The Paris Opéra as a Vibrating Body:

2020 ◽  
pp. 77-100
Author(s):  
Kevin Lambert
Keyword(s):  
2017 ◽  
Vol 35 (2) ◽  
pp. 218-257
Author(s):  
Mark Franko

This article examines the political and artistic activities of dancer and choreographer Serge Lifar at the Paris Opéra during and immediately after the occupation of Paris. Although Lifar was cleared of charges of collaborationism with the German authorities after the war, the question of collaborationism has arisen again in light of the rehabilitation of his aesthetic by the Paris Opéra and other dance companies. Using archival materials usually ignored by dance scholars, this article examines Lifar's political activities, his political convictions, and his political ambitions. His theory of ballet as set forth in La Danse: les grands courants de la danse académique (1938) and two of his successful ballets of this period – Joan de Zarissa (1942) and Suite en blanc (1943) – are discussed in light of his politics.


2018 ◽  
Vol 8 (8) ◽  
pp. 62-73
Author(s):  
Dmitrii A. BORODIN ◽  
Keyword(s):  

Author(s):  
Michel Noiray

This chapter explains how a uniquely long-lived canon evolved in revivals of operas by Jean-Baptiste Lully and his immediate successors—chiefly André Campra and André-Cardinal Destouches—right up to the early 1770s. The Académie Royale de Musique was unique as the only theater to resist Italian repertory, except in two brief controversial periods. A dogmatic commitment to the old style and repertory survived after Lully’s death, quite separate from the operas of Jean-Philippe Rameau. Opposition to this unique practice broke out occasionally among the public, but such opinion was not widely supported in the press. It is striking that the main critics of ancienne musique, as it was called—Rousseau, Paul Henri d’Holbach, and Friedrich Melchior von Grimm—all came from outside France. This chapter is paired with Franco Piperno’s “Italian opera and the concept of ‘canon’ in the late eighteenth century.”


1993 ◽  
Vol 26 ◽  
pp. 95-99 ◽  
Author(s):  
David Charlton

… as they say in Germany, ‘in music, Cherubini is a hundred years ahead of us’. trans. from Correspondance des Arrwteurs musiciens, 8 October 1803Attitudes to Cherubini have been affected by the knowledge that his most important operas had scant success in Paris after 1800. This lack of a continuous French performing tradition has encouraged the feeling that they were perhaps unviable or unattractive. It is not one shared by the author of a substantial dissertation on Cherubini, Stephen C. Willis; but Willis's work was focussed on the composer rather than his operas’ reception. In fact, neither the performance history nor reception of these five main works has apparently, until now, been investigated. They are: Démophoon (text by J. F. Marmontel, Paris Opéra, 2 December 1788); Lodoïska (C. F. Fillette, or ‘Fillette Loraux’, 18 July 1791); Eliza, ou Le voyage aux glaciers du Mont St Bernard, J. A. Révéroni St-Cyr, 13 December 1794); Médée (F. B. Hoffman, 13 March 1797); and Les Deux journées (J. N. Bouilly, 16 January 1800). The last four were all produced at the Théâtre Feydeau. A properly detailed account of Cherubini's involvement at this theatre must be reserved for another occasion: part of the ignorance surrounding the genesis of these extraordinary operas lies simply in the fact than no history of the Feydeau has been written. Cherubini produced two comedies at the Feydeau which were unsuccessful and are not considered here: L'Hôtellerie portugaise (25 July 1798) and La Punition (23 February 1799).


1998 ◽  
Vol 57 (2) ◽  
pp. 128-159 ◽  
Author(s):  
Joseph M. Siry

Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.


Notes ◽  
1985 ◽  
Vol 41 (4) ◽  
pp. 730
Author(s):  
Laurie Shulman ◽  
Spire Pitou
Keyword(s):  

Art Journal ◽  
1987 ◽  
Vol 46 (4) ◽  
pp. 285 ◽  
Author(s):  
Christopher Robinson
Keyword(s):  

2021 ◽  
Author(s):  
Patrick Wyse Jackson ◽  
Louise Caulfield ◽  
Aidan Forde ◽  
Iseult Conlon ◽  
Peter Cox ◽  
...  

<div><span>Valentia Slate from the southwest of Ireland, is herein proposed as a Global Heritage Stone Resource. This Middle Devonian (Givetian) purple to pale green-coloured</span><span>, </span><span>fine-grained siltstone comprises the Valentia Slate Formation, part of the Old Red Sandstone which extensively crops out in southern Ireland.  The unit</span><span>, </span><span>which developed as an alluvial fan, has a thickness of over 3000m </span><span>and shows a well developed cleavage and low metamorphic grade imposed during the Variscan which produced its slaty fabric. Although quarried from small surface openings from the late eighteenth century, the commercial value of certain horizons of the Valentia Slate Formation was first recognised by the local landowner The Knight of Kerry who commenced its extraction at Dohilla in 1816 for use as roofing slates.  The operation was expanded from the 1820s by the Hibernian Mining Company and later by the Valentia Slab Company and its successor</span><span>, </span><span>the Valentia Slate Company</span><span>, </span><span>which continued to quarry the stone until the late 1870s. Initally stone was extracted from surface workings but since 1840 it has been exclusively obtained from underground workings. From the 1880s the quarry went into decline due to competition from Wales and extraction ceased altogether in 1911 following a large rockfall at the opening to the quarry.  It was revived in the 1980s and recent investment has resulted in </span><span>being able to provide </span><span>this quality stone to widespread markets. Although not easily split into thin slates Valentia Slate was first used locally for roofing and general building. However</span><span>, </span><span>as it could be cut into slabs of a variety of thicknesses and lenghts of up to 3m it was more readily adopted</span><span>, </span><span>both nationally and internationally</span><span>, </span><span>for use in buildings for window cills, steps, domestic fittings in bathrooms and kitchens, and paving both externally and internally as in the Houses of Parliament in London, the Paris Opera House, and for flagging in </span><span>a </span><span>number of British railway termini.  The stone </span><span>was susceptible to </span><span>and held sharp carving, and it it was also fabricated into headstones, memorials, garden furniture, and shelving. Stone was even exported in the 1870s to Brazil for use as railway sleepers. Craftsmen also </span><span>fabricated </span><span>lamps </span><span>and </span><span>birdhouses from the material and its most celebrated use was for billiard and snooker tables, a number of </span><span>which </span><span>were highly decorative having been enamelled.  During the height of production over 500 men were employed quarrying and working Valentia Slate. The first tramway in an Irish quarry was installed in about 1816 and was used to transport stone and sawn slabs from the quarry to Knightstown</span><span>, </span><span>some 4km away</span><span>, </span><span>where it was further fabricated if required in a dedicated stoneyard prior to exportation from the adjacent slate quay.  Today extraction continues and the stone is used for a variety of restoration, decorative and construction purposes. The longevity of its extraction, its versatility of use, and the extent of the exportation of the Valentia Slate makes it worthy to be proposed as a Global Heritage Stone Resource.</span></div>


2009 ◽  
pp. 347-371
Author(s):  
Oscar Comettant ◽  
Paul Scudo ◽  
Thomas S. Grey ◽  
Annegret Fauser
Keyword(s):  

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