Abstract
It is sometimes assumed, incorrectly, that Parisian opera criticism in the 1790s was undeveloped or even negligible. In reality the new freedom of the press gave rise to a large number of opportunities for theatre reviews. Cherubini, the most substantial opera composer of the decade, worked for a new company (the Théâtre Feydeau) which excelled in vocal, orchestral and staging skills; yet after its closure in 1801 the legacy of Cherubini was obscured, because the Opéra-Comique failed to take up most of his earlier work. After an introduction, this article presents diplomatic transcriptions of three reviews of 'Démophoon', sixteen reviews of 'Lodoïska', seven reviews of 'Eliza', twenty reviews of 'Médée' and thirteen of 'Les Deux journées', followed by a glossary of names and works referred to in these texts.
| Original language | English |
|---|---|
| Pages (from-to) | 95-127 |
| Number of pages | 33 |
| Journal | Research Chronicle of the Royal Musical Association |
| Volume | 26 |
| Publication status | Published - 1993 |
Keywords
- Cherubini, opera, French Revolution, criticism