STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA: EVIDENCE FROM PROMPT NOTES; BANDUCCI; STAGING AND ITS DRAMATIC EFFECT IN FRENCH BAROQUE OPERA

The staging of tragédies en musique and related genres remains an elusive aspect of French baroque opera. Although scores and librettos supply some information (through scene rubrics and the sung text), several rare sets of prompt notes provide us with many more specific details. The prompt notes fa...

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Bibliographic Details
Published inEighteenth-century music Vol. 1; no. 1; p. 5
Main Author BANDUCCI, ANTONIA L
Format Journal Article
LanguageEnglish
Published Cambridge Cambridge University Press 01.03.2004
Subjects
18th century
Ballet
Baroque era
Discourse/Text genres
Instrumental music
Music
Opera
Voice professionals
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Summary:The staging of tragédies en musique and related genres remains an elusive aspect of French baroque opera. Although scores and librettos supply some information (through scene rubrics and the sung text), several rare sets of prompt notes provide us with many more specific details. The prompt notes fall into two categories: those that illustrate a dramatic convention and those that illustrate individual artistic choices. Both make notable differences in dramatic effect. Choristers and dancers are almost exclusively blocked as a single, collective body while the entrance of soloists to instrumental music often determines the dramatic function of préludes and ritournelles, sometimes accompanying mute acting or conveying meaning when the stage is empty. The prompt notes show that the genre, generally thought of as tradition-bound, also elicited dramatic interpretations from those responsible for staging. An appendix provides a glossed list of the more than fifty prompt notes for a 1778 proposed production of Lully's Armide. [PUBLICATION ABSTRACT]
ISSN:1478-5706
1478-5714