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Paris (opera)locked

  • Rebecca Harris-Warrick,
  • David Charlton,
  • Janet Johnson,
  • Richard Langham Smith
  •  and Charles Pitt


Capital of France. Its operatic traditions were shaped initially by the city’s role as the seat of a strong, centralized monarchy. In the 17th and 18th centuries many operas were first staged at court; public theatres received subsidies from the crown but were subject to royal regulation. The dominant musical theatre was the Académie Royale de Musique (the Opéra), whose hegemony was only gradually lessened during the second half of the 18th century by the growth of the Opéra-Comique. Laws passed during the Revolution revoked the monopolies held by the established theatres, the resulting profusion of companies and operatic ventures from the early 19th century onwards giving rise to much confusion of nomenclature. Since the construction of the new Opéra in the 1870s, productions have largely centred on this celebrated institution. But although the Opéra can claim the credit for the creation of major 20th-century French operas, various other enterprises (such as the Opéra-Comique) have rivalled the Opéra in adventurous commissions....

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International Review of the Aesthetics and Sociology of Music
Journal of the American Musicological Society
Sammelbände der Internationalen Musik-Gesellschaft
Enciclopedia dello spettacolo
Recherches sur la musique française classique
Revue de musicologie
Papers of the American Musicological Society
Early Music
Musical Quarterly