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Aesthetics of Opera in the Ancien RÃ gime, 1647-1785 (Cambridge Studies in Opera)

Downing A. Thomas

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ISBN 10: 0521801885 / ISBN 13: 9780521801881
Published by Cambridge University Press, 2003
Used Condition: Fine Hardcover
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Signed. Signed by the author on the front free page: For Ted, con affetto, Downing. 27 March 2003. Previous owner was Prof. Walter (Ted) E. Rex (1927-2010), Emeritus Professor of French Literature, UC Berkeley. In 1975, Prof. Rex was offered for the first time, together with Professor Daniel Heartz of the Music Department, an interdisciplinary course on music and literature in the French 18th century (especially concerned with Rousseau and Diderot). A brilliant cellist, Rex was known on occasion to play musical examples for the students in the class on his cello. This course and its successor (a course on Mozart and Beaumarchais, again taught with Professor Heartz) would become legendary on campus. Bookseller Inventory # 3006246

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Bibliographic Details

Title: Aesthetics of Opera in the Ancien R gime, ...

Publisher: Cambridge University Press

Publication Date: 2003

Binding: Hardcover

Book Condition:Fine

About this title

Synopsis:

This is the first study to recognize the wider picture of opera within early-modern French culture. Downing Thomas considers the place of music within a cultural environment--the employment of music by Louis XIV as a symbol of absolutism; the use of music as a statement against the monarchy; and the long-term development of opera as a reflection of humanism. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth.

Book Description:

This is the first study to recognize the broad impact of opera in early-modern French culture. Downing A. Thomas considers the use of operatic spectacle and music by Louis XIV as a vehicle for absolutism; the resistance of music to aesthetic and political agendas of the time; and the long-term development of opera in the eighteenth-century humanist culture. He argues that French opera moved away from the politics of the absolute monarchy in which it originated to address Englightenment concerns with sensibility and feeling. The book combines close readings of significant seventeenth-century and eighteenth-century operatic works, circumstantial writings and theoretical works on theater and opera, together with a measure of reception history. Thomas examines key works by Lully, Rameau, and Charpentier, among others, and extends his reach from the late seventeenth century to the end of the eighteenth.

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