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Le Naturalisme Sur La Scène De L'opéra Lyrique
Université Lumière Lyon 2 Le Naturalisme sur la scène de l’Opéra lyrique Roxane SIFFER Sous la Direction de Mme Sophie PAPAEFTHYMIOU Août-Septembre 2010 Table des matières Remerciements . 5 Introduction. 6 PREMIERE PARTIE : LE THEATRE LYRIQUE COMME MOYEN D’EXPRESSION: LE PROLONGEMENT ET L’ACHEVEMENT DU COMBAT NATURALISTE . 20 SECTION PREMIERE : Genèse et collaborations du couple fondateur : Zola-Bruneau . 20 A°) L’acte de naissance du naturalisme : la rencontre d’Emile Zola et d’Alfred Bruneau . 20 B°) L’œuvre singulière d’Alfred Bruneau . 26 SECTION DEUXIEME : La confusion entre le naturalisme et les Dreyfusards . 33 A°) D’une coopération artistique à l’engagement politique : l’affaire Dreyfus en toile de fond . 33 B°) La prise de position de Bruneau en faveur de Zola . 37 SECTION TROISIEME : L’Affaire Dreyfus : une affaire politique dans les coulisses de l’opéra . 38 A°)Le combat naturaliste sur la scène lyrique : le prolongement du combat dreyfusard . 38 B°)Triomphes et de défaites du naturalisme musical . 40 C°) Un répertoire trop figé historiquement: du mépris à l’oubli . 43 DEUXIEME PARTIE : LE NATURALISME LYRIQUE: UN MOUVEMENT MUSICAL CONTESTE ET INCOMPRIS . 46 SECTION PREMIERE : Les difficultés techniques et l’absence de réelle identité musicale . 46 A°) L’influence du wagnérisme: un héritage romantique indubitable . 46 B°) Style et registres de langue du naturalisme: la négation des canons de l’opéra lyrique . 50 SECTION SECONDE : Les élites de l’univers musical réservées à l’égard du naturalisme lyrique . 59 A°) Des journaux hostiles à l’avènement d’un genre “profane” sur la scène lyrique: . 59 B°) Les directeurs des théâtres lyriques nationaux, majoritairement hostiles aux opéras naturalistes . -
Calendrier Republicain
CALENDRIER REPUBLICAIN A U T O M N E H Y V E R VENDÉMIAIRE BRUMAIRE FRIMAIRE NIVÔSE PLUVIÔSE VENTÔSE er me me me me me 1 Mois 2 Mois 3 Mois 4 Mois 5 Mois 6 Mois 1re Décade 1re Décade 1re Décade 1re Décade 1re Décade 1re Décade 1 Raisin 1 Pomme 1 Raiponce 1 Tourbe 1 Lauréole 1 Tussilage 2 Safran 2 Céleri 2 Turneps 2 Houille 2 Mousse 2 Cornouiller 3 Châtaignes 3 Poire 3 Chicorée 3 Bitume 3 Fragon 3 Viollier 4 Colchique 4 Betterave 4 Nefle 4 Soufre 4 Perce-neige 4 Troêne 5 Cheval 5 Oye 5 Cochon 5 Chien 5 Taureau 5 Bouc 6 Balsamine 6 Héliotrope 6 Mache 6 Lave 6 Laurier-thym 6 Asaret 7 Carottes 7 Figue 7 Chou-fleur 7 Terrevégétale 7 Amadouvier 7 Alaterne 8 Amaranthe 8 Scorsonnère 8 Miel 8 Fumier 8 Mézéréon 8 Violette 9 Panais 9 Alisier 9 Genièvre 9 Salpètre 9 Peuplier 9 Marceau 10 CUVE 10 CHARRUE 10 PIOCHE 10 FLÉAU 10 COIGNÉE 10 BÊCHE 2me Décade 2me Décade 2me Décade 2me Décade 2me Décade 2me Décade 11 Pome de terre 11 Salsifis 11 Cire 11 Granit 11 Ellébore 11 Narcisse 12 Immortelle 12 Macre 12 Raifort 12 Argile 12 Bracoli 12 Orme 13 Potiron 13 Topinambour 13 Cèdre 13 Ardoise 13 Laurier 13 Fumeterre 14 Réséda 14 Endive 14 Sapin 14 Grès 14 Avelinier 14 Vélard 15 Ane 15 Dindon 15 Chevreuil 15 Lapin 15 Vache 15 Chèvre 16 Belle de nuit 16 Chervi 16 Ajonc 16 Silex 16 Buis 16 Epinards 17 Citrouille 17 Cresson 17 Cyprès 17 Marne 17 Lichen 17 Doronic 18 Sarrasin 18 Dentelaire 18 Lierre 18 Pierre à chau 18 If 18 Mouron 19 Tournesol 19 Grenade 19 Sabine 19 Marbre 19 Pulmonaire 19 Cerfeuil 20 PRESSOIR 20 HERSE 20 HOYAU 20 VAN 20 SERPETTE 20 CORDEAU 3me -
Appropriations of Gregorian Chant in Fin-De-Siècle French Opera: Couleur Locale – Message-Opera – Allusion?
