Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Acknowledgments ix
4. Introduction 1
5. PART I. Institutions
6. 1. The Company at the Heart of the Operatic Institution: Chollet and the Changing Nature of Comic-Opera Role Types during the July Monarchy 11
7. 2. Fromental Halévy within the Paris Opéra: Composition and Control 29
8. 3. Systems Failure in Operatic Paris: The Acid Test of the Théâtre-Lyrique 49
9. 4. Jacques Offenbach: The Music of the Past and the Image of the Present 72
10. 5. Carvalho and the Opéra-Comique: L’art de se hâter lentement 99
11. 6. Finding a Stage for French Opera 127
12. PART II. Cultural Transfer
13. 7. Auber’s Gustave III: History as Opera 157
14. 8. Analyzing Mise-en-Scène: Halévy’s La juive at the Salle Le Peletier 176
15. 9. Lucia Goes to Paris: A Tale of Three Theaters 195
16. 10. Cette musique sans tradition: Wagner’s Tannhäuser and Its French Critics 228
17. 11. La sylphide and Les sylphides 256
18. 12. Questions of Genre: Massenet’s Les Érinnyes at the Théâtre-National-Lyrique 276
19. PART III. The Midi and Spain, or Autour de Carmen
20. 13. Carmen: Couleur locale or the Real Thing? 293
21. 14. Spanish Local Color in Bizet’s Carmen: Unexplored Borrowings and Transformations 316
22. 15. La princesse paysanne du Midi 361
23. Appendix: A Documentary Overview of Musical Theaters in Paris, 1830–1900 379
24. Bibliography 403
25. Contributors 425
26. Index 429