On Ballet at the Opéra, 1909–14, andLa fête chez Thérèse
| Autor: | Davinia Caddy |
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| Rok vydání: | 2008 |
| Předmět: | |
| Zdroj: | Journal of the Royal Musical Association. 133:220-269 |
| ISSN: | 1471-6933 0269-0403 |
| DOI: | 10.1080/02690400809480703 |
| Popis: | This article is broadly centred on the ballets staged at the Paris Opéra during the era in which Diaghilev's Ballets Russes were resident in the French capital. I seek initially to define the ways in which both troupes, the Opéra Ballet and the Russian, were received in the period press: in short, how the French company was implored to take its lead from Russian choreographic and scenic developments. My principal aim, though, is to offer a ‘thick’ description of one particular ballet – a commission from the Opéra enddedLa fête chez Thérèse, set to music by French salon composer Reynaldo Hahn and premièred on 16 February 1910. A close reading ofThérèse‘s narrative, structure and musical design reveals something of the ballet's cultural resonance: a resonance that extends from the ballet-pantomimes of the July Monarchy, through the extra-curricular endeavours of the composer Gustave Charpentier, to contemporary ideals of womanhood, social parity and dancers’ skirts. A new historical perspective emerges, one that prompts a revision of the taxonomies according to which narratives of the pre-war balletic scene are usually plotted, along with a reassessment of the dominant historiographical strategy itself. |
| Databáze: | OpenAIRE |
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