By Mark Everist
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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Additional info for Music Drama at the Paris Odéon, 1824-1828
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.