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The Urbanization of Opera
Why do so many operas end in suicide, murder, and death? Why do many characters in large-scale operas exhibit neurotic behaviors worthy of psychoanalysis? Why are the legendary grands operas - much celebrated in their time - so seldom performed today?
Western Druggist
None
Popular French Romanticism
Focusing on the Paris book world of this period, Allen reveals how the rise of a new popular literature—jolly chansonniers, the roman-feuilletons or serial novels, melodramas, gothic and sentimental novels, dramatic nationalistic histories—by such authors as Dumas, Sand, Lamennais, Ancelot, Desnoyer, and de Kock coincided with remarkable developments in the production, distribution, and consumption of books. Allen's research ranges from a survey of the then-popular romantic titles and authors and the trade catalogs of booksellers and lending libraries, to the police records of their activities, diaries and journals of working people, and military conscript records and ministerial literacy statistics. The result is a remarkable picture of the exchange between elite and popular culture, the interaction between ideas and their material reality, and the relationship between the literature and the history of France in the romantic period.
Proceedings
None
The Literary Market
This study offers a new reading of the development of modern authorship in seventeenth- and eighteenth-century France, through a detailed reexamination of one of the central mythologies of this evolution: the author's passage from dependence on patronage to the autonomy of the market.
Men of the Time
None
Louis Véron and the Finances of the Académie Royale de Musique
Louis Véron became director of the Académie Royale de Musique in 1831 and managed it «à ses risques, périls et fortune». It had been poorly managed in the Restoration period with too rapid a turnover of directors, much waste and many abuses. With great determination and flair, Véron immediately initiated substantial changes in order to cut costs and raise receipts. The great success of Robert le Diable, both artistically and financially, was pivotal to his own success and he did indeed make a fortune. In so doing, however, he was too single-minded and fell out with all the State authorities. He failed to keep them informed and too often breached the obligations in his Cahier des charges. He resigned in 1835, with eighteen months of his six-year concession still to run.
First Nights at the Opera
A renowned music scholar narrates the social history of European opera during its golden age in the 18th and 19th centuries by taking readers behind the scenes at the premiere performances of five extraordinary and influential operas. 88 illustrations.