Journal of the Royal Musical Association, 145/1, 37–74 doi:10.1017/rma.2020.7 Appropriations of Gregorian Chant in Fin-de-siècle French Opera: Couleur locale – Message-Opera – Allusion? BENEDIKT LESSMANN Abstract This article compares three French operas from the fin de siècle with regard to their appropriation of Gregorian chant, examining their different ideological and dramaturgical impli- cations. In Alfred Bruneau’s Le rêve (1891), the use of plainchant, more or less in literal quotation and an accurate context, has often been interpreted as naturalistic. By treating sacred music as a world of its own, Bruneau refers to the French idea of Gregorian chant as ‘other’ music. In Vincent d’Indy’s L’étranger (1903), a quotation of Ubi caritas does not serve as an occasional illustration, but becomes essential as part of the leitmotif structure, thus functioning as the focal point of a religious message. Jules Massenet’s Le jongleur de Notre-Dame (1902) provides a third way of using music associated with history and Catholicism. In this collage of styles, plainchant is not quoted literally, but rather alluded to, offering in this ambiguity a mildly anti-clerical satire. Thus, through an exchange, or rather through a bizarre and unfortunate reversal, church music in the theatre is more ecclesiastical than in the church itself. Camille Bellaigue1 In an article in the Revue des deux mondes of 1904, the French critic Camille Bellaigue described the incorporation of church music into contemporary opera, referring to anticipated examples by Meyerbeer and Gounod; to works less well known today, such as Lalo’s Le roi d’Ys (which quotes the Te Deum); and also (quite extensively) to Wagner’s Parsifal, the ‘masterpiece […] or the miracle of theatrical art that is not only Email: [email protected] I am grateful to Stefan Keym for his support and advice with my doctoral studies and beyond. -
The Negro in France
University of Kentucky UKnowledge Black Studies Race, Ethnicity, and Post-Colonial Studies 1961 The Negro in France Shelby T. McCloy University of Kentucky Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation McCloy, Shelby T., "The Negro in France" (1961). Black Studies. 2. https://uknowledge.uky.edu/upk_black_studies/2 THE NEGRO IN FRANCE This page intentionally left blank SHELBY T. McCLOY THE NEGRO IN FRANCE UNIVERSITY OF KENTUCKY PRESS Copyright© 1961 by the University of Kentucky Press Printed in the United States of America by the Division of Printing, University of Kentucky Library of Congress Catalog Card No. 61-6554 FOREWORD THE PURPOSE of this study is to present a history of the Negro who has come to France, the reasons for his coming, the record of his stay, and the reactions of the French to his presence. It is not a study of the Negro in the French colonies or of colonial conditions, for that is a different story. Occasion ally, however, reference to colonial happenings is brought in as necessary to set forth the background. The author has tried assiduously to restrict his attention to those of whose Negroid blood he could be certain, but whenever the distinction has been significant, he has considered as mulattoes all those having any mixture of Negro and white blood. -
MESSIDOR . Nu MÊME AUTEUR: Briséis, N'emmanuel CHABRIER
MESSIDOR . nu MÊME AUTEUR: Briséis, n'EMMANUEL CHABRIER. Le Chant de la Cloche, de VINCENT n'INDY. Collot d'Herbois à Nantes. 'Dîx Jours à Bayreuth. L'ÉvDJution musicale cher Verdi. Fervaal, de VINCENT n'IN DY. F. Halévy (épuisé) . .Les Interprètes musicaux du Faust de GŒTHE [épuisé). :Notes de Voyage. L'Œuvre théâtral de Meyerbeer. L'Œuvre lyrique de César F1·anck. Proserpine, de C. SAINT-SAËNS. OLe Rêve, d'A. BRUNEAU. Samson et Dalila, de C. SAINT-SAËNS. Souvenirs de Bayreuth. Le Théâtre à Nantes depuis ses origines jusqu'à nos Jours (I430-It593). Tannhœuser. Les Troyens, de BERLIOZ. Le Vaisseau Fantôme. POUR PARAITRE PROCHAINEMENT: Les Femmes de Wagner. ÉTIENNE DESTRANGES MESSIDOR n'A. BRUNEAU ÉTUDE ANALYTIQUE ET CRITIQUE PARIS -LIBRAIRIE FISCHBACHER (SOCIÉTÉ ANONYME) 33, ~ue de Seine, 33 1897 ~ ' f A E. JAQUES-DALCROZE Rmicalemenl g. D. MESSIDO-R 1. L'Œuvre littéraire Un fait unique