Chapter

Le fruit défendu—Opéra Comique and the French Tradition

Mark Everist

in Music Drama at the Paris Odéon, 1824–1828

Published by University of California Press

Published in print December 2002 | ISBN: 9780520234451
Published online May 2012 | e-ISBN: 9780520928909 | DOI: http://dx.doi.org/10.1525/california/9780520234451.003.0008
Le fruit défendu—Opéra Comique and the French Tradition

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This chapter discusses the tradition of the French opéra comique that the Odéon mounted alongside foreign works, and the attempts which the theater and composers in the capital made to have the theater's license changed so that it could produce new opéras comiques. The opéra comique is taken solely from the public domain and is pointed to a crucial element of the Odéon's profile during the 1820s, and one that aroused great controversy. Throughout the 1820s, the managers of the theater campaigned vigorously to be permitted to mount new opéras comiques. Bernard tried repeatedly in the year before the theater began its opera seasons to change the license (which effectively formed part of his contract) and tried again in October–November 1824. Despite the fact that the Odéon scrupulously adhered to the condition laid down for its repertory, the question of broadening its license was rarely far from the minds of its administrators and devotees, both behind the scenes and occasionally in the press.

Keywords: French tradition; opéra comique; Odéon; theater's license; Claude Bernard

Chapter.  12939 words.  Illustrated.

Subjects: Musicology and Music History

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