Synopsis
From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragédie en musique).
In Opera and the Political Imaginary in Old Regime France, however, Olivia Bloechl reveals another layer of French opera's political theater. The make-believe worlds on stage, she shows, involved not just fantasies of sovereign rule but also aspects of government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus hailing glorious majesty. What's more, opera's creators dispersed sovereign-like dignity and powers well beyond the genre's larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genre's distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time. By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancienrégime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced, genre than previously thought.Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
À propos de l?auteur
Olivia Bloechl is professor of music at the University of Pittsburgh and the author of Native American Song at the Frontiers of Early Modern Music and coeditor of Rethinking Difference in Music Scholarship.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Opera and the Political Imaginary in Old Regime France
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Opera and the Political Imaginary in Old Regime France
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Hardback. Etat : New. From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragedie en musique). In Opera and the Political Imaginary in Old Regime France, however, Olivia Bloechl reveals another layer of French opera's political theater. The make-believe worlds on stage, she shows, involved not just fantasies of sovereign rule, but also aspects of government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus hailing glorious majesty. What's more, opera's creators dispersed sovereign-like dignity and powers well beyond the genre's larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genre's distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time.By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancienregime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced, genre than previously thought. N° de réf. du vendeur LU-9780226522753
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Opera and the Political Imaginary in Old Regime France
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University of Chicago Press, 2018
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ISBN 13 : 9780226522753
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Hardcover. Etat : new. Hardcover. From its origins in the 1670s through the French Revolution, serious opera in France was associated with the power of the absolute monarchy, and its ties to the crown remain at the heart of our understanding of this opera tradition (especially its foremost genre, the tragedie en musique). In Opera and the Political Imaginary in Old Regime France, however, Olivia Bloechl reveals another layer of French operas political theater. The make-believe worlds on stage, she shows, involved not just fantasies of sovereign rule but also aspects of government. Plot conflicts over public conduct, morality, security, and law thus appear side-by-side with tableaus hailing glorious majesty. Whats more, operas creators dispersed sovereign-like dignity and powers well beyond the genres larger-than-life rulers and gods, to its lovers, magicians, and artists. This speaks to the genres distinctive combination of a theological political vocabulary with a concern for mundane human capacities, which is explored here for the first time. By looking at the political relations among opera characters and choruses in recurring scenes of mourning, confession, punishment, and pardoning, we can glimpse a collective political experience underlying, and sometimes working against, ancienregime absolutism. Through this lens, French opera of the period emerges as a deeply conservative, yet also more politically nuanced, genre than previously thought. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9780226522753
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Opera and the Political Imaginary in Old Regime France
Edité par
University of Chicago Press, 2018
ISBN 10 : 022652275X
ISBN 13 : 9780226522753
Ancien ou d'occasion
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