jusqu'ici dans l'histoire de l'art lyrique est celui qui nous est offert en cette fin du XIX6 siècle: la collaboration avec un compositeur non plus d'un vulgaire libret tiste, arrangeur ou plutôt dérangeur de chefs d'œuvre littéraires, mais d'uI1 écrivain de gé nie qui, ayant commencé par consentir à tirer deux drames, l'un d'un roman, l'autre d'une nouvelle, finit par se laisser aller à écrire spé cialement des ouvrages en vue de l'adapta tion musicale. Certes, M. Emile Zola donne là un bel exemple. Les discussions passion nées, les nombreuses critiques soulevées par son dernier poème ont dû être, pour un esprit combatif comme Id sien, la plus douce des récompenses en même tem ps que le pl us énergique des stimulants. -
Not So Silent: Women in Cinema Before Sound Stockholm Studies in Film History 1
ACTA UNIVERSITATIS STOCKHOLMIENSIS Not so Silent: Women in Cinema before Sound Stockholm Studies in Film History 1 Not so Silent Women in Cinema before Sound Edited by Sofia Bull and Astrid Söderbergh Widding ©Sofia Bull, Astrid Söderbergh Widding and Acta Universitatis Stockholmiensis, Stockholm 2010 Cover page design by Bart van der Gaag. Original photograph of Alice Terry. ISBN 978-91-86071-40-0 Printed in Sweden by US-AB, Stockholm 2010. Distributor eddy.se ab, Visby, Sweden. Acknowledgements Producing a proceedings volume is always a collective enterprise. First and foremost, we wish to thank all the contributors to the fifth Women and the Silent Screen conference in Stockholm 2008, who have taken the trouble to turn their papers into articles and submitted them to review for this proceed- ings volume. Margareta Fathli, secretary of the Acta Universitatis Stockholmiensis, de- serves a particular mention for her engagement in establishing the new series Stockholm Studies in Film History; an ideal framework for this publication. A particular thanks goes to Lawrence Webb, who has copy–edited the book with a seemingly never–ending patience. We also owe many thanks to Bart van der Gaag for making the cover as well as for invaluable assistance in the production process. Finally, we are most grateful to the Holger and Thyra Lauritzen Foundation for a generous grant, as well as to the Department of Cinema Studies which has also contributed generously to funding this volume. Stockholm 30 April 2010 Sofia Bull & Astrid Söderbergh Widding 5 Contributors Marcela de Souza Amaral is Professor at UFF (Universidade Federal Fluminense––UFF) in Brazil since 2006. -
FOR the RECORDS Researching Alsace and Lorraine
VOL. 11, NO. 2 — FEBRUARY 2018 FOR THE RECORDS Researching Alsace and Lorraine Publications and websites mentioned in this article are listed in the bibliography. Alsace and Lorraine are storied, often contested lands located in eastern France on its border with Germany and the Low Countries. Alsace (see map, right), at 3,196 square miles, is about one-quarter larger than the state of Connecticut1. Lorraine (see map, page 4), at 9,089 square miles, is just slightly smaller than the state of Vermont2. Along with Champaign-Ardenne, they form the modern region Grand Est whose regional capital and largest city is Strasbourg. The historic Alsace Region was the smallest in metro- politan France, made up of two departments, Bas-Rhin in the north and Haut-Rhin in the south. The region features a large plain about four times longer than it is wide and situated between the Vosges Mountains and the Rhine River. Prior to the Franco-Prussian War, Al- sace, specifically the Haut-Rhin, also included the Ter- ritoire de Belfort. When the Germans took control over the rest of Alsace, it became the smallest department in France, and was attached to Franche-Comté and is now part of Bourgogne- Franche-Comté. The historic Lorraine Region was much larger and con- sisted of four departments, Meurthe-et-Moselle, Meuse, Moselle, and Vosges. The territory included the histori- ALSACE cal Duchy of Lorraine, Barrois, the Three Bishoprics (Metz, Verdun, and Toul), and a number of small prin- Alsace includes the French départements of Haut-Rhin (Upper Rhine) and Bas-Rhin (Lower Rhine) | Map cipalities. -
From Aesthetics to Politics in the Dreyfus Affair Roderick Cooke
