French Grand Opera, an Art and a Business
Author | : William Loran Crosten |
Publisher | : New York, King's Crown P |
Total Pages | : 162 |
Release | : 1948 |
Genre | : Opera |
ISBN | : |
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Author | : William Loran Crosten |
Publisher | : New York, King's Crown P |
Total Pages | : 162 |
Release | : 1948 |
Genre | : Opera |
ISBN | : |
Author | : David Charlton |
Publisher | : Cambridge University Press |
Total Pages | : 524 |
Release | : 2003-09-04 |
Genre | : Music |
ISBN | : 9780521646833 |
Table of contents
Author | : Sarah Hibberd |
Publisher | : Cambridge University Press |
Total Pages | : 279 |
Release | : 2009-04-30 |
Genre | : Music |
ISBN | : 0521885620 |
Closely examining five French operas, this book reveals how and why grand opera sought to bring the past alive.
Author | : Jane Fulcher |
Publisher | : Cambridge University Press |
Total Pages | : 296 |
Release | : 2002-08-08 |
Genre | : History |
ISBN | : 9780521529433 |
Professor Fulcher argues that French grand opera was a subtly used tool of the state.
Author | : William L. Crosten |
Publisher | : Da Capo Press |
Total Pages | : 180 |
Release | : 1972-01-21 |
Genre | : Music |
ISBN | : |
Author | : Diana R. Hallman |
Publisher | : Cambridge University Press |
Total Pages | : 420 |
Release | : 2007-08-16 |
Genre | : History |
ISBN | : 9780521038812 |
This is a comprehensive critical study of the nineteenth-century French grand opéra La Juive, by Halévy.
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 | : Roger Parker |
Publisher | : Oxford : Oxford University Press |
Total Pages | : 290 |
Release | : 2001 |
Genre | : Ballet |
ISBN | : 9780198166979 |
This book is among the first to examine French opera and ballet criticism during the first half of the nineteenth century both as a historical and a literary phenomenon. It thus provides a new and badly needed perspective for scholars and other commentators who have often been willing to treatthe journalistic responses to such musical genres chiefly as a simple source of factual information. The essays, taken from a conference in Oxford in 1996, explore the kinds of problem encountered and the types of methodology that might be employed in trying to interpret these critical responses;they throw light on such aspects as the cultural attitudes underlying the writers' rhetoric, the aesthetic stances and ideological agendas at play, and how modes of production influenced content.
Author | : Marian Smith |
Publisher | : Princeton University Press |
Total Pages | : 330 |
Release | : 2010-08-09 |
Genre | : Music |
ISBN | : 1400832470 |
Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of Giselle at the Paris Opéra (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opéra during a period long celebrated for its box-office successes in both genres. Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for Giselle. ?
Author | : Anastasia Belina-Johnson |
Publisher | : Routledge |
Total Pages | : 234 |
Release | : 2016-03-23 |
Genre | : Music |
ISBN | : 1317039556 |
The study of the business of opera has taken on new importance in the present harsh economic climate for the arts. This book presents research that sheds new light on a range of aspects concerning marketing, audience development, promotion, arts administration and economic issues that beset professionals working in the opera world. The editors' aim has been to assemble a coherent collection of essays that engage with a single theme (business), but differ in topic and critical perspective. The collection is distinguished by its concern with the business of opera here and now in a globalized market. This includes newly commissioned operas, sponsorship, state funding, and production and marketing of historic operas in the twenty-first century.