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New Perspectives on Marc-Antoine Charpentier
The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book provides a snapshot of Charpentier scholarship in the early years of the new century. Its 13 chapters illustrate not only the sheer variety of strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notatio...
French Books III & IV (FB) (2 vols.)
French Books III & IV complete a comprehensive bibliographical survey of all books published in France in the first age of print. It lists over 40,000 editions printed in France in languages other than French during the fifteenth and sixteenth centuries together with bibliographical references, an introduction and indexes. It draws on the analysis of over 3,000 collections situated in libraries throughout the world. French Books will be an invaluable research tool for all students and scholars interested in the history, culture and literature of France, as well as historians of the early modern book world. For vols. I & II please go to French Vernacular Books.
Geraldine Farrar
From 1906 until 1922, Geraldine Farrar was the Metropolitan Opera's most popular and glamorous prima donna. Convinced that music must always serve the drama, she often sacrificed tonal beauty to dramatic effect, and her acting was noted for its intensity and realism. Nevertheless, Farrar was a superb singer, possessing a beautiful lyric soprano voice. Farrar was also a star of the silent screen, appearing in 14 films from 1915 to 1920. In retirement, she was mentor and friend to the African American soprano Camilla Williams, enabling Williams to become the first African American to have a regular contract with a major American opera company. This biography and critical analysis of Farrar's career provides a detailed account of her major contributions to the history of opera.
Vocal Signification and Musical Satire in Marc-Antoine Charpentier's Music for the Prologue to Molière's Le Malade Imaginaire
This dissertation examines musical satire in Marc-Antoine Charpentier's music for the prologue to Molière's Le Malade imaginaire (1673). I argue that Charpentier exploits conventions of vocal music to satirize Molière's former collaborator Jean-Baptiste Lully, Lully's music, and court entertainment. This satire, while grounded in Molière's text, does not merely repeat the emotions and rhetorical devices already present in the lyrics. Instead, Charpentier's music creates an additional layer of signification that would not be possible without music. My analysis of Le Malade imaginaire is grounded in a larger study of the pathways of artistic production and the vocal music of the 1660s and e...
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