Nineteenth-century French grand opera was a musical and cultural phenomenon with a widespread transnational presence in Europe. Primary attention has been on the Parisian context for which most of the works were originally written. By contrast, this volume takes account of a larger geographical and historical context, bringing into focus the Eur
Nineteenth-century French grand opera was a musical and cultural phenomenon with a widespread transnational presence in Europe. Primary attention has been on the Parisian context for which most of the works were originally written. By contrast, this volume takes account of a larger geographical and historical context, bringing into focus the Eur
Jens Hesselager is Associate Professor at Section of Musicology, University of Copenhagen, Denmark. His research focuses primarily on questions pertaining to music theatre and theatre music in the late eighteenth and early nineteenth centuries, including dialogue opera, grand opera, vaudeville, melodrama and incidental music. Within this field, his particular interest is in transnational aspects: mobility (translation, transformation, reconfiguration) of repertoires, genres, practices and values; inter-urban migration of musicians and singers; and relations between cultural centres and peripheries.
Inhaltsangabe
Introduction Jens Hesselager Part 1 - Places 1. Parisian Grand Opera at the Basel Theater auf dem Blömlein: Traces of Transnational Circulation, Translation and Reception Laura Moeckli 2. Grand Opera in Nineteenth-Century Stockholm: Court Celebrations and Bourgeois Entertainment Karin Hallgren Part 2 - Works 3. Cockneys in a Fever: 'Gustave' in London, 1833 Sarah Hibberd 4. Masking the Masked Ball: Auber's 'Gustav III' as 'Die Ballnacht' at the Weimar Court Theatre, 1836 Carolin Bahr 5. Halévy's La Juive in Stockholm, 1866 Owe Ander Part 3 - Characters 6. Sympathy for the Devil? Bertram (Robert le diable) in Copenhagen, 1833 Jens Hesselager 7. Fenella ('La Muette de Portici') and Valentine ('Les Huguenots') as Symbols of National Identity in Helsinki, 1877 Ulla-Britta Broman-Kananen 8. Staging Anti-Semitic Stereotypes: Wäinö Sola's Eléazar at the Finnish Opera, 1925 Anne Kauppala Part 4 - Responses 9 In Search of the National: Nineteenth-Century Portuguese Composers and their First Approaches to Grand Opera Luísa Cymbron 10. Conflicting Ethnicities on the Russian Imperial Stage: The Case of Otto Dütsch's 'The Croatian Girl' Emanuele Bonomi 11. Meyerbeer on the 'Zarzuela' Stage: El dúo de 'La Africana' by Manuel Fernández Caballero Carlos María Solare
Introduction Jens Hesselager Part 1 - Places 1. Parisian Grand Opera at the Basel Theater auf dem Blömlein: Traces of Transnational Circulation, Translation and Reception Laura Moeckli 2. Grand Opera in Nineteenth-Century Stockholm: Court Celebrations and Bourgeois Entertainment Karin Hallgren Part 2 - Works 3. Cockneys in a Fever: 'Gustave' in London, 1833 Sarah Hibberd 4. Masking the Masked Ball: Auber's 'Gustav III' as 'Die Ballnacht' at the Weimar Court Theatre, 1836 Carolin Bahr 5. Halévy's La Juive in Stockholm, 1866 Owe Ander Part 3 - Characters 6. Sympathy for the Devil? Bertram (Robert le diable) in Copenhagen, 1833 Jens Hesselager 7. Fenella ('La Muette de Portici') and Valentine ('Les Huguenots') as Symbols of National Identity in Helsinki, 1877 Ulla-Britta Broman-Kananen 8. Staging Anti-Semitic Stereotypes: Wäinö Sola's Eléazar at the Finnish Opera, 1925 Anne Kauppala Part 4 - Responses 9 In Search of the National: Nineteenth-Century Portuguese Composers and their First Approaches to Grand Opera Luísa Cymbron 10. Conflicting Ethnicities on the Russian Imperial Stage: The Case of Otto Dütsch's 'The Croatian Girl' Emanuele Bonomi 11. Meyerbeer on the 'Zarzuela' Stage: El dúo de 'La Africana' by Manuel Fernández Caballero Carlos María Solare
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