The turning point of Madame Bovary, which Flaubert memorably set at the opera, is only the most famous example of a surprisingly long tradition, one common to a range of French literary styles and sub-genres. In the first book-length study of that tradition to appear in English, Cormac Newark examines representations of operatic performance from Balzac’s La Comédie humaine to Proust’s À la recherche du temps perdu, by way of (among others) Dumas père’s Le Comte de Monte-Cristo and Leroux’s Le Fantôme de l’Opéra. Attentive to textual and musical detail alike in the works, the study also delves deep into their reception contexts. The result is a compelling cultural-historical account: of changing ways of making sense of operatic experience from the 1820s to the 1920s, and of a perennial writerly fascination with the recording of that experience.
| Tema: | Ópera y Zarzuela, Biografías, Historia por Periodos, Historia por Temas, Ensayo |
|---|---|
| Idioma: | Inglés |
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| Editorial: | Cambridge University Press |
| Año de edición: | 2011 |
| Año de publicación: | 2011 |
| Núm. páginas: | 298 |
| ISBN: | 9780521118903 |
| Ref: | DL01223 |
| Contenido: | Introduction 1. Balzac, Meyerbeer and science 2. ’Tout entier?’: scenes from grand opéra in Dumas and Balzac 3. The novel in opera: residues of reading in Flaubert 4. Knowing what happens next: opera in Verne 5. ’Vous qui faites l’endormie’: the Phantom and the buried voices of the Paris Opéra 6. Proust and the soirée à l’Opéra chez soi Envoi Bibliography. |
