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Nicolas-François Guillard (1752-1814) remains largely unknown to scholars specialised in eighteenth-century opera, even though he is usually presented as one of the best librettists of his time. The reason for such oblivion probably lies in the mode of writing favoured by Guillard – mainly the adaptation and transposition of pre-existing operatic works –, a principle to which he was to stick throughout his career.

This article aims at situating Iphigénie en Tauride within Nicolas-François Guillard’s work. His first success did indeed influence the conception and reception of his other “tragédies lyriques”, which were all composed after this model, according to the principle based on the suppression of ballets and amorous subplots. Iphigénie en Tauride was the apex of Gluck’s career and the beginning of Guillard’s, who, as early as the first performance, had made his mark as a librettist.

Les Lumières et la culture musicale européenne :

C.W. Gluck

N° 9 f

Cécile Champonnois

Université de Montréal

Nicolas-François Guillard : un librettiste de Gluck encore méconnu

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Caroline Giron-Panel
Caroline Giron-Panel - "On peut arriver en Italie en passant par la Bohème"

Sylvie Le Moël
Sylvie Le Moël - Gluck et les publicistes des Lumières allemandes

Eric Scheeman
Eric Scheeman - "Gluck in Paris"

Timothée Picard
Timothée Picard - Gluck, scènes littéraires

Préface

Cécile Champonnois
Cécile Champonnois - Nicolas François Guillard

Julien Garde
Julien Garde - Iphigénie en Tauride et l'opera seria

Laurine Quetin
Laurine Quetin - "Adieu donc mon cher poulet"

Pierre Degott
Pierre Degott - Les fortunes d'Orfeo ed Euridice sur la scène anglaise