Les Mutations du ténor romantique : contribution à une histoire du chant français à l'époque de Gilbert Duprez (1837-1871)

Abstract : Looking at opera, opéra-comique and salon music through the eyes of the first performers stresses the histrionic and vocal dimension of their art. Thus, this dissertation drives from the mutual appraisals of artists, which can be found in treaties, memoirs, archives of the Paris Conservatoire, letters, etc. The vocabulary used to describe singing in the 19th-century has been linked to 78rpm records and cylinder recordings. The relative focus on high-pitched male voices is only relevant because changes in the general taste for opera voices were mainly triggered by leading tenors during the romantic era. The impact of various locations and repertory on the audience's expectations was studied in order to define the aesthetic and social frame of vocal performance. Reinventing the practical know-how from the sources actually meets the growing expectations of both schedulers and singers who want to renew the approach of the so-called "romantic" French repertory - which currently goes widely unknown and unsung. A better understanding of tradition allows for more consistent historically informed performances (www.lesfrivolitesparisiennes.com).
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Pierre Girod. Les Mutations du ténor romantique : contribution à une histoire du chant français à l'époque de Gilbert Duprez (1837-1871). Musique, musicologie et arts de la scène. Université Rennes 2, 2015. Français. ⟨NNT : 2015REN20024⟩. ⟨tel-01202787⟩

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