An ‘Extraordinary Engagement’:

Alexander, Tamsin

doi:10.2307/j.ctt5vjsk8.10

A People Passing Rude 2012

DOI: 10.2307/j.ctt5vjsk8.10

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An ‘Extraordinary Engagement’:

Tamsin Alexander¹

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2015

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Decentralising via Russia: Glinka’sA Life for the Tsarin Nice, 1890

Alexander¹

2015

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On 30 January 1890, the audience at the Théâtre Municipal in Nice witnessed something extraordinary. Midway through the first public performance of a Russian opera in France, Glinka's A Life for the Tsar, the chorus and orchestra broke into a rendition of the Russian national anthem, followed by the 'Marseillaise'. Both anthems were then repeated, with the audience calling out 'Vive la Russie!', 'Vive la France!' With France and Russia on the verge of an historic alliance, the evening was proclaimed a political and an artistic triumph. The success of this unusual event, I suggest, can be explained further by considering the context of operatic decentralisation in France, in conjunction with the arrival of the new director at the Théâtre, Raoul Gunsbourg. As a result of local and personal imperatives, the performance came to resonate nationally, with A Life serving as an unlikely emblem of modernity, while also bringing one peripheral French region strongly into Paris's purview. ***In 1891, Charme dangereux, the latest release from the prolific novelist André Theuriet, hit the shelves. It told the story of a staid Parisian, Jacques, who succumbs to the charms of a mysterious Russian princess, the unforgettably named Mania Liebling, while vacationing in Nice. She first catches his eye at the Théâtre Municipal during a performance of Don Giovanni:

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Decentralising via Russia: Glinka’sA Life for the Tsarin Nice, 1890

Alexander¹

2015

OPR

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An ‘Extraordinary Engagement’:

Cited by 1 publication

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Decentralising via Russia: Glinka’sA Life for the Tsarin Nice, 1890

Decentralising via Russia: Glinka’sA Life for the Tsarin Nice, 1890

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