Opéra Comique: Identity and Manipulation. / Charlton, David.

Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848. ed. / Roger Parker; Mary Ann Smart . Oxford : Oxford University Press, 2001. p. 13-45.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Published

Standard

Opéra Comique: Identity and Manipulation. / Charlton, David.

Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848. ed. / Roger Parker; Mary Ann Smart . Oxford : Oxford University Press, 2001. p. 13-45.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Harvard

Charlton, D 2001, Opéra Comique: Identity and Manipulation. in R Parker & MA Smart (eds), Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848. Oxford University Press, Oxford, pp. 13-45.

APA

Charlton, D. (2001). Opéra Comique: Identity and Manipulation. In R. Parker, & M. A. Smart (Eds.), Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (pp. 13-45). Oxford University Press.

Vancouver

Charlton D. Opéra Comique: Identity and Manipulation. In Parker R, Smart MA, editors, Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848. Oxford: Oxford University Press. 2001. p. 13-45

Author

Charlton, David. / Opéra Comique: Identity and Manipulation. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848. editor / Roger Parker ; Mary Ann Smart . Oxford : Oxford University Press, 2001. pp. 13-45

BibTeX

@inproceedings{098838ba34d74f04bb934f700891e8a8,
title = "Op{\'e}ra Comique: Identity and Manipulation",
abstract = "The centre point of this investigation of 'shifting sands' (that is, the perception of op{\'e}ra-comique as a genre in the Romantic years) is Berlioz's 1836 article 'De l'Op{\'e}ra Comique', issued in the 'Revue et gazette musical de Paris' on 18 September. Berlioz's text was a critical assessment of both genre and institution, including its regular public, and involved the interesting phrase 'le genre national', which had found an informal place in discourses of the time, but has not seemingly been subject to scrutiny itself. The story is taken back to 1801, when a new Op{\'e}ra Comique company was recreated by the government out of its former incarnation and the bankrupted Th{\'e}{\^a}tre Feydeau. Fundamental questions were debated: what was the real value of the genre, if it was to be 'national', yet obviously catered for unchallenged middlebrow taste? How should it be developed? What was its proper identity? ",
keywords = "Op{\'e}ra comique, nineteenth century popular theatre, Berlioz, criticism, genre.",
author = "David Charlton",
year = "2001",
language = "English",
isbn = "0198166974",
pages = "13--45",
editor = "Roger Parker and {Smart }, {Mary Ann}",
booktitle = "Reading Critics Reading",
publisher = "Oxford University Press",

}

RIS

TY - GEN

T1 - Opéra Comique: Identity and Manipulation

AU - Charlton, David

PY - 2001

Y1 - 2001

N2 - The centre point of this investigation of 'shifting sands' (that is, the perception of opéra-comique as a genre in the Romantic years) is Berlioz's 1836 article 'De l'Opéra Comique', issued in the 'Revue et gazette musical de Paris' on 18 September. Berlioz's text was a critical assessment of both genre and institution, including its regular public, and involved the interesting phrase 'le genre national', which had found an informal place in discourses of the time, but has not seemingly been subject to scrutiny itself. The story is taken back to 1801, when a new Opéra Comique company was recreated by the government out of its former incarnation and the bankrupted Théâtre Feydeau. Fundamental questions were debated: what was the real value of the genre, if it was to be 'national', yet obviously catered for unchallenged middlebrow taste? How should it be developed? What was its proper identity?

AB - The centre point of this investigation of 'shifting sands' (that is, the perception of opéra-comique as a genre in the Romantic years) is Berlioz's 1836 article 'De l'Opéra Comique', issued in the 'Revue et gazette musical de Paris' on 18 September. Berlioz's text was a critical assessment of both genre and institution, including its regular public, and involved the interesting phrase 'le genre national', which had found an informal place in discourses of the time, but has not seemingly been subject to scrutiny itself. The story is taken back to 1801, when a new Opéra Comique company was recreated by the government out of its former incarnation and the bankrupted Théâtre Feydeau. Fundamental questions were debated: what was the real value of the genre, if it was to be 'national', yet obviously catered for unchallenged middlebrow taste? How should it be developed? What was its proper identity?

KW - Opéra comique, nineteenth century popular theatre, Berlioz, criticism, genre.

M3 - Conference contribution

SN - 0198166974

SP - 13

EP - 45

BT - Reading Critics Reading

A2 - Parker, Roger

A2 - Smart , Mary Ann

PB - Oxford University Press

CY - Oxford

ER -