Source:The University of Chicago Press,, Chicago, United States, p.1 online resource (2021)
Keywords:(OCoLC)fst01030583, (OCoLC)fst01046981, 18th century., bisacsh, fast, France, History, MUSIC / General., Music patronage, Music patronage., Opéra comique, Opéra comique.
Includes bibliographical references and index.Editorial Principles Introduction Institutional History Dialogue Opera and the Cosmopolitan 'Revolution' The Politics of Genre 1. Opéra Comique and the Legacy of Colbert Comic Theater and the Querelle des Bouffons Theater and the Nation La Nouvelle Troupe New Rivalries 2. Character, Class, and Style in the Lyric Drame Bienséance in Ancien Régime Opera Opéra Comique and the Drame Romance and Refinement Recitative for the Peuple Lyric Drame at the Opéra 3. The Musical Revolutions of Marie Antoinette The Musical Patronage of a Habsburg Queen Tragédie Lyrique and Its Parodies// Italian Opera at the French Court Despotism and Privilège 4. The Decadence of the Pastoral Pastoral Living at the Petit Trianon 'Private' Pastorals: The Troupe des Seigneurs Ceremonial Pastorals for Court and Capital The Pastoral as Adaptation: C. S. Favart's Ninette à la cour 5. 'Heroic' Comedy on the Eve of 1789 Opera and Revolution at the Salle Favart The Development of 'Heroic' Comedy The 'Heroic' Sargines Continuity and Rupture 6. Epilogue: The Foundation of a 'People's' Art Richard Coeur de Lion: The First Fifty Years Richard Coeur de Lion: The First Hundred Years Conclusions: Richard Coeur de Lion and the Revolutionary Centennial Acknowledgments Notes Bibliography Index.Description based on CIP data; resource not viewed.Introduction. Institutional history ; Dialogue opera and the cosmopolitan "revolution" ; The politics of genre -- Opéra comique and the legacy of Colbert. Comic theater and the Querelle des Bouffons ; Theater and the nation ; La Nouvelle Troupe ; New rivalries -- Character, class, and style in the lyric Drame. Bienséance in ancien régime opera ; Opéra comique and the Drame ; Romance and Refinement; Recitative for the Peuple ; Lyric Drame at the Opéra -- The musical revolutions of Marie Antoinette. The musical patronage of a Habsburg Queen ; Tragédie Lyrique and its parodies ; Italian opera at the French court ; Despotism and privilège -- The decadence of the pastoral. Pastoral living at the Petit Trianon ; "Private" pastorals : The Troupe des Seigneurs ; Ceremonial pastorals for court and capital ; The pastoral as adaptation : C. S. Favart's Ninette à la cour -- "Heroic" comedy on the eve of 1789. Opera and revolution at the Salle Favart ; The development of "Heroic" Comedy ; The "Heroic" Sargines ; Continuity and rupture -- Epilogue. the foundation of a "People's" art ; Richard Coeur de Lion : the first fifty years ; Richard Coeur de Lion : the first hundred years -- Conclusions. Richard Coeur de Lion and the revolutionary centennial.Opera in ancien régime France was an eminently political art, tied to the demands of court spectacle. This was true not only of tragic opera (tragédie lyrique) but also its comic counterpart, opéra comique, a theatrical form tracing its roots to the seasonal trade fairs of Paris. While historians have long privileged the genre's popular origins, opéra comique was brought under the protection of the French crown in 1762, thus consolidating a new venue where "official" music was debated and defined. In The Comedians of the King, Julia Doe traces the impact of Bourbon patronage on the development of opéra comique in the turbulent pre-revolutionary years. This book presents the history of an understudied genre and the institutional structures that supported it, determining how changes in royal sponsorship contributed to the rapid evolution of this lyric form. Drawing on both musical and archival evidence, Doe demonstrates how comic theater was exploited in, and worked against, the monarchy's carefully cultivated public image-questions that became especially urgent after the ascension of the music-loving Marie Antoinette. The Comedians of the King examines the aesthetic and political tensions that arose when a genre with popular roots was folded into the Bourbon propaganda machine, and when actors trained at the Paris fairs became official representatives of the sovereign, or comédiens ordinaires du roi.