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Music Drama at the Paris Odéon, 1824–1828$
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Mark Everist

Print publication date: 2002

Print ISBN-13: 9780520234451

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520234451.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 18 October 2019

Le fruit défendu—Opéra Comique and the French Tradition

Le fruit défendu—Opéra Comique and the French Tradition

Chapter:
(p.199) Chapter 7 Le fruit défendu—Opéra Comique and the French Tradition
Source:
Music Drama at the Paris Odéon, 1824–1828
Author(s):

Mark Everist

Publisher:
University of California Press
DOI:10.1525/california/9780520234451.003.0008

This chapter discusses the tradition of the French opéra comique that the Odéon mounted alongside foreign works, and the attempts which the theater and composers in the capital made to have the theater's license changed so that it could produce new opéras comiques. The opéra comique is taken solely from the public domain and is pointed to a crucial element of the Odéon's profile during the 1820s, and one that aroused great controversy. Throughout the 1820s, the managers of the theater campaigned vigorously to be permitted to mount new opéras comiques. Bernard tried repeatedly in the year before the theater began its opera seasons to change the license (which effectively formed part of his contract) and tried again in October–November 1824. Despite the fact that the Odéon scrupulously adhered to the condition laid down for its repertory, the question of broadening its license was rarely far from the minds of its administrators and devotees, both behind the scenes and occasionally in the press.

Keywords:   French tradition, opéra comique, Odéon, theater's license, Claude Bernard

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