Dance and Drama in French Baroque Opera

Informationen zum Autor Rebecca Harris-Warrick is Professor of Music at Cornell University, New York. She has published widely on French Baroque music and dance, with excursions into nineteenth-century opera, and has prepared critical editions of ballets by Lully and of Donizetti's opera, La Favorite. Much of her scholarly work has been informed by her interests in performance; she has studied early dance and performed as a Baroque flutist. She serves on the editorial boards for the Les Oeuvres complètes de Jean-Baptiste Lully and the Journal of the Society for Seventeenth-Century Music. Her research has been supported by fellowships from the National Endowment for the Humanities, the Mellon Foundation, and the Guggenheim Foundation. Klappentext Examines the evolving practices in music, librettos, choreographed dance, and staging throughout the history of French Baroque opera. Zusammenfassung In this book! Rebecca Harris-Warrick dismantles the prevailing notion that dance in French Baroque opera was merely decorative! and presents compelling evidence that the divertissement is essential to understanding the work. Evolving practices in music! librettos! choreography and staging are brought to bear on sixty years of operatic history. Inhaltsverzeichnis Introduction; Part I. Lully: 1. The dramaturgy of Lully's divertissements; 2. Constructing the divertissement; 3. Dance foundations; 4. Dance practices on stage; 5. Prologues; 6. The lighter side of Lully; Part II. The Rival Muses in the Age of Campra: 7. The muses take the stage; 8. Thalie, muse of comedy; 9. Thalie visits the fairs; 10. The contested comic; 11. Melpomène, muse of tragedy; 12. Melpomène adapts; 13. Terpsichore, muse of the dance; 14. In the traces of Terpsichore; Epilogue; Appendix 1. Works performed at the Académie Royale de Musique, 1695-1732, in which the impact of the comédie italienne can be seen; Appendix 2. A partial list of performances consisting of 'fragments', 1702-32; Appendix 3. The choreographies danced at the Opéra contextualized....

Klappentext
Examines the evolving practices in music, librettos, choreographed dance, and staging throughout the history of French Baroque opera.

Zusammenfassung
In this book, Rebecca Harris-Warrick dismantles the prevailing notion that dance in French Baroque opera was merely decorative, and presents compelling evidence that the divertissement is essential to understanding the work. Evolving practices in music, librettos, choreography and staging are brought to bear on sixty years of operatic history.

Inhalt
Introduction; Part I. Lully: 1. The dramaturgy of Lully's divertissements; 2. Constructing the divertissement; 3. Dance foundations; 4. Dance practices on stage; 5. Prologues; 6. The lighter side of Lully; Part II. The Rival Muses in the Age of Campra: 7. The muses take the stage; 8. Thalie, muse of comedy; 9. Thalie visits the fairs; 10. The contested comic; 11. Melpomène, muse of tragedy; 12. Melpomène adapts; 13. Terpsichore, muse of the dance; 14. In the traces of Terpsichore; Epilogue; Appendix 1. Works performed at the Académie Royale de Musique, 1695-1732, in which the impact of the comédie italienne can be seen; Appendix 2. A partial list of performances consisting of 'fragments', 1702-32; Appendix 3. The choreographies danced at the Opéra contextualized.

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