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théâtre-lyrique

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Journal Articles
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... 1850s. Wagner's position in Paris during the 1860s, culminating in the production of Rienzi at the Théâtre- Lyrique in 1869, is however complex, multifaceted, and little understood. Although there were no staged versions of his operas between 1861 and 1869, the very existence of a successful Parisian...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
..., Théâtre-Lyrique de la Gaît Le Figaro 56, no. 113, 3 (23 April 1910): 5. (Italics in origi- nal.) Cited in Megan Coe, Composing Symbolism s Musicality of Language in Fin-de-siècle France (PhD diss., University of North Texas, 2016), 95. 26 La musique . . . entrait chez nous comme une brutale invasion...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... universitaires de Saint-Étienne, 2015), 29 43. 10On this score, see Peter Lamothe, Questions of Genre: Massenet s Les Érinnyes at the Théâtre-national-Lyrique, in Music, Theatre, and Cultural Transfer: Paris, 1830 1914, ed. 97 JEAN- CHRISTOPHE BRANGER Massenet s Esclarmonde with his oratorio Marie-Magdeleine...
Journal Articles
19th-Century Music. 2018; 413225–251 doi: https://doi.org/10.1525/ncm.2018.41.3.225
Published: 01 March 2018
... 14, no. 40 (7 October 1894): 320; and Courrier des théâtres, Le Figaro, 26 November 1894, 3. 32Don Joaquín Estébanez (pseud Un drama nuevo, drama en tres actos (Madrid: Rodriguez, 1867). 33Quoted in Henry Edward Krehbiel, A Second Book of Operas: Their Histories, Their Plots and Their Music (New...
Journal Articles
19th-Century Music. 2018; 413183–205 doi: https://doi.org/10.1525/ncm.2018.41.3.183
Published: 01 March 2018
... Ellis, Systems Failure in Operatic Paris: The Acid Test of the Théâtre-Lyrique, in Stage Music and Cultural Transfer, Paris 1830 1914, ed. Mark Everist and Annegret Fauser (Chicago: University of Chicago Press, 2009), 49 71; Weber, The Great Transformation of Musical Taste, 276; Jutta Toelle, Venice...
Journal Articles
19th-Century Music. 2015; 392125–141 doi: https://doi.org/10.1525/ncm.2015.39.2.125
Published: 01 November 2015
... easily verify by way of widespread portraits or anecdotes. He also drew on his personal experiences, as he was the official doctor of Paris s Théâtre- italien.25 Playing as he did an active part in the life of this opera house, it is hardly surprising that Fossati insisted, more than any of his...
Journal Articles
19th-Century Music. 2014; 373188–210 doi: https://doi.org/10.1525/ncm.2014.37.3.188
Published: 01 March 2014
...: Systems Failure in Operatic Paris: The Acid Test of the Théâtre-Lyrique, in Music, Theater, and Cultural Transfer, 49 71; Funding Grand Opera in Regional France: Ideologies of the Mid-Nineteenth Century, in Art and Ideology in European Opera, ed. Rachel Cowgill, David Cooper, and Clive Brown...
Journal Articles
19th-Century Music. 2014; 373211–241 doi: https://doi.org/10.1525/ncm.2014.37.3.211
Published: 01 March 2014
...- constructing Greek Drama: Saint-Saëns and the Melodra- matic Ideal, in Melodramatic Voices: Understanding Mu- sic Drama, 45 60. 11See Peter Lamothe, Questions of Genre: Massenet s Les Érinnyes at the Théâtre-National-Lyrique, in Music, The- ater, and Cultural Transfer: Paris, 1830 1914, ed. Annegret Fauser...
Journal Articles
19th-Century Music. 2012; 362101–121 doi: https://doi.org/10.1525/ncm.2012.36.2.101
Published: 01 November 2012
... some of the most prestigious and established midcentury Parisian opera houses the Opéra-Comique and the Théâtre-Lyrique Offenbach describes a puffed-up style that he himself would appropriate and satirize in his later opéras bouffes. The criticism reveals Offenbach s evident envy and resentment of...
