Mark Everist reveals for the first time a repertory of operas destined for performance in various forms of domestic environment found in Paris during the Second Empire (1850s-60s). He examines the repertory, its creators, and consumers through the lenses of urbanism, history and culture, and invites readers to take an entirely new look at the history of music on the Parisian stage.
Mark Everist reveals for the first time a repertory of operas destined for performance in various forms of domestic environment found in Paris during the Second Empire (1850s-60s). He examines the repertory, its creators, and consumers through the lenses of urbanism, history and culture, and invites readers to take an entirely new look at the history of music on the Parisian stage.
Mark Everist is Professor of Music at the University of Southampton. His research focuses on the music of western Europe from 1150-1330, music for the stage in nineteenth-century France, Mozart, reception theory, and historiography. He is the author of six monographs, the most recent of which are Genealogies of Music and Memory and The Empire at the Opera, editor of three volumes of the Magnus Liber Organi, and has published over 80 articles in peer-reviewed journals and collections of essays. The recipient of the Solie (2010) and Slim (2011) awards of the American Musicological Society, he was elected a fellow of the Academia Europaea in 2012. Everist was President of the Royal Musical Association from 2011-17 and was elected a corresponding member of the American Musicological Society in 2014. He was visiting professor at the Sorbonne in 2021-22 and was elected to a fellowship at the French Institute of Advanced Studies from 2023-24. In July 2024, Everist was named Chevalier de l'Ordre des Arts et des Lettres by the French Minister of Culture.
Inhaltsangabe
Illustrations Music Examples Tables Acknowledgements Introduction 1. Opéra de salon Opéra - Salon Opéra de salon Patterns of Publication 2. Performers and the Improvised Stage Casts, Scoring and Instrumentation Vocal Artists The Improvised Stage 3. Performance and Places: The Bourgeois and the Aristocrat Spaces and Patrons Spaces and Patrons 1: The Medical Profession Spaces and Patrons 2: Entrepreneurs and the Haute-Bourgeoisie Spaces and Patrons 3: Government and Aristocracy 4. Performance and Places: Music and Letters Spaces and Patrons 4: Artists and Men of Letters Spaces and Patrons 5: Professional Musicians Spaces and Patrons 6: Public Spaces 5. Contexts and cultivation Contexts for creation Salons - Concerts Théâtre de société Charade Proverbe Opéra de salon and the Regulated Theatre Salon, Song and Séance 6. Performance in the Parloir Women, the Parloir and Opéra de salon Women Composers and Librettists 7. Locating Opéra de salon Time and Space Spatialité Geolocation Multiplicities of Power Opéra de salon in the Provinces and Abroad Conclusion Appendix Bibliography Index
Illustrations Music Examples Tables Acknowledgements Introduction 1. Opéra de salon Opéra - Salon Opéra de salon Patterns of Publication 2. Performers and the Improvised Stage Casts, Scoring and Instrumentation Vocal Artists The Improvised Stage 3. Performance and Places: The Bourgeois and the Aristocrat Spaces and Patrons Spaces and Patrons 1: The Medical Profession Spaces and Patrons 2: Entrepreneurs and the Haute-Bourgeoisie Spaces and Patrons 3: Government and Aristocracy 4. Performance and Places: Music and Letters Spaces and Patrons 4: Artists and Men of Letters Spaces and Patrons 5: Professional Musicians Spaces and Patrons 6: Public Spaces 5. Contexts and cultivation Contexts for creation Salons - Concerts Théâtre de société Charade Proverbe Opéra de salon and the Regulated Theatre Salon, Song and Séance 6. Performance in the Parloir Women, the Parloir and Opéra de salon Women Composers and Librettists 7. Locating Opéra de salon Time and Space Spatialité Geolocation Multiplicities of Power Opéra de salon in the Provinces and Abroad Conclusion Appendix Bibliography Index
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