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  • Cited by 8
Publisher:
Cambridge University Press
Online publication date:
November 2012
Print publication year:
2012
Online ISBN:
9781139034302

Book description

Historians of French politics, art, philosophy and literature have long known the tensions and fascinations of Louis XV's reign, the 1750s in particular. David Charlton's study comprehensively re-examines this period, from Rameau to Gluck and elucidates the long-term issues surrounding opera. Taking Rousseau's Le Devin du Village as one narrative centrepiece, Charlton investigates this opera's origins and influences in the 1740s and goes on to use past and present research to create a new structural model that explains the elements of reform in Gluck's tragédies for Paris. Charlton's book opens many new perspectives on the musical practices and politics of the period, including the Querelle des Bouffons. It gives the first detailed account of intermezzi and opere buffe performed by Eustachio Bambini's troupe at the Paris Opéra from August 1752 to February 1754 and discusses Rameau's comedies Platée and Les Paladins and their origins.

Reviews

'The result of over a decade's research into the operatic culture of Louis XV's reign and a lifetime of careful scholarship.'

Source: The Times Literary Supplement

'Opera in the Age of Rousseau shines not only in its insightful tour through familiar polemics but also in its awareness of generic and stylistic trends that figure all too infrequently in scholarship on French staged works from this period … [Charlton's] study highlights the vigour and realism with which Rousseau and his colleagues turned to opera; it also emphasizes the rewards awaiting any modern musicologist who confronts these repertories alongside their volatile reception histories.'

Gina Rivera Source: Eighteenth-Century Music

'[This book] comes as close as possible to describing what French ‘musical Enlightenment’ might be … [It] traces the subtleties of musical innovation, the shifts of public opinion, and the institutional, financial and aesthetic pressures that pushed opera in new directions.'

Downing A. Thomas Source: French Studies

'Charlton's book advances deeply into new territory … and reveals wholly new insights into French eighteenth-century opera, dealing with the numerous elements of its existence as well as its development … His book compels the greatest admiration.'

Herbert Schneider Source: Il Saggiatore musicale

'… a major contribution to our understanding of musical life in late eighteenth-century France … will certainly stand as the new reference work in the field.'

Martin Wåhlberg Source: Journal for Eighteenth-Century Studies

'Opera in the Age of Rousseau, with its valuable descriptions, analyses, illustrations, and generous musical examples, will be an indispensable addition to any dix-huitièmiste’s library.'

Georgia J. Cowart Source: Journal of the American Musicological Society

'This is a panoramic presentation of the areas which matter for the evolution of the opera between 1750 and 1777, but a presentation which is made in splendid detail, one that greatly adds to our understanding of this art.'

Marian Hobson Source: translated from Recherches sur Diderot et sur l'Encyclopédie

'Charlton appraises dramatic, linguistic and musical elements through close readings of scores and libretti … [He offers] major contributions to understanding music on the stage.'

Matthew Head Source: Cambridge Opera Journal

'Opera in the Age of Rousseau is a substantial and much-needed reexamination of a period of history that Richard Taruskin identified as 'until recently the most systematically neglected span of years in the whole history of European ‘fine-art’ music' … The book will serve as an essential resource for scholars and graduate students interested in Rousseau, Bambini’s bouffons troupe, and operatic practice during the Ancien Régime … a massive achievement.'

Jacek Blaszkiewicz Source: Notes: The Quarterly Journal of the Music Library Association

'Charlton's fluid and energetic style will make light work of this read … Opera in the Age of Rousseau should occupy a prominent space on university and personal library shelves for many years.'

Erik Paffett Source: Music Research Forum

'The tables given in the work are in themselves an outstanding resource, based on wide and deep archival research, statistical study and reconstruction of repertory. Overall, this is a breakthrough study …'

Mark Darlow Source: 1650–1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era

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Contents


Page 1 of 2



Page 1 of 2


Select Bibliography

Bibliographical abbreviations containing all works referred to in more than one chapter

