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- W3213233805 abstract "In three main sections, the discussion takes the reader from standard municipal opera in town theaters to the new phenomenon of open-air opera that started fitfully in the late 1860s but which became fashionable and important for decentralist and regionalist reasons from around 1900 onward. In the first case study, Wagner’s <italic>Lohengrin</italic> is detoxified in 1891 via seven municipal French stages, in advance of its successful appearance at the Paris Opéra. This provincial coup nevertheless indicates the stranglehold of French repertorial centralization, since it was possible only because Wagner was already embarrassingly famous and the violent history of his reception in Paris had paralyzed the capital’s ability to function as normal. <italic>Lohengrin</italic> was acclaimed in Lille as “local” but contained no audible <italic>couleur locale</italic>. It was through such “marked” music that opera acted as a vector for the “picturesque” presentation of the French provinces. Changing critical and audience attitudes to <italic>couleur locale</italic> from the 1830s onward prepared the conditions necessary for the development of regionalist operatic commentary, especially in Brittany and Provence. Identity, whether local and/or national, could also be enacted by audiences attending festival and commemorative performances of opera and stage spectacle in open-air venues. Catalyzed by performances at Orange, a tradition of open-air opera presented a distillation of meridional musical identity from around 1900 in ancient classical venues and their modern equivalents, while the new music it spawned remained stubbornly difficult to transplant to Paris." @default.
- W3213233805 created "2021-11-22" @default.
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- W3213233805 date "2021-10-28" @default.
- W3213233805 modified "2023-09-27" @default.
- W3213233805 title "Opera Inside and Out" @default.
- W3213233805 doi "https://doi.org/10.1093/oso/9780197600160.003.0008" @default.
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