From Aesthetics to Politics in the Dreyfus Affair Roderick Cooke Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Gaduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2013 Roderick Cooke All rights reserved ABSTRACT From Aesthetics to Politics in the Dreyfus Affair Roderick Cooke This dissertation proposes a new interpretation for the political engagement of French writers in the Dreyfus Affair between 1897 and 1900. I argue that aesthetics has been undervalued by past scholarship on this question, and analyze the engagement of four very different writers - Emile Zola, Ferdinand Brunetière, Henry Céard and Saint-Georges de Bouhélier - demonstrating that, in each case, their prior aesthetic thought was a vital part of their political discourse on the Affair. This claim involves a rethinking of the relationship between aesthetics and politics as it has usually been conceived, with the aesthetic no longer a reflection of the political, but rather a potential source for it. For each of the writers studied, his literary criticism and theory (dating as far back as the 1860s) are put in dialogue with his writing about the Dreyfus Affair itself through close readings of both corpuses. In each case, attention is paid to the continuities and inversions of central ideas such as individualism, truth, and the Republic, in order to illustrate their structural role in the intellectual world of the fin de siècle. As a result, I have termed the four chapters 'micro-histories of ideas' to convey the way in which individual concerns provide a window onto the major battles of ideas in the France of the early Third Republic. -
"El Ataque Al Molino" De Émile Zola, En La Traducción Anónima De Prensa Moderna (Ca. 1930)
El ataque al molino de Émile Zola, en la traducción anónima de Prensa Moderna (ca. 1930) Pedro Méndez L’attaque du moulin (1880) es una nouvelle que Émile Zola publicó en plena vorágine naturalista. Conocido su autor sobre todo por la saga de los Rougon- Macquart y el célebre artículo «J’accuse», el texto ocupa un discreto lugar en el conjunto de la obra zolesca. Junto a varios estudios críticos publicados en torno a 1880,1 será en las veinte novelas de los Rougon-Macquart (1870-1898) donde, a modo de ensayo clínico, el fundador de la escuela naturalista desarrolle sus teorías en torno al determinismo biológico y social. A pesar de que sus obras naturalistas fueron muy mal recibidas por parte de la crítica, Zola contó siempre con el favor del público y la polémica que le rodeó desde la publicación de Thérèse Raquin contribuyó a que se convirtiera en uno de los autores más mediáticos y de más éxito editorial del siglo XIX.2 Sin embargo, aunque debe sus mayores éxitos a la novela, las formas breves, muy en auge a lo largo del siglo XIX, estuvieron también presentes en el universo creativo de Zola en los inicios de su carrera –hasta los primeros años de la década de 1880, coincidiendo con su etapa de colaborador asiduo en los periódicos– de tal manera que el centenar de textos breves que llegó a componer constituyen una parte nada despreciable de su producción.3 El debut artístico de Zola se produjo precisamente con una antología de cuentos, los Contes à Ninon (1864), y después publicó otros volúmenes: Esquisses parisiennes (1866), Nouveaux contes à Ninon (1874), Le capitaine Burle (1882) y Naïs Micoulin (1883). -
The Revival of French Operatic Theatre Emile Zola – Alfred Bruneau
The revival of French operatic theatre Emile Zola – Alfred Bruneau Comparing Zola to music throws up many surprises. While the writer strove against the approved academic forms of painting for the recognition of impressionist painting, and while he advocated a novel theory of writing which was a complete break from romanticism, he remains strangely absent from the upheavals taking place in the French music at the time. 1863 is an important year, the start of a post-romantic current in music and literature. Delacroix and Vigny die while Berlioz writes his last work The Trojans. After the defeat of r 1870, and in reaction to Germany, the tendency is to favour French art. The National Society for Music, established in 1871 by Camille Saint-Saëns, has the