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The Keys to French Opera in the Nineteenth Century. (Diverse Topics).

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| June 01, 2002 | Henson, Karen | COPYRIGHT 2002 Music Library Association, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

The Keys to French Opera in the Nineteenth Century. By Herve Lacombe. Translated by Edward Schneider. Berkeley: University of California Press, 2001. [xv, 415 p. ISBN 0-520-21719-5. $40.]

The last few years have been good ones for French opera, with the publication of the English translation of Anselm Gerhard's Die Verstadterung der Oper (Stuttgart:J. B. Metzler, 1992) as The Urbanization of Opera: Music Theater in Paris in the Nineteenth Century (Chicago and London: University of Chicago Press, 1998); Steven Huebner's French Opera at the Fin de Siecle: Wagnerism, Nationalism, and Style (Oxford: Oxford University Press, 1999); and, most recently, this translation of Herve Lacombe's Les voies de l'opera francais au XIXe siecle (Paris: Fayard, 1997). Of these three, Les voies occupies a kind of middle ground, focusing as it does on France's Second Empire (1852-70), and with much less overall argumentative gusto than the Gerhard and Huebner studies. (In The Urbanization of Opera, Gerhard seeks to show that 1830s and 1840s grand opera was partly the product of a new urban experience, while in French Opera at the Fin de Siecle, Huebner puts forward a detailed trajectory for French operatic Wagneris m after 1880.) Lacombe's focus is rather on a single work, Georges Bizet's Les pecheurs de perles, first performed at the Theatre Lyrique in 1863, and on how this "opera by a beginner" (p. 2, Bizet was only 25 at the time) exemplifies the changes taking place in French lyric theater at mid-century. Les pecheurs was received at its premiere as "a rejection of the traditional categories of opera-comique and grand opera" (p. 2) but was at the same time hardly "revolutionary"; and it is this "mildness," this "reconciling" of renewal and tradition (p. 280) that guarantees its place as the central case study.

The genesis, dramatic construction, early performance, and reception of Les pecheurs are dealt with not only as the book unfolds, but also in a series of appendices detailing surviving sources: Theatre Lyrique box-office receipts; changes made during and after the 1863 run; etc. In the English edition, this material (rather specific and not always well integrated) is offset by new sections on ...

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