The fashioning of French opera, 1672-1791: identity, production, networks
"As the forerunners to the Paris Opera, the Académie d’opéras (1669–1672) and the Académie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the t...
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| Format: | Buch |
| Sprache: | English |
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[Tours]
Centre d'études supérieures de la Renaissance
[2022]
[Versailles] Centre de musique baroque de Versailles Turnhout, Belgium Brepols |
| Schriftenreihe: | Collection 'Épitome musical'
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "As the forerunners to the Paris Opera, the Académie d’opéras (1669–1672) and the Académie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the twenty-first century, researchers and performers alike began to change their perspective on the institution and its legacy, shifting away from the Académie’s image as a tool used in the propaganda machine and towards a focus on aspects of performance practice. However, despite the scale and diversity of the current body of scholarship, many facets of the Académie royale de musique remain unexplored. It was first and foremost a cultural institution, one that developed its own identity and savoir-faire, some aspects of which still need to be uncovered. This study aims to reconsider the institution from a new angle, thanks to an interdisciplinary approach and three sustained motivations: questioning the institution’s very nature, as well as its place and status in the French academic network; highlighting practical, logistical, and material questions as yet unexplored; and reevaluating not only its interactions with other theaters in Paris, at court, and in the provinces, but also the ways its repertoire spread in general. For once, poets and composers are not the main subject. We choose to concentrate instead on those who helped the pieces to exist and to come to life: directors and administrators, performers, teachers, and craftsmen. The papers focus on their hierarchical relationships, their decision-making authority, and their respective responsibilities, in order to better understand all that the fashioning of operas entails." |
| Beschreibung: | 440 Seiten Illustrationen 26 cm |
| ISBN: | 9782503604787 |
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| 520 | 3 | |a "As the forerunners to the Paris Opera, the Académie d’opéras (1669–1672) and the Académie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the twenty-first century, researchers and performers alike began to change their perspective on the institution and its legacy, shifting away from the Académie’s image as a tool used in the propaganda machine and towards a focus on aspects of performance practice. However, despite the scale and diversity of the current body of scholarship, many facets of the Académie royale de musique remain unexplored. It was first and foremost a cultural institution, one that developed its own identity and savoir-faire, some aspects of which still need to be uncovered. This study aims to reconsider the institution from a new angle, thanks to an interdisciplinary approach and three sustained motivations: questioning the institution’s very nature, as well as its place and status in the French academic network; highlighting practical, logistical, and material questions as yet unexplored; and reevaluating not only its interactions with other theaters in Paris, at court, and in the provinces, but also the ways its repertoire spread in general. For once, poets and composers are not the main subject. We choose to concentrate instead on those who helped the pieces to exist and to come to life: directors and administrators, performers, teachers, and craftsmen. The papers focus on their hierarchical relationships, their decision-making authority, and their respective responsibilities, in order to better understand all that the fashioning of operas entails." | |
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Datensatz im Suchindex
