The Evolution of French Opera Repertories in Provincial Theaters

Author(s):  
Patrick Taïeb ◽  
Sabine Teulon Lardic

Which operas did people most often watch in France—all over France, that is—in 1780, 1820, 1860, and 1890? How did provincial theaters compare with those in Paris, where the great majority of operas originated? This chapter aims to correct the unduly narrow focus on Paris traditionally followed in histories of French opera. The chapter shows how old, indeed canonic, repertories were created in Paris, which then were performed in such cities as Rouen, Bordeaux, and Lyon. It traces how repertories emerged, focusing variously on works by Gluck, Rossini, Meyerbeer, Donizetti, Verdi, and Wagner. The most important respect in which provincial theaters differed from those in Paris was the close intermingling in a single theater of pieces in different genres—opéra comique, grand opéra, and opérette. This chapter is paired with Yannick Simon’s “The mingling of opera genres: Canonic opera at the Théâtre des Arts in Rouen, 1882–1897.”

Author(s):  
Shang Yun

The purpose of the article is to identify the poetical and intonational features of J. Meyerbeer’s «Huguenots» in the context of the spiritual quest of romanticism, the evolution of French musical theater in the first half of the 19th century and its mystery component. The methodology of the work is the intonation concept of music from the perspective of intonation-stylistic analysis inherited from B. Asafiev and his followers. The analytical-musicological, genre-style, interdisciplinary, historical and cultural approaches are also essential for this work, revealing the spiritual and moral specifics of the poetics of the French «grand opera» and its mystery primary sources using the example of J. Meyerbeer's «Huguenots». The scientific novelty of the work is determined by its analytical perspective, focused on the consideration of the «Huguenots» by J. Meyerbeer in the context of the spiritual-Christian quests of the romantic era. Conclusions. The poetics of J. Meyerbeer’s opera «Huguenots», which is one of the exemplary examples of «grand» French opera, was formed at the intersection, on the one hand, of creative discoveries in the field of French musical theater of the first half of the 19th century and its vocal and performing stage practice. On the other hand, the named work demonstrates a deep connection with the mysterious traditions of the French spiritual theater, dating back to the Middle Ages, to the spiritual, religious and stylistic attitudes of the musical theater of French classicism («lyric tragedy» by J. B. Lully) and at the same time consonant with the religious quests of romanticism and the moral and ethical positions of French historicism. The essential role of religious confrontation in the Huguenots, which determinesthe intonational and dramatic specificity of the work, right down to the quotations of the Lutheran chant, ultimately focuses on the «collegiality of the highest order», which overcomes confessional barriers, defining the spiritual and moral pathos of the French «grand opera» and its spiritual attitudes.


2016 ◽  
Vol 13 (3) ◽  
pp. 443-454
Author(s):  
Piras Romano

The great majority of empirical studies on internal migration across Italian regions either ignores the long-run perspective of the phenomenon or do not consider push and pull factors separately. In addition, Centre-North to South flows, intra-South and intra-Centre-North migration have not been studied. We aim to fill this gap and tackle interregional migration flows from different geographical perspectives. We apply four panel data estimators with different statistical assumptions and show that long-run migration flows from the Mezzogiorno towards Centre-Northern regions are well explained by a gravity model in which per capita GDP, unemployment and population play a major role. On the contrary, migration flows from Centre-North to South has probably much to do with other social and demographic factors. Finally, intra Centre-North and intra South migration flows roughly obey to the gravity model, though not all explicative variables are relevant.


2008 ◽  
Vol 1 (2) ◽  
pp. 109-134 ◽  
Author(s):  
Stephen R. Anderson

Alternations between allomorphs that are not directly related by phonological rule, but whose selection is governed by phonological properties of the environment, have attracted the sporadic attention of phonologists and morphologists. Such phenomena are commonly limited to rather small corners of a language's structure, however, and as a result have not been a major theoretical focus. This paper examines a set of alternations in Surmiran, a Swiss Rumantsch language, that have this character and that pervade the entire system of the language. It is shown that the alternations in question, best attested in the verbal system, are not conditioned by any coherent set of morphological properties (either straightforwardly or in the extended sense of ‘morphomes’ explored in other Romance languages by Maiden). These alternations are, however, straightforwardly aligned with the location of stress in words, and an analysis is proposed within the general framework of Optimality Theory to express this. The resulting system of phonologically conditioned allomorphy turns out to include the great majority of patterning which one might be tempted to treat as productive phonology, but which has been rendered opaque (and subsequently morphologized) as a result of the working of historical change.


2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.


