Rev3b bonnet
Rev3c naudeix
Rev3d silvio
Rev3e quetin
Rev3a preface
Rev3f gier
Rev3g cazaux
Rev3n loubinoux
Rev3l kondyli
Rev3k panighini
Rev3j angermuller
Rev3i guertin
Rev3h champonnois
Rev3 representations
Rev3m parodi
Acc1 responsables
Acc1 responsables
Accueil
Acc2a tatin
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev14 haendel
Rev15 Theatralite
Rev14 haendel
Rev13 hennin
Rev12 wagner
Rev11 debussy
Rev10 noverre
Rev9 gluck
Rev8 prokofiev
Rev7 haydn
Rev6 chabanon
Rev5 livret
Rev4 texte
Rev3 representations
Rev2 interpretation
Rev1a preface
aNn1 activites
AaNn1a numeros
P1 Publicité
Cr1 Compte rendu

Castil-Blaze is known first and foremost for his adaptations of German and Italian works. His adaptations, successfully performed over a long period of time, have been vehemently criticized for the liberties taken with the major works of Weber and Rossini. The present fashion and preference (perhaps illusory) for the original version overlook the coherence and real scope of Castil-Blaze’s intentions. As a theoretician and historian of lyric drama, this passionate scholar and fierce polemicist shows himself as a staunch defender of Italian music at the time of the great eighteenth-century disputes. He draws a highly negative portrait of French musical life, at least when compared to that of Germany and Italy. He sees such a deplorable state as a consequence of monarchic centralization and as a result of French disregard for opera. As a specialist of lyric-writing, he associates this medium with a musical and prosodic regularity that cannot be found in sound French aesthetics. Aware of his own limitations as a composer, he aims to « naturalise » Italian music so as to counterbalance the lack of authentic lyric drama. Taking as a starting-point his technical definition of lyricism, he follows a strict and methodological logic in his adaptations. His acknowledged aim is not to remain faithful to the original but to create a French version, using borrowed material able to reach larger audiences, particularly in the provinces. He thus means to democratize opera by attacking a harmful Parisian elitism. The undeniable success achieved by his works, in spite of the criticisms they met with, is a sure sign of victory. In this respect, Castil-Blaze can be seen as a leading figure in the diffusion of the Italian repertory throughout the nineteenth century.

Migrations culturelles de l'histoire de la représentation aux XVIIIème et XIXème siècles en Europe

N° 3 n

Gérard Loubinoux

Université de Clermont-Ferrand

Castil-Blaze, héritier des querelles du XVIIIème siècle et artisan de la diffusion du répertoire en France au XIXème siècle

Jérome Bonnet
Jérome Bonnet - Arsinoe de Tammaso Stanzani

Laura Naudeix
Laura Naudeix - Présence de la tragédie en musique française

Sandrah Silvio
Sandrah Silvio - Style et technique des chanteuses lyriques italiennes

Laurine Quetin
Laurine Quetin - Réception de l'art lyrique italien en Russie

Préface

Albert Gier
Albert Gier - Zwischen Tragödie und Melodram

Chantal Cazaux
Chantal Cazaux - Gaetano Donizetti de Naples à Paris et Vienne

Gérard Loubinoux
Gérard Loubinoux - Castil-Blaze, héritier des querelles du XVIIIè siècle

Georgia Kondyli
Georgia Kondyli - Les Danaïdes ou les migrations d'un mythe

Stefania Panighini
Stefania Panighini - Analisi della messinscena del Così fan tutte

Rudolf Angermüller
Rudolf Angermüller - Così fan tutte auf europäischen Bühnen

Ghyslaine Guertin
Ghyslaine Guertin - L'Europe musicale d'après un migrant du XVIIIè siècle

Cécile Champonnois
Cécile Champonnois - Travellers and Amateur Opinions on XVIIIth Century

Retour

Elena Biggi Parodi
Elena Biggi Parodi - "Les Danaïdes" di Salieri diretta da Gaspare Spontini