composer. The Viennese French theater influenced Gluck in general and the
reform operas in particular. Brown discusses the Viennese cultural context, the
Burgtheater, economic and political conditions, Gluck’s pantomime ballets,
Orfeo,and the impact of Durazzo. One conclusion is that Gluck was less a
reformer than one who rode the tides of change. Chronology, 1748–1765; list
of Gluck’s official positions in Vienna theaters; bibliography of some 300
items; index.- Haas, Robert. Gluck und Durazzo im Burgtheater: Die “Opéra-comique” in
Wien.Vienna: Amalthea, 1925. 216p. ML1723.8 .V6 H13.
A major study of the development of comic opera in Vienna and Gluck’s con-
tributions to that repertoire. Extensive reference to contemporary sources.
Index. - Nagler, Alois. “Gluck in Wien und Paris.” Maske und Kothurn1 (1955): 225–
- PN2004 .M36.
Considers 18th-century Gluck productions, beginning in 1753, bringing out
the contributions of designers, choreographers, singers, and instrumentalists.
A wide range of sources is cited and used to demonstrate the importance of
those collaborators.
See also Heartz (#2134).
Individual Works
Alceste
ASO73 (1985).
- Sternfeld, Frederick W. “Expression and Revision in Gluck’s Orfeo and
Alceste.” In Essays Presented to Egon Wellesz(#70), 114–129.
Compares the Vienna (1762, 1767) and Paris (1774, 1776) versions. There
was an increased time dimension in the Paris (reform) operas: they had large
scenes that could not be borrowed for other operas like the arias from number
operas. But the Paris versions did have added numbers (dances, arias) that con-
flicted with the dramatic and tonal design. Sternfeld prefers the originals, while
admitting to “several and substantial improvements” in the reform revisions. - Hastings, Margaret. “Gluck’s Alceste.” M&L36 (1955): 41–54.
Considers variants in the source material of the Paris Alceste,other genesis
matters, reception, and early stage history.
Iphigénie en Tauride
ASO62 (1984); FO,v.63.
- Landy, Rémy, and Pierre Peyronnet. “Dramaturgie textuelle et dramaturgie
musicale.” In L’opéra au XVIIIe siècle(#2251), 379–417.
A study of text problems and of how solutions were found by the composer
and librettist in three 18th-century French operas: Rameau’s Hippolyte et
Aricie,Gluck’s Iphigénie en Tauride,and Salieri’s Tarare.
178 Opera