Journal Articles
19th-Century Music. 2013; 37156–88 doi: https://doi.org/10.1525/ncm.2013.37.3.56
Published: 01 July 2013
Journal Articles
19th-Century Music. 2013; 37156–88 doi: https://doi.org/10.1525/ncm.2013.37.1.56
Published: 01 July 2013
Journal Articles
19th-Century Music. 2010; 333232–246 doi: https://doi.org/10.1525/ncm.2010.33.3.232
Published: 01 March 2010
... that the appear- ance of Tannhäuser at the Opéra was the most significant element in the choice to stage Alceste in 1861, it was not the only factor that led to the production. Rather, Gluck s opera was revived because of a number of related factors. Two years prior, the Théâtre-Lyrique had revived...
Journal Articles
19th-Century Music. 2010; 333195–231 doi: https://doi.org/10.1525/ncm.2010.33.3.195
Published: 01 March 2010
... xixe siècle, in Le Théâtre lyrique en France au xixe siècle, ed. Paul Prévost [Metz: Éditions Serpenoise, 1995], pp. 297 334). Even in recent work dedicated to Rossini, whose Le Comte Ory is central to the history of petit opéra, the genre receives no mention; see, for example, Damien Co- las...
Journal Articles
19th-Century Music. 2009; 33125–61 doi: https://doi.org/10.1525/ncm.2009.33.1.025
Published: 01 July 2009
..., Berlioz withdrew it in 1863 and gave it to the Théâtre-Lyrique. 46CG, V, 482 ( Paris est la capitale de la barbarie musicale, ne l oubliez pas He was writing from Baden-Baden, where the August festival had become the high point of his musical year. 47Berlioz s remark to his son at the moment of the...
Journal Articles
19th-Century Music. 2009; 33162–78 doi: https://doi.org/10.1525/ncm.2009.33.1.062
Published: 01 July 2009
... Théâtre-Lyrique during a performance of Adam s Si j étais roi on 22 November 1888. 23Ibid. 24Leroux adapted the headline from the one in his own former paper, Le Matin, on 21 May 1896: Cinq cents kilos sur la tête d une concierge. 25See Jean-Paul Colin, Les Moyens linguistiques de l emphase chez Gaston...
Journal Articles
19th-Century Music. 2007; 303213–229 doi: https://doi.org/10.1525/ncm.2007.30.3.213
Published: 01 March 2007
... prononcer souvent avec indifférence, et il poussa ce cri de douleur Les Prussiens me tueront Gustave Lafargue, Courrier des théâtres quelques détails sur Auber racontés par M. Oscar Comettant, Le Figaro, 30 June 1871. One of his female companions also commented on Auber s discovery of pain, claiming that...
Journal Articles
19th-Century Music. 2007; 312113–130 doi: https://doi.org/10.1525/ncm.2007.31.2.113
Published: 01 November 2007
... Maurel, A propos de la mise en scène du drame lyrique Otello : Étude précédée d aperçus sur le théâtre chanté en 1887 (Rome: Editrice Romana, 1888), rpt. in Dix Ans de carrière, pp. 1 148. 13The lectures we know about were held at the Lyceum Theater in London in December 1890, in Milan (venue Plate 2...
Journal Articles
19th-Century Music. 2007; 303230–256 doi: https://doi.org/10.1525/ncm.2007.30.3.230
Published: 01 March 2007
...-Saëns Timbre d argent at the Théâtre-lyrique in 1877. During this period, he also worked as choral conductor for the Concerts Pasdeloup in 1874. Beginning in 1875, he held the same position for the Con- certs Colonne, where he also competed, albeit unsuccess- fully, to become the assistant conductor of...
Journal Articles
19th-Century Music. 2007; 303288–317 doi: https://doi.org/10.1525/ncm.2007.30.3.288
Published: 01 March 2007
... performances of Sousa s band on its return to Paris in 1903 (the band appeared at the Nouveau-Théâtre from 19 April to 1 May), the article rhapsodized on Sousa s success, offering a description of his marches and cake walks: Le grondement du tonnerre, le crépitement de la pluie, le train en marche qui s...
Journal Articles
19th-Century Music. 2004; 282089–107 doi: https://doi.org/10.1525/ncm.2004.28.2.089
Published: 01 November 2004
... composed nu- merous opera scores; and Viotti was instru- mental in establishing a new opera house for Paris, the Théâtre de Monsieurs (later the Théâtre Feydeau). Such relationships ensured a close affinity between opera and concerto per- formance. Indeed, as one historian has noted, the French concerto...