Cérémonie et néoclassicisme à Fontainebleau

David Charlton

Cérémonie et néoclassicisme à Fontainebleau

Translated title of the contribution: Ritual and neoclassicism at Fontainebleau

David Charlton

Department of Music

Research output: Chapter in Book/Report/Conference proceeding › Conference contribution

Abstract

Ranieri de' Calzabigi developed a now-famous neoclassical vision of opera with Gluck in Vienna, but the roots of this aesthetic go back to Calzabigi's long-standing antiquarian interests on one hand, and on the other his proximity to a small group which influenced a revisionist production of Lully's 'Alceste' in 1754 at Fontainebleau. Louis de Cahusac was one moving spirit. This production (seen publicly in 1757-58) used neoclassical costumes, properties and sets; one description of Alceste's funeral scene in Act III takes us straight to the world of Gluck's 'Orfeo' in 1762.

Translated title of the contribution	Ritual and neoclassicism at Fontainebleau
Original language	French
Title of host publication	D'un 'Orphée', l'autre
Subtitle of host publication	1762-1859...Métamorphoses d'un mythe
Editors	Alban Ramaut, Pierre Saby
Place of Publication	Saint-Étienne
Publisher	Publications de l'Université de Saint-Étienne
Pages	57-68
Number of pages	12
ISBN (Print)	9782862726595
Publication status	Published - 2014

Cite this

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title = "C{\'e}r{\'e}monie et n{\'e}oclassicisme {\`a} Fontainebleau",

abstract = "Ranieri de' Calzabigi developed a now-famous neoclassical vision of opera with Gluck in Vienna, but the roots of this aesthetic go back to Calzabigi's long-standing antiquarian interests on one hand, and on the other his proximity to a small group which influenced a revisionist production of Lully's 'Alceste' in 1754 at Fontainebleau. Louis de Cahusac was one moving spirit. This production (seen publicly in 1757-58) used neoclassical costumes, properties and sets; one description of Alceste's funeral scene in Act III takes us straight to the world of Gluck's 'Orfeo' in 1762.",

author = "David Charlton",

note = "Table 1 presents a list of stage works on the subject of Orpheus betwen 1711 and 1764. Table 2 presents the Fontainebleau operas staged in 1753 and 1754. ",

year = "2014",

language = "French",

isbn = "9782862726595",

pages = "57--68",

editor = "Alban Ramaut and \{Saby \}, \{Pierre \}",

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publisher = "Publications de l'Universit{\'e} de Saint-{\'E}tienne",

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T1 - Cérémonie et néoclassicisme à Fontainebleau

AU - Charlton, David

N1 - Table 1 presents a list of stage works on the subject of Orpheus betwen 1711 and 1764. Table 2 presents the Fontainebleau operas staged in 1753 and 1754.

PY - 2014

Y1 - 2014

N2 - Ranieri de' Calzabigi developed a now-famous neoclassical vision of opera with Gluck in Vienna, but the roots of this aesthetic go back to Calzabigi's long-standing antiquarian interests on one hand, and on the other his proximity to a small group which influenced a revisionist production of Lully's 'Alceste' in 1754 at Fontainebleau. Louis de Cahusac was one moving spirit. This production (seen publicly in 1757-58) used neoclassical costumes, properties and sets; one description of Alceste's funeral scene in Act III takes us straight to the world of Gluck's 'Orfeo' in 1762.

AB - Ranieri de' Calzabigi developed a now-famous neoclassical vision of opera with Gluck in Vienna, but the roots of this aesthetic go back to Calzabigi's long-standing antiquarian interests on one hand, and on the other his proximity to a small group which influenced a revisionist production of Lully's 'Alceste' in 1754 at Fontainebleau. Louis de Cahusac was one moving spirit. This production (seen publicly in 1757-58) used neoclassical costumes, properties and sets; one description of Alceste's funeral scene in Act III takes us straight to the world of Gluck's 'Orfeo' in 1762.

M3 - Conference contribution

SN - 9782862726595

SP - 57

EP - 68

BT - D'un 'Orphée', l'autre

A2 - Ramaut, Alban

A2 - Saby , Pierre

PB - Publications de l'Université de Saint-Étienne

CY - Saint-Étienne

ER -