Les chanteurs solistes de la Comédie-Italienne (1716-1752)

Translated title of the contribution: Solo singers at the Comédie-Italienne (1716-1752)

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Abstract

Research in the twentieth century has certainly defined the key role of competition as between the Italians' theatre and the Fair theatres; yet musical values have been missing from the debate insofar as solo singers are concerned. This chapter suggests that since purely musical attractions were cultivated from the start, a policy of auditioning and hiring good soloists was in place. Because they were also actors and sometimes also dancers, they have (traditionally) been overlooked as solo singers by historians of theatre since the eighteenth century. The first section of the article outlines the most important functions undertaken by solo singers within the theatre's repertory, and the second section examines the careers of the eight solo singers who were most prominent. The particular influence of Italian or semi-Italian music upon performance itself can be shown by documentary evidence in two cases. In the second of these, Charles Rochard de Bouillac may be shown to have sung the role of Uberto (in La serva padrona) in Italian, near the end of his career.
Translated title of the contributionSolo singers at the Comédie-Italienne (1716-1752)
Original languageFrench
Title of host publicationL'Apothéose d'Arlequin
Subtitle of host publicationLa Comédie-Italienne de Paris: un théâtre de l'expérimentation dramatique au XVIIIe siècle
EditorsEmanuele De Luca, Andrea Fabiano
Place of PublicationParis
PublisherSorbonne Université Presses
Pages279-296
Number of pages18
ISBN (Print)979-10-231-2568-9
Publication statusPublished - 2023

Publication series

NameE-Theatrum Mundi
PublisherSorbonne Université Presses

Keywords

  • singing vocal performance
  • Paris
  • Comédie-Italienne

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