The French theatrical origins of 'Fidelio'. / Charlton, David.

Ludwig van Beethoven: 'Fidelio'. ed. / Paul Robinson. Cambridge : Cambridge University Press, 1996. p. 51-67, 170-72 (Cambridge Opera Handbooks).

Research output: Chapter in Book/Report/Conference proceedingChapter

Published

Standard

The French theatrical origins of 'Fidelio'. / Charlton, David.

Ludwig van Beethoven: 'Fidelio'. ed. / Paul Robinson. Cambridge : Cambridge University Press, 1996. p. 51-67, 170-72 (Cambridge Opera Handbooks).

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

Charlton, D 1996, The French theatrical origins of 'Fidelio'. in P Robinson (ed.), Ludwig van Beethoven: 'Fidelio'. Cambridge Opera Handbooks, Cambridge University Press, Cambridge, pp. 51-67, 170-72.

APA

Charlton, D. (1996). The French theatrical origins of 'Fidelio'. In P. Robinson (Ed.), Ludwig van Beethoven: 'Fidelio' (pp. 51-67, 170-72). (Cambridge Opera Handbooks). Cambridge University Press.

Vancouver

Charlton D. The French theatrical origins of 'Fidelio'. In Robinson P, editor, Ludwig van Beethoven: 'Fidelio'. Cambridge: Cambridge University Press. 1996. p. 51-67, 170-72. (Cambridge Opera Handbooks).

Author

Charlton, David. / The French theatrical origins of 'Fidelio'. Ludwig van Beethoven: 'Fidelio'. editor / Paul Robinson. Cambridge : Cambridge University Press, 1996. pp. 51-67, 170-72 (Cambridge Opera Handbooks).

BibTeX

@inbook{5973de1563144e3d9f90b1987af105cd,
title = "The French theatrical origins of 'Fidelio'",
abstract = "Presents a detailed contextual, dramaturgical and musical survey of dramas of imprisonment and confinement preceding 'L{\'e}onore ou L'amour conjugal' (text by Bouilly, music by Gaveaux, 1798). This opera with spoken dialogue was translated into German and became (through various stages) 'Fidelio'. The ingredients behind the particular power evinced in Bouilly's 'L{\'e}onore' had developed over some years. Bouilly's earlier experiences as a dramatist and lawyer are included. Operas with spoken dialogue depicting imprisonment go back to the 1760s, especially Sedaine's 'Le D{\'e}serteur', Act II, but lesser-known works were equally strongly imagined, such as 'Le Comte d'Albert' (Gr{\'e}try) and 'Raoul, Sire de Cr{\'e}qui' (Dalayrac). Connections between Revolutionary events and the staged depiction of imprisonment are examined: 'Le Cachot de Beauvais' and 'Cange'. Bouilly was to claim that real events lay behind his drama. Finally, the political position of Bouilly's 'L{\'e}onore' is clarified: it was part of the repertory of anti-Revolutionary stage works at the Th{\'e}{\^a}tre Feydeau. Florestan would have been seen as a hero of the Right; Pizarre (in coded terms, referred to as a 'tyran' or 'monstre') would have been seen as a follower of Robespierre. But Bouilly omitted explicit allegory: instead he intensified the aspect of sheer cruelty, which took earlier depictions of prisoners in opera to new heights of repugnance.",
keywords = "French Revolution, opera, Bouilly, imprisonment, musical metaphor",
author = "David Charlton",
note = "This chapter was reprinted in the author's 'French Opera 1730-1830' (Aldershot: Ashgate, 2000), Essay IX.",
year = "1996",
language = "English",
isbn = "052145852",
series = "Cambridge Opera Handbooks",
publisher = "Cambridge University Press",
pages = "51--67, 170--72",
editor = "Paul Robinson",
booktitle = "Ludwig van Beethoven: 'Fidelio'",

}

RIS

TY - CHAP

T1 - The French theatrical origins of 'Fidelio'

AU - Charlton, David

N1 - This chapter was reprinted in the author's 'French Opera 1730-1830' (Aldershot: Ashgate, 2000), Essay IX.

PY - 1996

Y1 - 1996

N2 - Presents a detailed contextual, dramaturgical and musical survey of dramas of imprisonment and confinement preceding 'Léonore ou L'amour conjugal' (text by Bouilly, music by Gaveaux, 1798). This opera with spoken dialogue was translated into German and became (through various stages) 'Fidelio'. The ingredients behind the particular power evinced in Bouilly's 'Léonore' had developed over some years. Bouilly's earlier experiences as a dramatist and lawyer are included. Operas with spoken dialogue depicting imprisonment go back to the 1760s, especially Sedaine's 'Le Déserteur', Act II, but lesser-known works were equally strongly imagined, such as 'Le Comte d'Albert' (Grétry) and 'Raoul, Sire de Créqui' (Dalayrac). Connections between Revolutionary events and the staged depiction of imprisonment are examined: 'Le Cachot de Beauvais' and 'Cange'. Bouilly was to claim that real events lay behind his drama. Finally, the political position of Bouilly's 'Léonore' is clarified: it was part of the repertory of anti-Revolutionary stage works at the Théâtre Feydeau. Florestan would have been seen as a hero of the Right; Pizarre (in coded terms, referred to as a 'tyran' or 'monstre') would have been seen as a follower of Robespierre. But Bouilly omitted explicit allegory: instead he intensified the aspect of sheer cruelty, which took earlier depictions of prisoners in opera to new heights of repugnance.

AB - Presents a detailed contextual, dramaturgical and musical survey of dramas of imprisonment and confinement preceding 'Léonore ou L'amour conjugal' (text by Bouilly, music by Gaveaux, 1798). This opera with spoken dialogue was translated into German and became (through various stages) 'Fidelio'. The ingredients behind the particular power evinced in Bouilly's 'Léonore' had developed over some years. Bouilly's earlier experiences as a dramatist and lawyer are included. Operas with spoken dialogue depicting imprisonment go back to the 1760s, especially Sedaine's 'Le Déserteur', Act II, but lesser-known works were equally strongly imagined, such as 'Le Comte d'Albert' (Grétry) and 'Raoul, Sire de Créqui' (Dalayrac). Connections between Revolutionary events and the staged depiction of imprisonment are examined: 'Le Cachot de Beauvais' and 'Cange'. Bouilly was to claim that real events lay behind his drama. Finally, the political position of Bouilly's 'Léonore' is clarified: it was part of the repertory of anti-Revolutionary stage works at the Théâtre Feydeau. Florestan would have been seen as a hero of the Right; Pizarre (in coded terms, referred to as a 'tyran' or 'monstre') would have been seen as a follower of Robespierre. But Bouilly omitted explicit allegory: instead he intensified the aspect of sheer cruelty, which took earlier depictions of prisoners in opera to new heights of repugnance.

KW - French Revolution, opera, Bouilly, imprisonment, musical metaphor

M3 - Chapter

SN - 052145852

T3 - Cambridge Opera Handbooks

SP - 51-67, 170-72

BT - Ludwig van Beethoven: 'Fidelio'

A2 - Robinson, Paul

PB - Cambridge University Press

CY - Cambridge

ER -