ABDA: Philip H. Highfill, Jr, Kalman A. Burnim and Edward A. Langhans (eds.), A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660–1800, 16 vols. (Carbondale: Southern Illinois University Press, 1973–93).
AmelotMS: ‘Mémoires pour servir à l’Histoire de l’Académie Royale de Musique . . . jusqu’en l’année 1758’, F-Po, Rés. 516.
AndersonP: Nicholas Anderson, ‘Rameau’s Platée: burlesque or grotesque?’, Early Music 11/4 (1983), 505–9.
AnthonyFBM: James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau, rev. edn (London: B. T. Batsford, 1978).
Antoine: Michel Antoine, Louis XV (Paris: Fayard, 1989).
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BarkerG: Emma Barker, Greuze and the Painting of Sentiment (Cambridge University Press, 2005).
BaumanOE: Thomas Bauman and Marita Petzoldt McClymonds (eds.), Opera and the Enlightenment (Cambridge University Press, 1996).
BCN: Burney Collection Newspapers, viewed on http://find.galegroup.com/bncn/retrieve.
Benoit: Marcelle Benoit, Dictionnaire de la musique en France aux XVIIe et XVIIIe siècles (Paris: Fayard, 1992).
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BoucherRT: Thierry-G. Boucher, ‘Rameau et les théâtres de la cour (1745–1764)’, in La GorceJPR, 565–77.
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COJ: Cambridge Opera Journal.
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Confessions: Jean-Jacques Rousseau, Les Confessions, ed. Alain Grosrichard, 2 vols. (Paris: Flammarion, 2002).
ConnonIT: Derek Connon, Identity and Transformation in the Plays of Alexis Piron (London: Legenda, 2007).
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CotticelliM: Francesco Cotticelli and Paologiovanni Maione, ‘Metastasio: the dramaturgy of eighteenth-century heroic opera’, in DelDonnaCC, 66–84.
CouvreurD: Manuel Couvreur, ‘Diderot et Philidor: Le philosophe au chevet d’Ernelinde, Recherches sur Diderot et l’Encyclopédie 11 (1991), 83–107.
CowartO: Georgia Cowart, The Origins of Modern Musical Criticism: French and Italian Music 1600–1750 (Ann Arbor: UMI Research Press, 1981).
CowartW: Georgia Cowart, ‘Of women, sex and folly: opera under the Old Regime’, COJ 6/3 (1994), 205–20.
CranstonJJ: Maurice Cranston, Jean-Jacques: The Early Life of Jean-Jacques Rousseau 1712–1754 (London: Allen Lane, 1983).
CrowPPL: ThomasE.Crow, Painters and Public Life in Eighteenth-Century Paris (New Haven: Yale University Press, 1985).
CucuelP: Georges Cucuel, La Pouplinière et la musique de chambre au XVIIIe siècle (Paris: Fischbacher, 1913; r/New York, 1971).
CyrDC: MaryCyr, ‘The dramatic role of the chorus in French opera: evidence for the use of gesture, 1670–1770’, in BaumanOE, 105–18.
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D’Aquin 53: Pierre-Louis, D’Aquin de Château-Lyon, Siècle littéraire de Louis XV ou Lettres sur les hommes célèbres, 2 vols. (Amsterdam and Paris: Duchesne, 1753, 1754).
D’ArgensonJ: René-Louis de Voyer de Paulmy, marquis d’Argenson, Journal et mémoires du Marquis d’Argenson publiés pour la première fois, ed. E. J. B. Rathery, 9 vols. (Paris: Veuve Jules Renouard, 1859–67).
D’ArgensonN: René-Louis de Voyer de Paulmy, marquis d’Argenson, Notices sur les Œuvres de théâtre, ed. Henri Lagrave (SVEC 42–3), 2 vols. (Geneva: Institut et Musée Voltaire, 1966).
DarlowF: Mark Darlow, Nicolas-Etienne Framery and Lyric Theatre in Eighteenth-Century France (SVEC, 2003:11) (Oxford: Voltaire Foundation, 2003).
DarntonCM: Robert Darnton, The Great Cat Massacre and Other Episodes in French Cultural History (London: Penguin Books, 1991) [1984].
Dartois-Lapeyre: Françoise Dartois-Lapeyre, ‘Le chant en langue étrangère et régionale dans l’opéra aux xviie et xviiie siècles’, in Jean Quéniart (ed.), Le Chant, acteur de l’histoire (Presses universitaires de Rennes, 1999), 101–21.
DeckH: Pantaléon Deck, Histoire du Théâtre français à Strasbourg (1681–1830) (Strasbourg: F. X. Le Roux, 1948).
