To browse Academia. Due to the grand scale of the productions, the unmatched musical forces, the virtuosic vocal display and the complicated literary narratives of personal triumph drawn from chronicles of history, French grand opera was perceived by many throughout the nineteenth century as an aspirational art form that redefined what was possible on the dramatic stage.
Wherever French grand opera was presented, be it in Switzerland, Russia or Spain, in translation or severely reduced due to local censorship, the works exported a world-view that highlighted the liberal forces of a bourgeois city centre founded upon revolution. The reception of French opera in Amsterdam , The present thesis addresses the essential questions regarding French Opera and musical theatre in Amsterdam in the s. An initial presentation of the existing favourable historical and cultural circumstances in the Netherlands explain how French-language musical theatre was able to attain such a high, albeit presently overlooked, degree of importance in the Dutch capital.
By taking into account the theatres where these works were seen and heard, it is possible to determine how numerous French stage genres were adapted to the reality and limitations of these theatre halls. The presentation and analysis of the repertoire performed in these theatres, announced daily by the Dutch press, have made it possible to establish performance statistics and determine trends in the popularity of certain genres among the audience.
By laying out the intricate network of agents involved in the performance of these works, it was possible to explore the dynamics that existed between local and foreign artists, the directors that hired them, the critics that passed judgement and the audience that acclaimed or rejected the show. The Opera Orchestra in 18th- and 19th-Century Europe, Other theatres.
See Lagrave 99, p. The principal texts regulating the privileges concerning the lyric theatres are found in Campardon Opera as Institution: Networks and Professions , Cristina Scuderi, Ingeborg Zechner Eds. Yet from on, its managers looked further and engaged Italian singers in order to stage Italian operas; among them Maria Camati La Farinella. Survey of repertoire, critical issues, and cultural themes in European opera of the later nineteenth century. Some of the most important theatrical music in Europe was produced at the Theater auf der Wieden in suburban Vienna in the years to Beginning with the immensely popular Die zween Anton oder der dumme Gärtner aus dem Gebirge in July , Emanuel Schikaneder produced one successful singspiel after another.
