LIST OF TABLES AND ILLUSTRATIONS ix PREFACE xi ACKN0WLEDGMENTS xix NOTE T0 READER xxi CHAPTER ONE: Introduction: Music and the Story 3 CHAPTER TWO: A Family Resemblance 19 CHAPTER THREE: The Lighter Tone of Ballet-Pantomime 59 CHAPTER FOUR: Ballet-Pantomime and Silent Language 97 CHAPTER FIVE: Hybrid Works at the Opera 124 CHAPTER SIX: Giselle 167 APPENDIX ONE: Ballet-Pantomimes and Operas Produced at the Paris Opera, 1825-1850 201 APPENDIX TWO: The Giselle Libretto 213 APPENDIX THREE: Sources for Musical Examples 239 NOTES 241 INDEX 301
Now that opera studies have finally recognized the importance of the visual, a book that reveals the web of reciprocities that existed between ballet and opera during a particularly lively period in the history of both will undoubtedly find a wide readership. The information, presented here through judicious examples chosen from both repertoires, is utterly fascinating and brand new. -- Rebecca Harris-Warrick, Cornell University An informative and enjoyable read for both scholars and nonspecialists, whether in dance or in opera. Marian Smith's views are refreshingly new and show unknown facets of the Romantic ballet, discussed with admirable accuracy. Works that survived only as exotic or mysterious titles in dance history manuals thus regain their long lost identities and their historical significance. Those who work in the field of dance reconstruction will especially benefit from this book. -- Giannandrea Poesio, University of Surrey
Marian Smith is Associate Professor of Music at the University of Oregon.
To readers interested in the evolution of opera and ballet performance practice, Smith's meticulously documented study offers a chance to see many familiar works in a new and surprising light. -- M. Lignana Rosenberg Opera News Marian Smith's book is a swift and easy read, fully researched, informative, genuinely insightful about her subject. Definitely one for the bookshelf. -- David Blewitt Opera Now
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