Download Ballet and Opera in the Age of Giselle by Marian Smith PDF

By Marian Smith

Marian Smith recaptures a wealthy interval in French musical theater whilst ballet and opera have been in detail hooked up. concentrating on the age of Giselle on the Paris Opéra (from the 1830s during the 1840s), Smith bargains an extraordinary examine the structural and thematic courting among the 2 genres. She argues deeper realizing of either ballet and opera--and of nineteenth-century theater-going tradition in general--may be won via analyzing them in the related framework rather than following the standard perform of telling their histories individually. This handsomely illustrated ebook finally presents a brand new portrait of the Opéra in the course of a interval lengthy celebrated for its box-office successes in either genres.

Smith starts off through exhibiting how gestures have been encoded within the musical language that composers utilized in ballet and in opera. She strikes directly to a variety of themes, together with the connection among the gestures of the singers and the pursuits of the dancers, and the excellence among dance that represents dancing (entertainment staged in the tale of the opera) and dance that represents motion. Smith continues that ballet-pantomime and opera endured to depend upon one another good into the 19th century, at the same time they thrived independently. The "divorce" among the 2 arts happened bit by bit, and should be traced via not likely resources: controversies within the press in regards to the altering nature of ballet-pantomime tune, transferring rules approximately originality, lawsuits concerning the ridiculousness of pantomime, and a little-known practice session ranking for Giselle.

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Additional resources for Ballet and Opera in the Age of Giselle

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3 Contemporary chronicles of the Opera include both kinds of works in their published narratives and repertory lists. 5 News columns mix information about opera and ballet together6: THE News: ... Tomorrow, on Monday at the Opera: Stradella [an opera], followed by Le Diable amoreux [a ballet-pantomime]; in the second act M. Coralli and MIle 20 A FAMILY RESEMBLANCE Maria will dance the Polka. All week Le Lazzarone [an opera] has been rehearsed; the fIrst performance is set for next Wednesday. Today the fInal rehearsal is taking place ....

It E1r 3 fur.!! IE 6 13 MUSIC AND THE STORY of the sounds of the theater: the call-bell signaling the impending curtain-up, the tuning up of the orchestra, the music of a pas de deux (performed by dancers with their backs to the real audience), and the curtain speech made by the stage manager. 19 Recurring melodies figured prominently in this repertory as a dramatic device (more copiously, in fact, than in the operas usually listed as predecessors in this regard to Wagner's operas-works of Mehul, Cherubini, Weber, and Meyerbeer, for example).

31 Because it is only the style of the dance music, and not the dramatic music, that is familiar to our ears today, we tend to think of these ballet-pantomimes as largely centered around dancing. Yet, as I hope to show in the pages that follow, dancing was only one element of the ballet-pantomime, a genre whose relationship to opera cannot be revealed unless one takes into account the non-dancing segments of these works and the music composed for them. CHAPTER TWO A Family Resemblance [The Paris Opera] has song and dance as its lord and master.

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