Opéra-comique: a sourcebook
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Newcastle upon Tyne
Cambridge Scholars Publ.
2010
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XXVIII, 853 S. Ill. |
| ISBN: | 9781443821407 1443821403 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | Table of Contents
Acknowledgements
....................................................................................ix
Introduction
................................................................................................xi
Select Bibliography
............................................................................xxii
Illustrations
.......................................................................................xxiv
A Chronology of the
Opéra-Comique
(1762-1915).....................................1
Composers and Their Works at the
Opéra-Comique
(1762-1915)...........61
Index
........................................................................................................729
Opéra-comique,
like
grand opéra, a
specifically French
genre
of opera, emerged
(rom
the
politicai
changes and intellectual
discussion that played a recurrent role in determining the nature of artistic expression and production in Paris from the late 17th
until the mid-18th centuries.
Opéra-comique
is distinguished by its use of spoken dialogue to link the arias and sung parts, and its more restrained use of
recitatives. It emerged out of the popular entertainments, called
opéras-comiques
en vaudevilles, that were a feature of the theatres
held at the seasonal Parisian fairs of St Germain and St Laurent and of the
Comédie-Italienne.
The similarity of the entertainments
provided by the
Comédie-Italienne
and the fairs resulted in their amalgamation on
3
February
1756,
when they established a theatre
fur their joint productions, the
Hôtel Bourgogne.
Their type of entertainment, combining existing popular tunes with spoken
sections, lent its generic name to this house, which, regardless of its changing venue, would become known as the
Opéra-Comique.
The genre of
opéra-comique
exercised a powerful popular appeal because of its unique fusion of fixed musical form with
Duid
improvised dialogue. The well-known airs of the day, invariably strophic, came to be the genre s staple medium of artistic
expression
—
the couplets. But opera*
»тщие
was not necessarily comic or light in nature, indeed, the most famous example, Bizet s
Carmen
(1875),
is a tragedy. The genre, with its unique mixture of comedy and drama, its captivating musical fluency, its handling of
serious and Romantic themes
—
expertly crafted by
ils
most famous librettist
Augustin-Eugène
Scribe
(1791-1861)—
became
universally popular in the masterpieces of its heyday between
1820
and
1870:
Adrien
Boieldieu s
ία
Dame blanche
(1825),
Daniel-
François-Esprit
Auber s
Fra Diavolo
(1830)
and
Le Domino noir
(1837).
Ferdinand Hérold s
Zampa
(1831)
and Le Pré aux clercs
(1832),
Frumental
Halévy s l Éclair
(1835)
and Ambroise Thomass Mignon
(І866).
The history of the
opéra-comique
between
1762
and
19І5
reflects the political and cultural life of France
—
from the last days of the
ancien
regime, through the tumult of the Revolution and Napoleonic era, the July Monarchy and Second Empire, to the shattering
defeat of France by Prussia in
1870.
After this, apart from isolated works (by Bizet, Delibes, Offenbach, Massenet), new works by the
younger generation of musicians now tended to be French adaptations of the
ţ aperian
aesthetic and the record of success is very
thin. Hardly any native French works in this imitative mode premiered at the
Opéra-Comique
between
1870
and
1915
have
survived
—
apart
írom
Debussy s unique
Pelléas et Mélisande
(1902).
This study serves as a sourcebook for this very French genre, with details of forgotten composers, their operas
—
performance dates,
plot summaries, the singers who created them, the names of important numbers in the works (from libretti and scores that are either
now to be found only in the Paris libraries, or are lost completely), often with contemporary
observations
about the reception of
particular works, the effectiveness of their dramaturgy and music. It provides a resource for operatic culture and convention, from
the late 13th to the early 20th centuries. The record of the fortunes of the
Opéra-Comique
provides a way into the changing culture
and aesthetic values of an age.
Robert Ipatins Letellier has specialized in the music and literature of the Romantic Period. He has studied the work of
Giacomo
Meyerbeer (a four-vohraie English edition of his diaries, a collection of critical and biographical studies, a guide to research, two
readings ot
Ее
operas, as well as compiling and introducing editions of the complete libretti and non-operatic texts, and a selection
of manuscript facsimiles). He has also written on the ballets of
Ludwig
Minkus and compiled a series of scares of the Romantic Ballet.
mage: The Theatre
de
rOpera-Comiqae. Paris (the Second
Salle Favart)
(1840).
978-1-443A-2Í40-7
vp.org
|
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| title | Opéra-comique a sourcebook |
| title_auth | Opéra-comique a sourcebook |
| title_exact_search | Opéra-comique a sourcebook |
| title_full | Opéra-comique a sourcebook by Robert Ignatius Letellier |
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| title_short | Opéra-comique |
| title_sort | opera comique a sourcebook |
| title_sub | a sourcebook |
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