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| adam_text | Table of Contents Barbara Nestola, Benoît Dratwicki, Julien Dubruque, Thomas Leconte 9 Introduction Thomas Leconte Identity: An Unconventional Academy 12 Benoît Dratwicki Production: Authority and Responsibility in the Fashioning of Opera 16 Barbara Nestola Networks: A n Interactive Academy 21 Identity directed by Thomas Leconte Thomas Vernet “Raise Alusic to the Heights We Had Promised Ourselves:” The Singular Voice of the Académie Royale de Alusique 29 Laurent Guillo The “Two Bodies” of the Académie Royale de Musique or “Les Caractères de la Transcendance” 41 Lola Salem Regulating Singers Pensions at the Opéra: Royal Arbitrage and Administrative Law 53 Françoise Dartois-Lapeyre Two Interacting Academies: The Académie Royale de Danse and the Académie Royale de Musique 67 France Marchal-Ninosque Creating Dance Professionals in the Capital City: The Paris Opera’s School ofDance at the Heart ofa Late-Eighteenth-Century Monopoly 85 Pascale Cugy Impressions of Celebrities: Opéra Actors and Spectators in the Parisian Fashion-Plate Under Louis XIV 95 Grégoire Ichou, Jean-Michel Vinciguerra From Name to Image: Portraits ofSingers and Dancers Attached to the Paris Opera ( 1115-1791) 111 5
The Fashioning of French Opera (1672-1791) Production directed by Benoit Dratwicki and Julien Dubruque Pascal Denécheau Dealing With Jean-Baptiste Lully’s Legacy: Francine and the Directors 141 of the Paris Opera From 1687 to 1733 Sylvie Bouissou Aesthetic Stakes Meet Economic Obligation: Director’s Policies at the A.cadémie Royale de Musique (1733-1791) 153 Benjamin Pintiaux The Making of the Libretto, From Beaujoyeulx to Pellegrin: Prolegomena to a Poietic A nalysis of Opera Lyrics 167 Thomas Soury 177 Opera Poet: An Author Without Authority? Loïc Chahine Reversing the Authorship: The Case of the Divertissement 189 Julien Dubruque Performers and Composers: The Members ofthe Petit Chœur Between Lully and Rameau 197 Rebecca Harris-Warrick, Laura Naudeix Ballet Alasters at Work, 1672-1764 209 Graham Sadler The Role of the Maître de Musique; Evidence From the Académie Royale de Musique ’s Performing Material 221 Benoît Dratwicki Operas under Construction: Rehearsal Procedures and Alethods at the Académie Royale de Musique 235 Benoît Dratwicki 249 Singers, Composers and Repertoire Barbara Nestola Rising Stars: Added Airs as a Strategy for Singers’ Self-Promotion 263 Françoise Escande Preserving the Repertory at All Cost: When Berton and Dauvergne Were Bringing Destouches up to Date 275 6
Table of Contents Networks directed by Barbara Nestola Barbara Nestola The World of Opera in the Repertory ofthe Comédie-Italienne: Appropriation, Reinterpretation, and Synthesis of Operatic Codes (1690-1697) 295 Judith le Blanc The Opéra as Reflected in Theatrical Parodies and Critiques 307 Pauline Lemaigre-Gaffier From Gift to Mutualized Management: The Menus-Plaisirs at the Service of the Académie Royale de Musique 323 Lois Rosow The Royal Court, the Opéra, and the Opéra s Copyists in the Alid-Eighteenth Century: Lallemand and Durand as Independent Contractors 337 Petra Dotlacilova From the Idea to the Fabric. Costume Making at the Opéra and Exchanges With Other Parisian Stages 349 Natasha Roule The Performance and Adaptation ofthe Tragédie en Musique for French Provincial Stages (1684-1750) 363 Bénédicte Hertz The Académie Royale de Musique ofLyon Confronted to the Parisian Model: “Giving Form to the Theatrical Spectacle” in a French City (1739-1750) 375 Sources and Bibliography Literary and Musical Sources 392 Archives 397 Sources and Studies 400 Abstracts 417 Index of Works 425 Index of Names 429 7
|
| adam_txt |
Table of Contents Barbara Nestola, Benoît Dratwicki, Julien Dubruque, Thomas Leconte 9 Introduction Thomas Leconte Identity: An Unconventional Academy 12 Benoît Dratwicki Production: Authority and Responsibility in the Fashioning of Opera 16 Barbara Nestola Networks: A n Interactive Academy 21 Identity directed by Thomas Leconte Thomas Vernet “Raise Alusic to the Heights We Had Promised Ourselves:” The Singular Voice of the Académie Royale de Alusique 29 Laurent Guillo The “Two Bodies” of the Académie Royale de Musique or “Les Caractères de la Transcendance” 41 Lola Salem Regulating Singers' Pensions at the Opéra: Royal Arbitrage and Administrative Law 53 Françoise Dartois-Lapeyre Two Interacting Academies: The Académie Royale de Danse and the Académie Royale de Musique 67 France Marchal-Ninosque Creating Dance Professionals in the Capital City: The Paris Opera’s School ofDance at the Heart ofa Late-Eighteenth-Century Monopoly 85 Pascale Cugy Impressions of Celebrities: Opéra Actors and Spectators in the Parisian Fashion-Plate Under Louis XIV 95 Grégoire Ichou, Jean-Michel Vinciguerra From Name to Image: Portraits ofSingers and Dancers Attached to the Paris Opera ( 1115-1791) 111 5