motto Ars Gallica and is dedicated to making new French masters better known. This period also sees the success of music in the theatre, notable with 1875 with the echoing bomb in Bizet’s Carmen which places the orchestra and the choir at the heart of the action with a constant attention to realism in the action and the music. This is also the period during the 1880s in which Massenet staged a large number of operatic works such as Hérodiade (1881), Manon (1884), and Thaïs (1894). As Frédéric Robert insists, Massenet ‘achieves an interesting – and interested – compromise between Gounod and Wagner’1. In this proliferation of musical creativity Zola remains in the background. Only just does he go and applaud Wagner in Paris in an anti-conformist thrust which characterises his youth. -
Zola's Works for the Musical Stage
Zola’s works for the musical stage Jean-Sébastien Macke Centre Zola (ITEM-CNRS) Zola met the composer Alfred Bruneau in 1888, and this meeting marked the beginning of a long and close friendship as well as a creative collaboration between the two. Studies of the works of Alfred Bruneau generally deal only with his operas written during Zola’s lifetime and in close association with him, a period which was indeed the most productive and the richest in bold in-novation. But lyric naturalism, although it originated at that time, did not end with the death of the writer in 1902. Bruneau suffered profound grief at the loss of his friend, even thinking of abandoning his career. However, he got through this difficult time, and after composing the music of Lazare , he decided to continue to seek his musical inspiration in the works of Zola. Three lyrical dramas, Naïs Micoulin , La Faute de l’abbé Mouret and Les Quatre Journées, emerged in Monte Carlo at the Odéon and the Opéra-Comique between 1907 and 1916. They were followed by other subjects, which did not get beyond the libretto stage: Miette et Silvère and La Fête à Coqueville. With these new lyric dramas, Alfred Bruneau became his own librettist, thus fulfilling a desire that Zola had expressed some years earlier, to have one person as both librettist and musician. Lyric naturalism was thus able to continue after the death of one of its creators, and even to reach a sort of apotheosis in La Faute de l’abbé Mouret, produced in the Théâtre-Libre by André Antoine, who established the credentials of Naturalist drama. -
AMNH Research Library, Manuscripts and Personal Papers Revised June 2013
AMNH Research Library, Manuscripts and Personal Papers Revised June 2013 Call Number Creator Title Dates Summary Physical Description Related Archival Materials MSS .A3 Adamson, Hans Christian, 1890- Hans Christian Adamson papers 1935-1968 Consists of 13 v. (typescripts and galley proofs) of chiefly adventure novels written or co-authored by Hans Christian 13 boxes (4.5 linear feet) 1968 Adamson, as well as 1 holograph ms. (252 leaves), accompanied by a letter (l leaf). Includes galley proofs and manuscripts for: Rebellion in Missouri, 1861, Hell at 50 Fathoms, Keepers of the Lights, Blood on the Midnight Sun, Admiral Thunderbolt, Battles of the Philippine Sea, Tragedy at Honda, The Sportsman’s Game and Fish Book, Eddie. MSS .A342 Akeley, Mary L. (Mary Lenore Mary Jobe Akeley papers 1859-1940 Papers relate to Mary Jobe Akeley and her husband Carl E. Akeley. Boxes 1-3 of the 1977 accession include 11 boxes (6 linear feet); 5 Jobe), 1878-1966 biographical data, correspondence, expedition journals and notes, museum activity records, printed or draft articles copper plates (part of MSS and personal items, among them a great deal of material on the sculpture of a lion that Carl designed as a .A342-.A344) monument to Theodore Roosevelt. Boxes 4-7 include newspaper clippings, primarily of articles by or about the Akeleys, some dealing with gorillas, others with people, expeditions, game hunting, and animals. The 1992 accession includes one folder received in 1978 from Art Greenham of Projection. The 1967 accession consists of 11 boxes of unprocessed material. MSS .A343 Akeley, Mary L. (Mary Lenore Mary Jobe Akeley papers 1859-1940 Writings, newspaper clippings, and photocopies of photographs.