Rev9 gluck
Rev9b giron
Rev9c lemoel
Rev9d schneeman
Rev9e picard
Rev9a preface
Rev9f champonnois
Rev9g garde
Rev9h quetin
Rev9i degott
Acc1 responsables
Acc2a tatin
Acc1 responsables
Cont1 secrétariat
Cont1 secrétariat
Cont1 achats 3
Rev20 Comedy
Rev20 Comedy
Rev19 Chabanon
Rev18 Mal
Rev17 Querelles
Rev16 Oratorio
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
Rev1 melanges
M1 Communications
M1 Communications
M1 Communications
M1 Communications

This article seeks to examine some of the paradoxes in the reception and rendition of Gluck’s opera in the second half of the eighteenth century. Although the supposed plainness and simplicity of the work are said to have been influenced by what was then regarded as English taste, the various productions of the work put on in London testify to a downright resistance to such plainness and simplicity. Whether it be with the Bach-Guglielmi productions of 1770 and 1771, more or less devised by Guadagni, or with the version later put on for Tenducci in 1785, those presentations of the work were at odds with the type of discourse that used to accompany the event itself. And yet, throughout the succeeding versions, one can trace some elements of Englishness, if only in the professed acknowledgment of Gluck’s indebtedness to Handel, then regarded and venerated as the great “national” composer. In such a context, the English version of the work put on at Covent Garden in 1792 can be seen as a phenomenon of double allegiance, both to Gluck’s original and to the operatic traditions of the Anglo-Saxon world.

Les Lumières et la culture musicale européenne :

C.W. Gluck

N° 9 i


Pierre Degott

Université de Metz

Les fortunes d’Orfeo ed Euridice sur la scène anglaise au cours de la seconde moitié du XVIII° siècle

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


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