1st Edition
Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris
By Mark Everist
Copyright 2005
462 Pages
by
Routledge
462 Pages
by
Routledge
462 Pages
by
Routledge
Also available as eBook on:
Nineteenth-century Paris attracted foreign musicians like a magnet. The city boasted a range of theatres and of genres represented there, a wealth of libretti and source material for them, vocal, orchestral and choral resources, to say nothing of the set designs, scenery and costumes. All this contributed to an artistic environment that had musicians from Italian- and German-speaking states... Read more
Contents: Introduction; Parisian music drama, 1806-64: social structures and artistic contexts; Lindoro in Lyon: Rossini's Le barbier de Séville; Gluck, Berlioz and Castil-Blaze: the poetics and reception of French opera; Meyerbeer's Margherita d'Anjou; Meyerbeer's Il crociato in Egitto: mélodrame, opera, orientalism; Giacomo Meyerbeer, the Théâtre Royal de l'Odéon and music drama in Restoration Paris; The Name of the Rose: Meyerbeer's opéra comique, Robert le Diable; Fromental Halévy: from opéra comique to grand opéra; Translating Weber's Euryanthe: German Romanticism at the dawn of French grand opera; 'Tutti i francesi erano diventati matti': Bellini and the Duet for Two Basses; Donizetti and Wagner: opéra de genre at the Théâtre de la Renaissance; 'Der Lieblingswunsch meines Lebens': contexts and continuity in Meyerbeer's opéras comiques; Bibliography; Index.
Biography
Mark Everist is a Professor in the Department of Music, at the University of Southampton, UK.
’The writings contained in this volume are truly representative of a scholar who has made a lasting impression on the field of French opera in the mid-nineteenth century.’ Nineteenth-Century Music Review