The Fashioning of French Opera (1672-1791) Production directed by Benoit Dratwicki and Julien Dubruque Pascal Denécheau Dealing With Jean-Baptiste Lully’s Legacy: Francine and the Directors 141 of the Paris Opera From 1687 to 1733 Sylvie Bouissou Aesthetic Stakes Meet Economic Obligation: Director’s Policies at the A.cadémie Royale de Musique (1733-1791) 153 Benjamin Pintiaux The Making of the Libretto, From Beaujoyeulx to Pellegrin: Prolegomena to a Poietic A nalysis of Opera Lyrics 167 Thomas Soury 177 Opera Poet: An Author Without Authority? Loïc Chahine Reversing the Authorship: The Case of the Divertissement 189 Julien Dubruque Performers and Composers: The Members ofthe Petit Chœur Between Lully and Rameau 197 Rebecca Harris-Warrick, Laura Naudeix Ballet Alasters at Work, 1672-1764 209 Graham Sadler The Role of the Maître de Musique; Evidence From the Académie Royale de Musique ’s Performing Material 221 Benoît Dratwicki Operas under Construction: Rehearsal Procedures and Alethods at the Académie Royale de Musique 235 Benoît Dratwicki 249 Singers, Composers and Repertoire Barbara Nestola Rising Stars: Added Airs as a Strategy for Singers’ Self-Promotion 263 Françoise Escande Preserving the Repertory at All Cost: When Berton and Dauvergne Were Bringing Destouches up to Date 275 6
Table of Contents Networks directed by Barbara Nestola Barbara Nestola The World of Opera in the Repertory ofthe Comédie-Italienne: Appropriation, Reinterpretation, and Synthesis of Operatic Codes (1690-1697) 295 Judith le Blanc The Opéra as Reflected in Theatrical Parodies and Critiques 307 Pauline Lemaigre-Gaffier From Gift to Mutualized Management: The Menus-Plaisirs at the Service of the Académie Royale de Musique 323 Lois Rosow The Royal Court, the Opéra, and the Opéra's Copyists in the Alid-Eighteenth Century: Lallemand and Durand as Independent Contractors 337 Petra Dotlacilova From the Idea to the Fabric. Costume Making at the Opéra and Exchanges With Other Parisian Stages 349 Natasha Roule The Performance and Adaptation ofthe Tragédie en Musique for French Provincial Stages (1684-1750) 363 Bénédicte Hertz The Académie Royale de Musique ofLyon Confronted to the Parisian Model: “Giving Form to the Theatrical Spectacle” in a French City (1739-1750) 375 Sources and Bibliography Literary and Musical Sources 392 Archives 397 Sources and Studies 400 Abstracts 417 Index of Works 425 Index of Names 429 7 |
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| genre | (DE-588)4143413-4 Aufsatzsammlung gnd-content |
| genre_facet | Aufsatzsammlung |
| geographic | Paris (DE-588)4044660-8 gnd |
| geographic_facet | Paris |
| id | DE-604.BV049312252 |
| illustrated | Illustrated |
| index_date | 2024-07-03T22:41:15Z |
| indexdate | 2024-07-10T10:01:14Z |
| institution | BVB |
| isbn | 9782503604787 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034573349 |
| oclc_num | 1403378164 |
| open_access_boolean | |
| owner | DE-19 DE-BY-UBM DE-12 DE-20 |
| owner_facet | DE-19 DE-BY-UBM DE-12 DE-20 |
| physical | 440 Seiten Illustrationen 26 cm |
| psigel | BSB_NED_20231108 gbd_1 |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Centre d'études supérieures de la Renaissance Centre de musique baroque de Versailles Brepols |
| record_format | marc |
| series2 | Collection 'Épitome musical' |
| spelling | The fashioning of French opera, 1672-1791 identity, production, networks edited by Barbara Nestola, Benoît Dratwicki, Julien Dubruque, and Thomas Leconte [Tours] Centre d'études supérieures de la Renaissance [2022] [Versailles] Centre de musique baroque de Versailles Turnhout, Belgium Brepols 440 Seiten Illustrationen 26 cm txt rdacontent n rdamedia nc rdacarrier Collection 'Épitome musical' "As the forerunners to the Paris Opera, the Académie d’opéras (1669–1672) and the Académie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the twenty-first century, researchers and performers alike began to change their perspective on the institution and its legacy, shifting away from the Académie’s image as a tool used in the propaganda machine and towards a focus on aspects of performance practice. However, despite the scale and diversity of the current body of scholarship, many facets of the Académie royale de musique remain unexplored. It was first and foremost a cultural