Music Drama at the Paris Odéon, 1824-1828 by Mark Everist

By Mark Everist

Parisian theatrical, creative, social, and political existence comes alive in Mark Everist's extraordinary institutional historical past of the Paris Odéon, an opera condo that flourished in the course of the Bourbon recovery. Everist strains the whole arc of the Odéon's brief yet hugely winning lifestyles from ascent to triumph, decline, and closure. He outlines the position it performed in increasing operatic repertoire and in altering the face of musical existence in Paris.

Everist reconstructs the political strength buildings that managed the realm of Parisian tune drama, the inner management of the theater, and its dating with composers and librettists, and with town of Paris itself. His wealthy depiction of French cultural lifestyles and the inventive contexts that allowed the Odéon to flourish highlights the advantage of shut and leading edge exam of society's institutions.

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Amadeus, 1995), 57 (originally published in 1987 as La Vie quotidienne à l’opéra au temps de Rossini et de Balzac [Paris 1800 –1850]). The change from Tuesday, Friday, and Saturday at the Académie royale de musique took place in 1817; this still left Friday as the most fashionable night at the Opéra. 70 Premieres at the Académie royale de musique were infrequent and rarely successful. In the decade before the sudden—and perhaps unexpected—success of Daniel-François-Esprit Auber’s Muette de Portici in 1828, Spontini’s Olympie (1819), Anton Reicha’s Sapho (1822), Franz Liszt’s Dom Sanche (1825), and Hippolyte-André-Jean-Baptiste Chelard’s Macbeth (1827) made little impact on Parisian operatic culture.

28. , 19). 29. Sauvigny, Restauration, 239. 30. Such undercapitalization was largely the result of revolutionary and imperial military campaigns (Marchand, Paris, 19). 31. Yves Leclercq, Le Réseau impossible: la résistance au système des grandes compagnies ferroviaires et la politique économique en France, 1820 –1852 (Geneva: Droz, 1987), 14. 20 the institution duction to the specialized ateliers of the furniture makers in the faubourg St-Antoine. In 1825 the most typical configuration for an atelier was still one worker and an apprentice.

7. Chevalier, Classes laborieuses, 391. 8. Marchand, Paris, 12. 9. , 22); LouisSébastien Mercier, Tableau de Paris (Neufchâtel: Fauch, 1781) is used as a primary source for many twentieth-century accounts of the early-nineteenth-century city. 10. François Loyer, Paris au XIXe siècle: l’immeuble et la rue (Paris: Hazan, 1987), passim. 11. Victor Hugo, Choses vues, 1830 –1846 (Paris: Gallimard, 1972), 250. 12. Marchand, Paris, 37. 13. Guillaume de Berthier de Sauvigny, La Restauration, 1815–1830 (Paris: Hachette, 1977), 50 and 65.

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