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3661 results in Opera

Page 48 of 184

  • An Operatic Locarno: The Paris Premiere of Smetana’s The Bartered Bride and Czechoslovak-French Cultural Diplomacy

  • Christopher Campo-Bowen
  • Journal:
    Cambridge Opera Journal / Volume 28 / Issue 3 / November 2016
    Published online by Cambridge University Press:
    20 March 2017, pp. 283-312

  • On 26 October 1928 Paris was witness to a gala opera performance some sixty years in the making: the city’s first staging of Bedřich Smetana’s The Bartered Bride (1866). Organised under the auspices of the Czechoslovak embassy, joined with the tenth anniversary celebrations for the foundation of the First Czechoslovak Republic, and promoted as a marker of French-Czechoslovak cultural ties, the event constituted a triumph for Czech opera in one of the interwar period’s most important European cultural centres. The Paris premiere of The Bartered Bride allows for a detailed examination of two distinct but interconnected issues: the status of Smetana’s opera as political, ideological and national symbol for the nascent Czechoslovak state, and the diplomatic relationship between interwar France and Czechoslovakia.

Dance and Drama in French Baroque Opera
  • A History
  • Rebecca Harris-Warrick
  • Published online:
    03 November 2016
    Print publication:
    27 October 2016
  • Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act of every opera - is essential to understanding the work. The book considers the operas of Lully - his lighter works as well as his tragedies - and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Académie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera.

Page 48 of 184