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Les Origines De L'opã©Ra Et Le Ballet De La Reine

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Les Origines De L'opã©Ra Et Le Ballet De La Reine This is a digital copy of a book that was preserved for generations on library shelves before it was carefully scanned by Google as part of a project to make the world’s books discoverable online. It has survived long enough for the copyright to expire and the book to enter the public domain. A public domain book is one that was never subject to copyright or whose legal copyright term has expired. Whether a book is in the public domain may vary country to country. Public domain books are our gateways to the past, representing a wealth of history, culture and knowledge that’s often difficult to discover. Marks, notations and other marginalia present in the original volume will appear in this file - a reminder of this book’s long journey from the publisher to a library and finally to you. Usage guidelines Google is proud to partner with libraries to digitize public domain materials and make them widely accessible. 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Vous pouvez effectuer des recherches en ligne dans le texte intégral de cet ouvrage à l’adresse http://books.google.com 1 r EX D O N O GIUSEPPE D'AYALA MARQUIS DE VALVA K z. < aaAiNfi xa a i v ^-tzc? m oo m a > CT LES ORIGINES L'OPÉRA i; r LE BALLET DE LA REINE ('58.; l'tude sur les Tianses, la SMusique, les Orchestres et la €Mise en scènr au XVI' siècle AVEC CH APERÇU DES PROGRÈS DU DRAME LYRIQUE DEPUIS LE XIII* SIÈCLE JUSQU'A LUI.I.Y LUDOVIC CELLER PARIS Librairie Q4cadémique Di die« "et- C" libraires-éditeurs 35, <±UAI DES AUGU8TIKS, 35 ! " LES ORIGINES DE L'OPÉRA m ■ * . PARIS. — IMPRIMERIE L. POOPART-CAVTL, RIE DU BAC, 30. • i LES ORIGINES DE L'OPÉRA LE BALLET DE LA REINE (i58i) Etude sur les ^Danses, la SWusique, les Orchestres et la èftlise en scène au XVIe siècle AVEC UN APERÇU DES PROGRÈS DU DRAME LYRIQUE DEPUIS CE XIIIe SIÈCLE JUSQU'A LULLY LUDOVIC CELLER Librairie QAcadémique niDlKU KT C" LIBRAIRES-KIMTECRS 35, QUAI DES AUGUSTINS, 35 1868 Tout droits réservés. /^CTHFQIJEnÂNTÔÏMA (^LAUSANNE) 1 Mil U N 1 V ERS I TA 1P-V AVERTISSEMENT Le genre de production dramatique et lyrique que nous appelons opéra est arrivé de nos jours à un degré d'importance assez considérable pour qu'il ne soit pas inutile Le mot de s'occuper opéra n'a de pas ses toujours commencements. été en usage. Au siècle dernier on disait : « une tragédie lyrique » ; certains opéras de Gluck portent encore ce titre, qui était de rigueur pour ceux de Lully. A côté de la tragédie lyrique existait le ballet, et ce mol n'avait pas alors la signification res treinte Entre que le nous ballet lui etavons la tragédiedonnée. lyrique, il n'y avait parfois que la différence du sujet, qui, dans le ballet, II AVERTISSEMENT était moins grave que dans la tragédie lyrique : les mêmes moyens étaient mis en œuvre dans tous deux; mais la fantaisie régnait en maîtresse dans le ballet, tandis que la tragédie lyrique était souvent enchaînée par En les changeant règles précises les mots, de l'ancien en modifiant théâtre. leur significa tion, nous avons conservé un peu de ces nuances, et nos opéras sont, le plus souvent, sévères d'intrigue, taudis que L'opéra nos ballets réside visent dans àl'union, la gaieté.
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