Op矇ra de Salon
Op矇ra de Salon
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分類：英文書＞藝術設計＞藝術＞各類音樂追蹤? 追蹤分類後，您會在第一時間收到分類新品通知。
- 作者： Mark,Everist 追蹤 ? 追蹤作者後，您會在第一時間收到作者新書通知。
- 出版社： Oxford University Press 追蹤 ? 追蹤出版社後，您會在第一時間收到出版社新書通知。
- 出版日：2025/06/26
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內容簡介
Op矇ra de salon emerged in the early 1850s out of a much longer tradition of th矇璽tre de soci矇t矇: the cultivation of performing plays in aristocratic town houses and ch璽teaux which continued into the Second Empire of the 1850s and 1860s, and beyond. It consisted of a one-act op矇rette with between six and nine musical compositions separated by spoken dialogue that carried the action in the same way as op矇ra-comique or op矇rette itself. Op矇ra de salon was separated from op矇rette and related genres by its performance context: never shared with the regulated theatre, op矇ra de salon was cultivated in domestic living spaces that were repurposed in ways that ranged from simply pushing back the furniture to building a fully-fledged theatre in one's own home. Op矇ra de salon furthermore found its way into the concert culture hosted by Parisian piano manufacturers Herz, Erard, Pleyel, and others. In Op矇ra de salon: Parisian Societies and Salons in the Second Empire, author Mark Everist brings to light a genre and a set of cultural practices that have long been obscured. Approximately 130 op矇ras de salon were composed and performed up to ca. 1875, and, as Everist demonstrates, they represent a significant generic trajectory in the history of nineteenth century music and theatre. Produced by major composers and librettists of the day, these works play into questions of gender, age, and urban topography in ways unlike other musical and theatrical genres of the day. Everist's focus is on the salon--the domestic, the private--but he also shows how op矇ra de salon moves effortlessly between intimate familial space, the more public salon, to the public and largely commercial concert hall in ways that prompt reflection on the status of all these critical categories. Ultimately, Everist challenges the hermetic discipline of 'opera studies' by opening up massive repertories that are still unknown, and by developing critical practices that go beyond traditional categories of theatres, institutions, consumers, and creators.
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