Focusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works of visual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness. William Gibbons is Associate Professor of Musicology at Texas Christian University.
Author | : Barrington James |
Publisher | : McFarland |
Total Pages | : 267 |
Release | : 2021-06-30 |
Genre | : Music |
ISBN | : 1476684367 |
For decades, eighteenth-century Paris had been declining into a baroque backwater. Spectacles at the opera, once considered fit for a king, had become "hell for the ears," wrote playwright Carlos Goldoni. Then, in 1774, with the crowning of Louis XVI and Marie-Antoinette, Paris became one of the world's most vibrant musical centers. Austrian composer Christophe-Willibald Gluck, protege of the queen, introduced a new kind of tragic opera--dramatic, human and closer to nature. The expressive pantomime known as ballet d'action, forerunner of the modern ballet, replaced stately court dancing. Along the boulevards, people whistled lighter tunes from the Italian opera, where the queen's favorite composer, Andre Modeste Gretry, ruled supreme. This book recounts Gluck's remaking of the grand operatic tragedy--long symbolic of absolute monarchy--and the vehement quarrels between those who embraced reform and those who preferred familiar baroque tunes or the sweeter melodies of Italy. The turmoil was an important element in the ferment that led to the French Revolution and the beheading of the queen.
Author | : Olivia Bloechl |
Publisher | : University of Chicago Press |
Total Pages | : 301 |
Release | : 2017 |
Genre | : History |
ISBN | : 022652275X |
From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragédie en musique). In Opera and the Political Imaginary in Old Regime France, however, Olivia Bloechl reveals another layer of French opera’s political theater. The make-believe worlds on stage, she shows, involved not just fantasies of sovereign rule but also aspects of government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus hailing glorious majesty. What’s more, opera’s creators dispersed sovereign-like dignity and powers well beyond the genre’s larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genre’s distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time. By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancienrégime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced, genre than previously thought.
Author | : Larry Wolff |
Publisher | : Stanford University Press |
Total Pages | : 505 |
Release | : 2016-08-30 |
Genre | : History |
ISBN | : 0804799652 |
While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.