2012 ◽  
Vol 7 (2) ◽  
pp. 81
Author(s):  
Bruce R Brodie ◽  

This article reviews optimum therapies for the management of ST-elevation myocardial infarction (STEMI) with primary percutaneous coronary intervention (PCI). Optimum anti-thrombotic therapy includes aspirin, bivalirudin and the new anti-platelet agents prasugrel or ticagrelor. Stent thrombosis (ST) has been a major concern but can be reduced by achieving optimal stent deployment, use of prasugrel or ticagrelor, selective use of drug-eluting stents (DES) and use of new generation DES. Large thrombus burden is often associated poor outcomes. Patients with moderate to large thrombus should be managed with aspiration thrombectomy and patients with giant thrombus should be treated with glycoprotein IIb/IIIa inhibitors and may require rheolytic thrombectomy. The great majority of STEMI patients presenting at non-PCI hospitals can best be managed with transfer for primary PCI even with substantial delays. A small group of patients who present very early, who are at high clinical risk and have long delays to PCI, may best be treated with a pharmaco-invasive strategy.


2011 ◽  
Vol 52 (1-4) ◽  
pp. 373-392
Author(s):  
Damien Colas

To talk about the Frenchness of Le comte Ory might sounds like provocation. Being basically a rifacimento of his Viaggio a Reims, Rossini’s penultimate stage work belongs to the corpus of Italo-French operas. Yet there are three reasons for looking at Le comte Ory as an authentic French opera. Firstly, in the newly composed parts of the work, Rossini avoided the traditional features of the closed numbers typical of the Italian tradition by inserting recitatives inside the numbers and by merging closed numbers and subsequent recitatives, especially at the end of Act II. Secondly, the French lines written by Scribe to fit the already composed music follow poetic patterns from the Middle Ages, of which the prosodic features were closer to Italian than Classical French. Last, the very choice of the legend of Ory is typical of the troubadour style that had been fashionable in Paris since the last decades of the 18th century, and it turns out that this particular legend was extremely popular back then, as witnessed by the variety of local variants that were published in the 19th century.


2012 ◽  
Vol 13 (4) ◽  
pp. 2-17
Author(s):  
John Yohalem
Keyword(s):  

2006 ◽  
pp. 3-87 ◽  
Author(s):  
N. V. Matveyeva

Bolshevik Isl. is the one of the largest islands within the Severnaya Zemlya archipelago. It is situated in the southern part of the polar desert zone. In the course of three field work trips in 1997, 1998 and 2000 years 252 relevees were made in its southern part on three geomorphologic surfaces: coastal plain, inner upland close to glacier and ancient high river terraces. As the result 27 syntaxonomical units of different rank (15 associations, 2 subassociations, 2 variants, and 8 community types) were described using Braun-Blanquet approach. All syntaxa, except one, are new and mostly similar to communities described on Franz Josef Land. The problems were to put new syntaxa into the higher level units (including class) within the syntaxonomical hierarchy. The main bulk of syntaxa, both zonal and intrazonal ones, has to be preliminary placed into Salicetea herbaceae class although there is a lot of reasons to consider zonal syntaxa as a new class that is specific for the polar desert zone. In any case, there are no one syntaxon that can be referred to Loiseleurio-Vaccinietea class that combines zonal vegetation in the tundra zone. The wide ecological range of great majority of species as well as the changes of their intralandscape distribution compare to the tundra zone made additional difficulties in finding character and differential species. 340 species (vascular plants — 52, mosses — 97, liverworts — 41, lichens — 150), that compiles 73 % of the whole island flora and 84 % of its southern part, were recorded within the all relevees. Almost half of these (182) are very rare on the island and 127 species were met 1—2 times. There are 70 species with wide ecological range throughout all landscape types with such commonly distributed herbs as Saxifraga cernua, S. hyperborea and Stellaria ed­ward­sii, mosses Polytrichastrum alpinum and Sanionia uncinata and lichen Stereocaulon rivulorum among these. Phippsia algida, the character species for snow bed communities, occurs in about 70 % of syntaxa. Useful for differentiation of syntaxa have been appeared 87 species. Few species with wide distribution within a landscape demonstrate their preference to a certain syntaxon by higher abundance (preferential character species). These are mostly bryophytes: mosses Bryum cryophilum and Grimmia torquata, and liver­worts Gymnomitrion corallioides, Marsupella arctica and Scapania crassiretis. Cryptogam species predo­minate in the whole flora as well as in each syntaxon. The number of species varies from 12 to 70 per sample plots 5÷5 m and from 20 to 195 in different syntaxa. The richest in species (70 per community and about 190 for association) are zonal plant communities on the accumulative coastal plain in the region of Sol­nechnaya Bay, the poorest one, with 10 and 20 species consequently, is ass. Hygrohypno polari—Saxifragetosum hyperboreae that was described on the upland, close to glacier in the inner part of island.


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