Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris (Record no. 1221)

MARC details
000 -LEADER
fixed length control field 02483 a2200361 4500
001 - CONTROL NUMBER
control field 1138375489
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250317100401.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 250312042018GB eng
020 ## - INTERNATIONAL STANDARD BOOK NUMBER
International Standard Book Number 9781138375482
037 ## - SOURCE OF ACQUISITION
Source of stock number/acquisition Taylor & Francis
Terms of availability GBP 51.99
Form of issue BB
040 ## - CATALOGING SOURCE
Original cataloging agency 01
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title eng
072 7# - SUBJECT CATEGORY CODE
Subject category code AVLA
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Subject category code 6CA
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Subject category code 6RA
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Subject category code AVGC4
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Subject category code AVGC9
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Subject category code CJ
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Subject category code HIS000000
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Subject category code MUS000000
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072 7# - SUBJECT CATEGORY CODE
Subject category code 782.1094436109034
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100 1# - MAIN ENTRY--PERSONAL NAME
Personal name Mark Everist
245 10 - TITLE STATEMENT
Title Giacomo Meyerbeer and Music Drama in Nineteenth-Century Paris
250 ## - EDITION STATEMENT
Edition statement 1
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Oxford
Name of publisher, distributor, etc. Routledge
Date of publication, distribution, etc. 20180927
300 ## - PHYSICAL DESCRIPTION
Extent 462 p
520 ## - SUMMARY, ETC.
Expansion of summary note Nineteenth-century Paris attracted foreign musicians like a magnet. The city boasted a range of theatres and of genres represented there, a wealth of libretti and source material for them, vocal, orchestral and choral resources, to say nothing of the set designs, scenery and costumes. All this contributed to an artistic environment that had musicians from Italian- and German-speaking states beating a path to the doors of the Académie Royale de Musique, Opéra-Comique, Théâtre Italien, Théâtre Royal de l'Odéon and Théâtre de la Renaissance. This book both tracks specific aspects of this culture, and examines stage music in Paris through the lens of one of its most important figures: Giacomo Meyerbeer. The early part of the book, which is organised chronologically, examines the institutional background to music drama in Paris in the nineteenth century, and introduces two of Meyerbeer's Italian operas that were of importance for his career in Paris. Meyerbeer's acculturation to Parisian theatrical mores is then examined, especially his moves from the Odéon and Opéra-Comique to the opera house where he eventually made his greatest impact - the Académie Royale de Musique; the shift from Opéra-Comique is then counterpointed by an examination of how an indigenous Parisian composer, Fromental Halévy, made exactly the same leap at more or less the same time. The book continues with the fates of other composers in Paris: Weber, Donizetti, Bellini and Wagner, but concludes with the final Parisian successes that Meyerbeer lived to see - his two opéras comiques.

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