Music Drama at the Paris Odéon, 1824–1828
Parisian theatrical, artistic, social, and political life comes alive in Mark Everist's impressive institutional history of the Paris Odéon, an opera house that flourished during the Bourbon Restoration. Everist traces the complete arc of the Odéon's short but highly successful life from ascent to triumph, decline, and closure. He outlines the role it played in expanding operatic repertoire and in changing the face of musical life in Paris.
Everist reconstructs the political power structures that controlled the world of Parisian music drama, the internal administration of the theater, and its relationship with composers and librettists, and with the city of Paris itself. His rich depiction of French cultural life and the artistic contexts that allowed the Odéon to flourish highlights the benefit of close and innovative examination of society's institutions.
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Académie royale April aria arrangement artists audience August barbier de Séville barbiere di Siviglia Beaumarchais Beethoven beneﬁt Berlioz Bernard bohémiens Castil-Blaze censors Charles chorus claque composers Courrier des Théâtres Crémont dame du lac December Der Freischütz Diable Boiteux difﬁcult duet F-Pan O3 fausse Agnès Fidelio Figaro ﬁgure ﬁnale ﬁnancial ﬁrst ﬁve folies amoureuses forêt de Sénart Frédéric Freischütz French German Gioachino Rossini Gymnase dramatique Hector Berlioz Ibid Italian music drama Ivanhoé Journal de Paris Kärntnertortheater l’Odéon La Rochefoucauld La Trimouille LaPandore Lauriston Lecomte letter libretto license Louis XII maison du Roi manager Marguerite d’Anjou mélodrame Meyerbeer Meyerbeer’s Montano mounted Mozart music drama November numbers October Odéon opéra comique opera troupe orchestra original Pandore Paris Parisian pasticcio performance play premiere production qu’il repertory reworking Robin des bois Rochefoucauld role Rossini royale de musique Sauvage Sauvage’s Schütz score September 1827 signiﬁcant Théâtre italien Théâtre-Royal tion translation trois genres Weber
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Page 9 - Karin Pendle, The Boulevard Theaters and Continuity in French Opera of the 19th Century, in: Peter Bloom (Hrsg.), Music in Paris in the EighteenThirties, Stuyvesant/NY 1987, S.
Page 24 - Yves Leclercq, Le reseau impossible: La resistance au systeme des grandes compagnies ferroviaires et la politique economique en France, 1820-1852 (Geneva, 1987), pp. 182-93. prise, and hence a new convention was unavoidable whereby the company would be "intimately related" to the state, providing the best possible security for investors.9 That was the good news.