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Musical parodies --- Opera --- Parodies musicales --- Opéra

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Music --- Theatrical science --- anno 1600-1699 --- anno 1700-1799 --- Paris --- Musical parodies --- Opera --- Theater --- Opéra --- Théâtre --- History. --- History --- Histoire --- Opéra --- Théâtre --- Operas

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Comment concevoir qu’un livret d’opéra ait pu être réécrit pour des marionnettes ou sous forme de pantomime ? Peut-on imaginer qu’une œuvre lyrique ait suscité plus de huit parodies ? Sait-on que Louis XVI et Marie-Antoinette avaient leur parodiste attitré ? Les réécritures comiques d’opéra, représentées sur les théâtres de la foire et des boulevards comme à la Comédie-Italienne de Paris et sur les théâtres privés, connaissent une vogue étonnante au siècle des Lumières. Parodier l’opéra, ce n’est pas écrire contre l’opéra, mais plutôt participer à sa promotion en jouant le double jeu de la critique et du divertissement. Les parodistes comme Fuzelier, Favart, Romagnesi ou Despréaux, manient autant l’art des vaudevilles que celui du pastiche, et possèdent une riche culture littéraire et musicale. Des opéras de Lully à ceux de Gluck, rares sont les œuvres à succès qui n’ont pas été parodiées. Retracer l’histoire de cette pratique permet d’entrer dans les arcanes de la vie théâtrale des Lumières, où les frontières entre culture populaire et culture élitiste sont brouillées, où l’opéra, l’opéra-comique et la parodie évoluent sans se quitter des yeux. Taxée de « mauvais genre » par certains, décrite comme un « spectacle gai, varié et même magnifique » (d’Argenson) par d’autres, la parodie d’opéra n’est pas un épiphénomène ; ce qui se joue avec elle, tout au long du XVIIIe siècle, c’est une certaine idée du théâtre comique en musique.

Parody in music --- Musical parodies --- Opera --- Parodie (Musique) --- Parodies musicales --- Opéra --- Opéra --- France --- Theater --- opéra --- parodie --- comique --- histoire du théâtre

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Parody in music --- Vocal music --- Music --- Musical parodies --- Musical parody --- Parody (Music) --- Musical form --- Humor in music --- History and criticism --- Bach, Johann Sebastian, --- vocale muziek --- Bach, Johann Sebastian --- 78.21.1 Bach --- 78.41.2

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Opera and Parody in Paris, 1860-1900 interrogates press caricatures and cartoons, popular song, staged revue and opera parodies to discover the role they play within the theatrical, social, and wider cultural context and economy they inhabit. These intertextual and intermedial ‘texts’ are analysed as reception documents, as ‘autonomous’ artistic products, as cultural phenomena to discover the ways in which their parody works, and for whom. This study interrogates press caricatures and cartoons, staged revue and opera parodies to reveal the role they play within the Parisian theatrical, social and cultural sphere. From the beginnings of Wagner reception in Paris, through the heyday of opra-bouffe in the hands of that comic genius Herv, to the international operatic repertoire played on Parisian stages in the 1890s especially works by Verdi and Wagner performed during an increasingly tense nationalist climate alongside those by Massenet, Reyer and Saint-Sans this book examines the workings of parody which draws on opera for its subject material, its appeal, and for whom. Parodys repetition of dramatic and musical conventions is compounded by the abundance of revue shows on Parisian stages, by prolific authors such as Clairville, which deftly used well-known opera and operetta repertoire alongside the scie that popular tune given new words countless times over to create new yet familiar theatrical experiences. Indeed, by the 1890s, the words and musics of Faust, Carmen and Guillaume Tell in particular, held resonant value to signify the operatic. Aside from political caricature in which the figure of Wagner became embroiled, the ways in which parody brings together the high and the low to mock cultural norms, to neutralise alterity or innovation and refocus commentary onto internal, local, conventional and legitimised cultural products and debates becomes apparent. Opera and Parody in Paris, 18601900 thus uncovers a huge amount of primary and hitherto unpublished sources in an analysis of highly appealing intermedial materials that dominated Parisian print and stage culture in the late-nineteenth century.

Parodie (musique) --- Opéra --- Presse satirique --- Parodies et pastiches. --- Caricatures et dessins humoristiques. --- Histoire et critique. --- Opéra --- Opera --- Parody in music --- Musical parodies --- Social aspects --- History --- History and criticism --- Paris (France) --- In opera --- Parodie (muziek) --- Opera's --- Satirische pers --- Karikaturen en tekenfilms --- Opera - France - Paris - History - 19th century --- Parody in music - History and criticism --- Paris (France) - In opera - History and criticism