Cambridge Opera Journal. Jul2021, Vol. 2 Issue 3, p154-186. 33p.
Subjects
MUSICAL ability, PRACTICAL politics, POPULAR music genres, IMPERIALISM, and DECEPTION
Abstract
Offenbach's first commercially performed dramatic work, the opéra comique Pépito, premiered in Paris at the Théâtre des Variétés on 28 October 1853. This article examines it from historical and musical perspectives. First, I argue that its production at the Théâtre des Variétés is an example of what Mark Everist has called 'the politics of genre', in this case the attempts by managers of Parisian boulevard theatres to circumvent the hierarchical system of genre imposed on them by the government. Offenbach may have been directly complicit by offering an opéra comique to a theatre that was legally not allowed to perform the genre and by supplying a musical element – 'local colour' – as part of the political strategy by which the manager of the Variétés sneaked the opéra comique past the authorities. The subterfuge did not work, however: I argue that Pépito was recognised by audiences as an opéra comique primarily through the character of its music. A discussion of the score, and the musical competence of the original cast and orchestra of the Variétés, allows a partial reconstruction of the actual sound of the first performance of Pépito. Finally, I consider the later history of Pépito, and in a postscript suggest that a faint memory of Offenbach's Spanish opéra comique may have resurfaced twenty-two years later when Georges Bizet, who became part of Offenbach's circle in the late 1850s, was composing his own Spanish opéra comique, Carmen. [ABSTRACT FROM AUTHOR]
Bizet, Georges (1838-1875). Autor, Sokołowicz, Małgorzata., Uniwersytet Muzyczny Fryderyka Chopina (Warszawa). Wydawca pbl, and Bizet, Georges (1838-1875). Autor
Cambridge Opera Journal. Jul2020, Vol. 32 Issue 2/3, p154-186. 33p.
Subjects
MUSICAL ability, PRACTICAL politics, POPULAR music genres, IMPERIALISM, and DECEPTION
Abstract
Offenbach's first commercially performed dramatic work, the opéra comique Pépito, premiered in Paris at the Théâtre des Variétés on 28 October 1853. This article examines it from historical and musical perspectives. First, I argue that its production at the Théâtre des Variétés is an example of what Mark Everist has called 'the politics of genre', in this case the attempts by managers of Parisian boulevard theatres to circumvent the hierarchical system of genre imposed on them by the government. Offenbach may have been directly complicit by offering an opéra comique to a theatre that was legally not allowed to perform the genre and by supplying a musical element – 'local colour' – as part of the political strategy by which the manager of the Variétés sneaked the opéra comique past the authorities. The subterfuge did not work, however: I argue that Pépito was recognised by audiences as an opéra comique primarily through the character of its music. A discussion of the score, and the musical competence of the original cast and orchestra of the Variétés, allows a partial reconstruction of the actual sound of the first performance of Pépito. Finally, I consider the later history of Pépito, and in a postscript suggest that a faint memory of Offenbach's Spanish opéra comique may have resurfaced twenty-two years later when Georges Bizet, who became part of Offenbach's circle in the late 1850s, was composing his own Spanish opéra comique, Carmen. [ABSTRACT FROM AUTHOR]
The article explores the various ways in which Bizet’s opera Carmen has been understood. The cultural agenda of the 19th century fin de siècle can explain the opera’s reception by the public, as well as the changing perception of its eponymous heroine, who came to be seen as a (fictional) icon of femininity and freedom. The changes in the cultural context, brought about by the advent of postcolonial, feminist, post-structuralist and deconstructionist ideologies, have given rise to a new way of reading this oeuvre which highlights the themes of resistance to domination, and emancipation. Regardless of the context and mode of reading, Bizet’s heroine remains one of the best-known fictional Romani characters in European culture, whose gender and ethnical identity continues to elicit an ambiguous attitude, both positive and negative. [ABSTRACT FROM AUTHOR]
THREEPENNY Opera, The (Play : Brecht Hauptmann), BIZET, Georges, 1838-1875, ATLANTA Opera (Performer), BRECHT, Bertolt, 1898-1956, and PARODI, Jorge
Abstract
The article focuses on performance of Georges Bizet's opera "The Threepenny Carmen" and Bertolt Brecht's opera "The Threepenny Opera" by artistic director Jorge Parodi, performed at Atlanta Opera from April 30, 2021 and May 1, 2021.
Pearl Fishers (Bizet) Mini Guide. 2006, p9-14. 6p.
Subjects
OPERA, ART & opera, MUSIC, and COMPOSERS
Abstract
A profile of Georges Bizet, a music composer from Paris, France, is presented. It highlights Bizet as the music composer of "The Pearl Fishers," "Djamileh," and "Carmen." It cites Bizet's musical training and his admission to the Paris conservatory. It talks about the criticism among opera enthusiasts of the opera "The Pearl Fisher."
COMPOSERS, MUSICAL composition, OPERA, and DRAMATIC music
Abstract
An encyclopedia entry for composer Georges Bizet is presented. He was born on October 25, 1838 in Paris, France and he died on June 3, 1875 in Bougival, near Paris. He grew in a family of musicians. His father was a voice teacher and composer, while her mother was a pianist. This entry also presents information on the highlights of his music education, career, compositions and awards.