Introduction; Part I. Lully: 1. The dramaturgy of Lully's divertissements; 2. Constructing the divertissement; 3. Dance foundations; 4. Dance practices on stage; 5. Prologues; 6. The lighter side of Lully; Part II. The Rival Muses in the Age of Campra: 7. The muses take the stage; 8. Thalie, muse of comedy; 9. Thalie visits the fairs; 10. The contested comic; 11. Melpomène, muse of tragedy; 12. Melpomène adapts; 13. Terpsichore, muse of the dance; 14. In the traces of Terpsichore; Epilogue; Appendix 1. Works performed at the Académie Royale de Musique, 1695–1732, in which the impact of the comédie italienne can be seen; Appendix 2. A partial list of performances consisting of 'fragments', 1702–32; Appendix 3. The choreographies danced at the Opéra contextualized.
Examines the evolving practices in music, librettos, choreographed dance, and staging throughout the history of French Baroque opera.
Rebecca Harris-Warrick is Professor of Music at Cornell University, New York. She has published widely on French Baroque music and dance, with excursions into nineteenth-century opera, and has prepared critical editions of ballets by Lully and of Donizetti's opera, La Favorite. Much of her scholarly work has been informed by her interests in performance; she has studied early dance and performed as a Baroque flutist. She serves on the editorial boards for the Les Oeuvres complètes de Jean-Baptiste Lully and the Journal of the Society for Seventeenth-Century Music. Her research has been supported by fellowships from the National Endowment for the Humanities, the Mellon Foundation, and the Guggenheim Foundation.
'An indispensable resource for those reconstructing this repertoire
for the stage, Harris-Warrick's book also offers much of interest
to scholars in many subspecialties of early modern European history
who are willing to do the work of connecting her impressive study
to the world beyond the stage.' Chantal Frankenbach, Notes
'Harris-Warrick, a leading scholar of the music of the French
baroque, demonstrates an encyclopaedic command of the vast
repertoire of the Académie Royale de Musique, drawing on the
libretti and scores of well over 100 operas and related genres,
including the opéra-ballet, the pastorale héroïque and the
little-studied genre of 'fragments'. … Dance and Drama in French
Baroque Opera: A History constitutes a seminal contribution to the
field of scholarship in French baroque opera and dance. More than a
history, this is a handbook for scholars and performers alike in
comprehending the complex thought and dynamic visions that informed
seventeenth- and eighteenth-century French opera.' Natasha Roule,
Cambridge Opera Journal
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