
Music, Theater, and Cultural Transfer
Description
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Content
- Intro
- Contents
- Acknowledgments
- Introduction
- Part I. Institutions
- 1 The Company at the Heart of the Operatic Institution: Chollet and the Changing Nature of Comic-Opera Role Types during the July Monarchy
- 2 Fromental Halévy within the Paris Opéra: Composition and Control
- 3 Systems Failure in Operatic Paris: The Acid Test of the Théâtre-Lyrique
- 4 Jacques Offenbach: The Music of the Past and the Image of the Present
- 5 Carvalho and the Opéra-Comique: L'art de se hâter lentement
- 6 Finding a Stage for French Opera
- Part II. Cultural Transfer
- 7 Auber's Gustave III: History as Opera
- 8 Analyzing Mise-en-Scène: Halévy's La juive at the Salle Le Peletier
- 9 Lucia Goes to Paris: A Tale of Three Theaters
- 10 Cette musique sans tradition: Wagner's Tannhäuser and Its French Critics
- 11 La sylphide and Les sylphides
- 12 Questions of Genre: Massenet's Les Érinnyesat the Théâtre-National-Lyrique
- Part III. The Midi and Spain, or Autour de Carmen
- 13 Carmen: Couleur locale or the Real Thing?
- 14 Spanish Local Color in Bizet's Carmen:Unexplored Borrowings and Transformations
- 15 La princesse paysanne du Midi
- Appendix: A Documentary Overview of Musical Theaters in Paris, 1830-1900
- Bibliography
- Contributors
- Index
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