DelDonnaCC: Anthony R. DelDonna and Pierpaolo Polzonetti (eds.), The Cambridge Companion to Eighteenth-Century Opera (Cambridge University Press, 2009).
DesboulmiersTI: [Jean-Auguste Jullien Desboulmiers], Histoire anecdotique et raisonnée du Théâtre Italien, 7 vols. (Paris: Lacombe, 1769; in 2 vols., r/Geneva: Slatkine, 1968).
DestouchesOD: Philippe Néricault-Destouches, Œuvres dramatiques, new edn, 10 vols. (Paris: Durand, 1758).
Devriès-Lesure: Anik Devriès-Lesure, L’Edition musicale dans la presse parisienne au XVIIIe siècle.Catalogue des annonces (Paris: CNRS Editions, 2005).
DiderotOE: Denis Diderot, Œuvres Esthétiques, ed. Paul Vernière (Paris: Garnier, 1988).
DiderotRN: Denis Diderot, Rameau’s Nephew, trans. L. W. Tancock (Harmondsworth: Penguin Books, 1966).
DillMO: Charles Dill, Monstrous Opera: Rameau and the Tragic Tradition (Princeton University Press, 1998).
DircksB: Phyllis K. Dircks, The Eighteenth-Century English Burletta (ELS Monograph Series 78) (University of Victoria, 1999).
DoratDT: Claude-Joseph Dorat, La Déclamation théâtrale, poëme didactique en quatre chants, précédé et suivi de quelques morceaux de prose, 4th edn (Paris: Delalain, 1771). [Cantos 1 to 3 appeared originally in 1766 and canto 4 in 1767.]
D’OrvilleOB: [André Guillaume Contant d’Orville], Histoire de l’opéra bouffon, 2 vols. (Amsterdam: Grangé, 1768; r/Geneva: Slatkine, 1970).
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DratwickiL: Benoît Dratwicki, ‘Lully d’un siècle à l’autre: du modèle au mythe (1754–1774)’, in Terrier/Dratwicki, 309–46.
DufourcqL: Norbert Dufourcq, La Musique à la cour de Louis XIV et de Louis XV d’après les Mémoires de Sourches et Luynes (La Vie musicale en France sous les rois Bourbons 17) (Paris: Picard, 1970).
Dziembowski: Edmond Dziembowski, Un nouveau patriotisme français, 1750–1770. La France face à la puissance anglaise à l’époque de la guerre de Sept Ans (SVEC 365) (Oxford: Voltaire Foundation, 1998).
Encyclopédie: Jean le Rond d’Alembert and Denis Diderot (eds.), Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, 17 vols. (Paris: Briasson, 1751–65).
FabianoH: Andrea Fabiano, Histoire de l’opéra italien en France (1752–1815) (Paris: CNRS Editions, 2006).
FabianoQB: Andrea Fabiano (ed.), La ‘Querelle des Bouffons’ dans la vie culturelle française du XVIIIe siècle (Paris: CNRS Editions, 2005).
FajonIS: Robert Fajon, ‘Les Incertitudes du succès: étude du répertoire de l’Académie Royale de Musique des origines à 1750’, in OpéraDHS, 287–344.
FajonOP: Robert Fajon, L’Opéra à Paris du Roi Soleil à Louis le Bien-Aimé (Geneva: Slatkine, 1984).
FavartM: Charles-Simon Favart, Mémoires et correspondances dramatiques et anecdotiques, ed. A. P. C. Favart, 3 vols. (Paris: Léopold Collin, 1808; r/Lexington: Elibron Classics, 2005).
FBO: Caroline Wood and Graham Sadler, French Baroque Opera: A Reader (Aldershot: Ashgate, 2000).
FeldmanOS: Martha Feldman, Opera and Sovereignty: Transforming Myths in Eighteenth-Century Italy (University of Chicago Press, 2007).
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FréronAL: [Elie-Catherine Fréron, ed.], L’Année littéraire ou Suite des lettres sur quelques écrits de ce Temps, par M. Fréron (Amsterdam, Paris: Lambert, 1754 etc.).
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GarrickD: The Diary of David Garrick, ed. Ryllis Clair Alexander (New York: Oxford University Press, 1928).
GirdlestoneR: Cuthbert Girdlestone, Jean-Philippe Rameau: His Life and Work, rev. edn (New York: Dover, 1969).
GiulianiP: Elizabeth Giuliani, ‘Le public de l’Opéra de Paris de 1750 à 1760. Mesure et définition’, International Review of the Aesthetics and Sociology of Music 8/2 (1977), 159–80.
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GreenR: Thomas R. Green, ‘Early Rameau sources: studies in the origins and dating of the operas and other musical works’ (diss., Brandeis University, 1992).
GrimmCL: Friedrich Melchior Grimm, Correspondance littéraire, ed. Maurice Tourneux, 16 vols. (Paris: Garnier Frères, 1877–82).
