Duni, arriving in Paris permanently in 1757, was as keen to work with Favart as the latter was to work with the Italian. But the two came from totally different traditions of opera. This article traces in some detail the first fruits of their labours (1758), which had a successful result, 121 performances up to 1774. Of particular interest is Favart's free development of the source-opera, 'La Provençale' (1722), and its re-conception for four expert actor-singers at the Comédie-Italienne, two of whom were in cross-dressed roles (Mlle Catinon as Lindor and Champville as Bobinette). Equally interesting is Duni's approach to the text-setting of those episodes which Favart decided should be in music. Almost all incorporate action, and the music follows the demands of the text closely. Sandwiched in between them are ten vaudevilles. The integration of text, action, humour and music in the ensemble 'Tu vas être la maîtresse' is analysed.
|Translated title of the contribution||The meeting of old and new in Duni and Favart's 'La Fille mal gardée'|
|Title of host publication||Rire et sourire dans l'opéra-comique en France aux XVIIIe et XIXe siècles.|
|Editors||Charlotte Loriot, Matthieu Cailliez, Valérie Bonche|
|Place of Publication||Lyon|
|Number of pages||19|
|Publication status||Published - 2015|
- Duni, Favart, Paris, opera, comedy, acting, character, cross-dressed parts