institution, one that developed its own identity and savoir-faire, some aspects of which still need to be uncovered. This study aims to reconsider the institution from a new angle, thanks to an interdisciplinary approach and three sustained motivations: questioning the institution’s very nature, as well as its place and status in the French academic network; highlighting practical, logistical, and material questions as yet unexplored; and reevaluating not only its interactions with other theaters in Paris, at court, and in the provinces, but also the ways its repertoire spread in general. For once, poets and composers are not the main subject. We choose to concentrate instead on those who helped the pieces to exist and to come to life: directors and administrators, performers, teachers, and craftsmen. The papers focus on their hierarchical relationships, their decision-making authority, and their respective responsibilities, in order to better understand all that the fashioning of operas entails." Académie Royale de Musique (DE-588)4512438-3 gnd rswk-swf Geschichte 1672-1791 gnd rswk-swf bicssc / Theatre studies bisacsh / MUSIC / Genres & Styles / Opera bisacsh / PERFORMING ARTS / Theater / History & Criticism Netzwerk (DE-588)4171529-9 gnd rswk-swf Theaterschaffender (DE-588)4185043-9 gnd rswk-swf Opernproduktion (DE-588)4232690-4 gnd rswk-swf Performance Künste (DE-588)4173750-7 gnd rswk-swf Paris (DE-588)4044660-8 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Paris (DE-588)4044660-8 g Académie Royale de Musique (DE-588)4512438-3 b Opernproduktion (DE-588)4232690-4 s Performance Künste (DE-588)4173750-7 s Theaterschaffender (DE-588)4185043-9 s Netzwerk (DE-588)4171529-9 s Geschichte 1672-1791 z DE-604 Nestola, Barbara 1972- (DE-588)1033554898 edt Dratwicki, Benoît 1977- (DE-588)1037829999 edt Dubruque, Julien 1981- (DE-588)1024322750 edt Leconte, Thomas 1972- (DE-588)1043950567 edt Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034573349&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | The fashioning of French opera, 1672-1791 identity, production, networks Académie Royale de Musique (DE-588)4512438-3 gnd bicssc / Theatre studies bisacsh / MUSIC / Genres & Styles / Opera bisacsh / PERFORMING ARTS / Theater / History & Criticism Netzwerk (DE-588)4171529-9 gnd Theaterschaffender (DE-588)4185043-9 gnd Opernproduktion (DE-588)4232690-4 gnd Performance Künste (DE-588)4173750-7 gnd |
| subject_GND | (DE-588)4512438-3 (DE-588)4171529-9 (DE-588)4185043-9 (DE-588)4232690-4 (DE-588)4173750-7 (DE-588)4044660-8 (DE-588)4143413-4 |
| title | The fashioning of French opera, 1672-1791 identity, production, networks |
| title_auth | The fashioning of French opera, 1672-1791 identity, production, networks |
| title_exact_search | The fashioning of French opera, 1672-1791 identity, production, networks |
| title_exact_search_txtP | The fashioning of French opera, 1672-1791 identity, production, networks |
| title_full | The fashioning of French opera, 1672-1791 identity, production, networks edited by Barbara Nestola, Benoît Dratwicki, Julien Dubruque, and Thomas Leconte |
| title_fullStr | The fashioning of French opera, 1672-1791 identity, production, networks edited by Barbara Nestola, Benoît Dratwicki, Julien Dubruque, and Thomas Leconte |
| title_full_unstemmed | The fashioning of French opera, 1672-1791 identity, production, networks edited by Barbara Nestola, Benoît Dratwicki, Julien Dubruque, and Thomas Leconte |
| title_short | The fashioning of French opera, 1672-1791 |
| title_sort | the fashioning of french opera 1672 1791 identity production networks |
| title_sub | identity, production, networks |
| topic | Académie Royale de Musique (DE-588)4512438-3 gnd bicssc / Theatre studies bisacsh / MUSIC / Genres & Styles / Opera bisacsh / PERFORMING ARTS / Theater / History & Criticism Netzwerk (DE-588)4171529-9 gnd Theaterschaffender (DE-588)4185043-9 gnd Opernproduktion (DE-588)4232690-4 gnd Performance Künste (DE-588)4173750-7 gnd |
| topic_facet | Académie Royale de Musique bicssc / Theatre studies bisacsh / MUSIC / Genres & Styles / Opera bisacsh / PERFORMING ARTS / Theater / History & Criticism Netzwerk Theaterschaffender Opernproduktion Performance Künste Paris Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034573349&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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