French Baroque Opera

A Reader: Revised Edition
2. Auflage 2019
ISBN: 978-0-367-23157-6
Verlag: Routledge

Buch, Englisch, 238 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 348 g

From the outset, French opera generated an enormous diversity of literature, familiarity with which greatly enhances our understanding of this unique art form. Yet relatively little of that literature is available in English, despite an upsurge of interest in the Lully-Rameau period during the past two decades. This book presents a wide-ranging and informative picture of the organization and evolution of French Baroque opera, its aims and aspirations, its strengths and weaknesses. Drawing on official documents, theoretical writings, letters, diaries, dictionary entries, contemporary reviews and commentaries, it provides an often entertaining insight into Lully’s once-proud Royal Academy of Music and the colourful characters who surrounded it. The translated passages are set in context, and readers are directed to further scholarly and critical writings in English.

Readers will find this new, updated edition easier to use with its revised and expanded translations, supplementary explanatory content and new illustrations.

Autoren/Hrsg.

Wood, Caroline

Sadler, Graham

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Geschichte der Musik

Inhaltsverzeichnis

Preface to the first edition

Preface to the revised edition

1 The Paris Opéra (1672–1770): management and mismanagement

2 The experience of opera-going

3 Dramatic and musical ingredients

4 Literary theory and aesthetics

5 Critical reaction and debate

6 Performances and personalities

Glossary

List of sources

Über Autor(innen)

Both authors are established scholars in the field of French Baroque music. Caroline Wood is a retired Senior Lecturer at the University of Hull, UK. Her publications include Music and Drama in the ‘tragédie en musique’, 1673–1715 (1996). Graham Sadler is Research Professor at Birmingham Conservatoire, UK, and author of The Rameau Compendium (2014). Both have contributed extensively to leading musicological journals and standard reference works.