GrimmCL2: Friedrich Melchior Grimm, Correspondance littéraire, 15 vols. (Paris: Furne, 1829–31).
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HobsonOA: Marian Hobson, The Object of Art: The Theory of Illusion in Eighteenth-Century France (Cambridge University Press, 1982).
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HughesCS: Derek Hughes, Culture and Sacrifice: Ritual Death in Literature and Opera (Cambridge University Press, 2007).
Hunter/Webster: Mary Hunter and James Webster (eds.), Opera Buffa in Mozart’s Vienna (Cambridge University Press, 1997).
Iacuzzi: Alfred Iacuzzi, The European Vogue of Favart: The Diffusion of the Opéra-Comique (New York: Institute of French Studies, 1932).
IsherwoodM: Robert M. Isherwood, Music in the Service of the King: France in the Seventeenth Century (Ithaca: Cornell University Press, 1973).
Jacobshagen: Arnold Jacobshagen, Der Chor in der französischen Oper des späten Ancien Régime (Perspektiven der Opernforschung 5) (Frankfurt am Main: Peter Lang, 1997).
JAMS: Journal of the American Musicological Society.
JE: Journal encyclopédique.
JM: Journal de Musique [various subtitles] (Paris: Vallat-la-Chapelle and others, 1770–7, irregularly), repr. in 3 vols. (Geneva: Minkoff, 1972).
JohnsonBR: Victoria Johnson, Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime (University of Chicago Press, 2008).
JohnsonL: James L. Johnson, Listening in Paris: A Cultural History (Berkeley: University of California Press, 1995).
JonesMP: Colin Jones, Madame de Pompadour: Images of a Mistress (London: National Gallery Company, 2002).
JRMA: Journal of the Royal Musical Association.
JullienMP: Adolphe Jullien, Histoire du théâtre de Madame de Pompadour dit Théatre des Petits Cabinets (Paris: J. Baur, 1874; r/Geneva: Minkoff, 1978).
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KaufmanDV: Jean-Jacques Rousseau, Le Devin du village, ed. Charlotte Kaufman (Recent Researches in the Music of the Classical Era 50) (Madison: A-R Editions, Inc., 1998). Issued with separate facsimile of The Cunning Man, arr. from Rousseau’s work by Charles Burney, Introduction by Kerry S. Grant.
KintzlerR: Catherine Kintzler, Jean-Philippe Rameau: Splendeur et naufrage de l’esthétique du plaisir à l’âge classique (Paris: Le Sycomore, 1983).
La BordeE: [Jean-Benjamin de La Borde], Essai sur la musique ancienne et moderne, 4 vols. (Paris: Eugène Onfroy, 1780).
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La GorceJPR: Jérôme de La Gorce (ed.), Jean-Philippe Rameau. Colloque international organisé par la Société Rameau, Dijon, 21–24 septembre 1983 (Paris: Champion, Slatkine, 1987).
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LajarteO: Théodore de Lajarte, Bibliothèque musicale du Théâtre de l’Opéra, 2 vols. (Paris: Libraire des bibliophiles, 1878).
La LaurencieDI: Lionel de La Laurencie, ‘Deux imitateurs français des Bouffons: Blavet et Dauvergne’, L’Année musicale, ii: 1912 (Paris: Félix Alcan, 1913), 65–125.
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La PorteAD: Joseph de La Porte and Jean-Marie Clément, Anecdotes dramatiques, 3 vols. (Paris: Veuve Duchesne, 1775; r/Geneva: Slatkine, 1971).
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La PorteV: Joseph de La Porte, Voyage en l’autre monde ou Nouvelles littéraires de celui-cy, 2 vols. (London: n.p., 1753).
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LaunayQB: Denise Launay, La Querelle des Bouffons: texte des pamphlets, 3 vols. (Geneva: Minkoff, 1973).
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LazarevichP: Gordana Lazarevich, ‘Pergolesi and the “Guerre des Bouffons”’, Studi Pergolesiani 2 (1988), 195–203.
LecomteDH: Nathalie Lecomte, ‘Jean-Baptiste François Dehesse, chorégraphe à la Comédie Italienne et au Théâtre des Petits Appartements de Madame de Pompadour’, RMFC 24 (1986), 142–91.
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