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David Charlton - Popular Opera in Eighteenth-Century France, Häftad

Häftad, Engelska, 2023

Popular Opera in Eighteenth-Century France

Music and Entertainment before the Revolution

Av David Charlton

553 kr

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Beskrivning
This is the first book for a century to explore the development of French opera with spoken dialogue from its beginnings. Musical comedy in this form came in different styles and formed a distinct genre of opera, whose history has been obscured by neglect. Its songs were performed in private homes, where operas themselves were also given. The subject-matter was far wider in scope than is normally thought, with news stories and political themes finding their way onto the popular stage. In this book, David Charlton describes the comedic and musical nature of eighteenth-century popular French opera, considering topics such as Gherardi's theatre, Fair Theatre and the 'musico-dramatic art' created in the mid-eighteenth century. Performance practices, singers, audience experiences and theatre staging are included, as well as a pioneering account of the formation of a core of 'canonical' popular works.
Produktinformation
  • Utgivningsdatum: 2023-12-21
  • Mått: 170 x 240 x 23 mm
  • Vikt: 672 g
  • Format: Häftad
  • Språk: Engelska
  • Antal sidor: 394
  • Förlag: Cambridge University Press
  • ISBN: 9781009011754
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Mer om författaren

David Charlton is Emeritus Professor of Music History at Royal Holloway, University of London. He has published on topics in opera between Bizet and Purcell. He is author of Grétry and the Growth of Opera-Comique (Cambridge University Press, 1986) and Opera in the Age of Rousseau (Cambridge University Press, 2012), editor of The Cambridge Companion to Grand Opera (Cambridge University Press, 2003) and also of The Music of Simon Holt (The Boydell Press, 2017).

Recensioner i media

'Ultimately, Popular Opera is a towering intellectual achievement that stands to significantly reorient contemporary accounts of eighteenth-century French opera. Charlton paves the way for a history of this repertoire in which previously discounted genres like fairground comedy and operatic parody take their place alongside the tragédie en musique. In this monograph, popular opera truly receives the limelight it has long deserved.' Callum Blackmore, Journal for Eighteenth-Century Studies

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