Opera which Involves Dance, or Ballet which Involves Singing: Comédie Lyrique on the Stage of the Royal Academy of Music in Paris

Abstract

The article is devoted to the receptivity of the premiere performances of André Grétry’s musical comedies on the stage of the Paris Royal Academy of Music in the 1780s. Our attention becomes focused on materials of critical reviews in the French press, which became public responses to the premiere productions and testimonies that the ballets in such performances not merely played a significant role, but frequently became the main causes of enthusiastic ovations by audiences. In the 1780s, Grétry sought to revive the “genuine comedy” in the vein of Molière on the stage of the Royal Academy of Music in Paris. Obviously, in such performances the ballet was given an important role, since, according to the composer, the French had a natural inclination towards this art. Notably, the first comedy “La Double épreuve ou Colinette à la Cour”, notwithstanding its chilly reception, received its ultimate recognition particularly for its pantomimic and dance numbers. They accounted for about a third of the entire composition and, according to the critics, they were “well grouped and beautifully written, creating visual effects full of motion and variety”. “L’Embarras des richesses”, “La Caravane du Caїre”, “Panurge dans l’isle des Lanternes” not only became successful performances highly appreciated for their musical merit, but also significantly enriched the French ballet, including both the pantomime and dance comprising it. The quantity of divertissements and the number of characters involved in them captured the imaginations of the audiences. These were ceremonial productions of comedies with through dramatic development, as well as luxuriant scenic decorations and costumes. they brought together the efforts of the best singers, dancers, artists, costumers and creators of theatrical machinery. The subtle, sparkling humor, the pleasant music striking by its variety, the finesse of details and small touches also found their refraction in ballet scenes. Their colorfulness and innovativeness pleased the exacting Parisian public to such a great degree that they were applauded enthusiastically not only at the premieres, but also during the repeated performances. Eloquent testimonies of this were imprinted in the French press of the time.

Opera as Reflected in Russian Academic Periodicals of the Last Five Years

“…[49] Judging by the articles, while the study of the reception of an opera composition and archival studies usually pursue different goals, as a rule, they lead to similar results -the acquisition of new knowledge, which often accompanies a rethinking of existing ideas, along with a resultant destruction of accepted wisdom. In one case, based on a meticulous analysis of responses in the French press, it is may be time to bid farewell to the myth of the failure of the premiere of Georges Bizet's Carmen, [50] to clarify the nature of the comedy-ballet genre in the 17th and 18th centuries; [51] in another, to outline the attitude to the Italian opera in the Soviet Union during the time of Stalin, [52] to reconstruct on the basis of archival documents the history of attempts to create a Soviet "song opera," which did not lead to noticeable results, [53] to identify signs of the "classical" Soviet opera of Stalin's time; [54] in a third, to consider the features of the ambiguous perception of the personality and music of Richard Strauss by Alban Berg; [55] finally, to clarify the history of the creation of Alexander Borodin's operetta The Heroic Warriors with the help of previously unknown letters from librettist Victor Krylov to theatre director Nikolai Savitsky discovered in the archives of the State Historical Museum. [56] One of the most noticeable features of the Russian musicological periodicals of the last five years is the increased attention paid to the document as the bearer of primary historical information.…”