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Opera in Paris, 1800-1850 - A Lively History (Hardcover)
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Opera in Paris, 1800-1850 - A Lively History (Hardcover)
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More than you want or need to know about a minor era in operatic
history. Even the author admits that "the first half of the 19th
century was not the most remarkable period in the history of the
Paris Opera." With this lukewarm endorsement, Barbier
(History/Western Catholic Univ., France) embarks on a detailed
description of operatic life in Paris during this period, focusing
on the relationship between politics and music; the management of
the various operatheaters; opera audiences; the roles of the
composer, librettist, and director; and the often vituperative
attacks by critics on works that did not fit into the expected
mold. Few notable operas originated in Paris at this time; most
were imports, and many were bowdlerized by the theaters in an
attempt to mold them into a more "popular" form. Native composers
like Berlioz had difficulty having their more adventurous works
staged, and when they were performed they were often roundly
jeered. The author offers some lively anecdotes about the period's
many colorful operatic stars, as well as the audience and
composers, but these are few and far between and do not make up for
the many passages in which Barbier bogs down in his enthusiasms.
Originally published in French in 1987, the text often suffers from
a clumsy translation - "Too much importance should not be ascribed
to the staging of a production" is typical of the often
literal-minded rewording. The true opera fan may find a few
illuminating moments here, but the casual reader would be better
served by a general history that covers more bases. The paucity of
illustrations makes this less than ideal for browsers, while the
academic community will be put off by its thin scholarship. The fat
lady won't stay around long to sing for this one. (Kirkus Reviews)
Barbier (history of music, Western Catholic U. of Angers, France)
explores facets of Parisian musical life both on and off stage
during the first half of the 19th century. He discusses the
operatic tradition from grand opera to the parodies of vaudeville,
describes the society and customs of opera a
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