Quelle:Cambridge University Press,, Cambridge, United Kingdom ;, p.1 online resource (xxiv, 368 pages) : (2022)
Schlüsselwörter:(OCoLC)fst01030807, (OCoLC)fst01046145, 18th century., fast, France, History, Musical theater, Musical theater., Opera, Opera.
Includes bibliographical references and index.Introduction -- Music and Spoken Theatre -- Music in Gherardi's Company -- Singing and Acting at Home -- Opéra-comique en vaudevilles -- Experiences of Popular Theatre -- Comic and Serious Themes -- Performance as History -- Musical Expansion -- Italian Inroads : the King's Company -- Six Methods of Synthesis -- A 'Musico-Dramatic Art' -- Conclusion."Popular opera deserves a history, if only to reveal the origins of today's flourishing musical theatre. Operas with spoken dialogue originated in Paris as well as London, some years before The Beggar's Opera. In both countries a tradition of social critique was inscribed from the first. The vaudeville tradition has changed, but its roots are not actually remote: Marie-Justine Favart, the legendary singer, writer and actress discussed in Chapter 10, created the role of Roxelane in Soliman II, a musical play by Charles-Simon Favart: 'The last Roxelane on stage was Madeleine Renaud (1900-94) [...] also one of the first performers in plays by Samuel Beckett (1906-89) and Marguerite Duras (1914-96).'"--Description based on online resource; title from digital title page (viewed on December 10, 2021).