The Italian incursions actually had begun a century earlier:
- Zaslaw, Neal. “The First Opera in Paris: A Study in the Politics of Art.” In
Jean-Baptiste Lully(#1130), 7–23.
Il giuditio della ragione,by Marco Marazzoli, was performed at the Palais
Royal on 28 February 1645, introducing the Italian style (all sung) and leading
to French imitators. This is a valuable account of the event and its political-
cultural ramifications. - Charlton, David. “The romance and Its Cognates: Narrative, Irony and
vraisemblancein Early opéra-comique.” In Die opéra-comique(#93), 43–92.
Investigates “the origins and dramaturgy of song forms (mainly strophic, but
certainly not always so) in opéra-comique.” When such songs occur, there is a
detachment from the action, and the actor performs “in quotation marks.”
Charlton, elaborating on earlier work by Daniel Heartz, gives a history of the
romancein opera. A “plurality in strophic forms” emerged after 1762. - Cook, Elisabeth. Duet and Ensemble in the Early “opéra-comique.” New
York: Garland, 1995. xx, 317p. ISBN 0-8153-1893-6. ML1950 .C66.
A valuable study of ensemble composition in all the French and Italian genres
prior to 1750. Attention to ensembles in French serious opera after 1750, with
analysis of Philidor’s Ernelinde. Deals with dramatic and literary aspects and with
theoretical writings that considered ensemble composition. Rousseau receives
particular notice. Notes, bibliography of about 150 items, expansive index. - Jacobshagen, Arnold. “Formstrukturen und Funktionen der Chor-Introduk-
tion in der opéra-comiquedes späten 18. und frühen 19. Jahrhunderts.” In Die
opéra-comique(#93), 151–167.
Observes that opéra-comiquein this period usually opened, after the overture,
with a choral number, followed by a solo. Discovers various patterns of the
solo-duet-ensemble-chorus that were built around this practice and analyzes
operas by Sacchini, Dalayrac, Cherubini, Berton, and others showing how it
was done. In the 19th century this set assumed the form of a rondo.
Instrumental accompaniment to operas has been studied by several scholars:
- Sadler, G. “The Role of the Keyboard Continuo in French Opera, 1673–
1776.” Early Music8 (1980): 148–157.
Observes that figures (figured bass) are abundant in the solo vocal numbers
but absent from the instrumental and dance numbers. Concludes that harpsi-
chord accompaniment was used only for the voice parts, primarily in recita-
tive. The harpsichord was abandoned at the Opéra by 1776.
See also Milliot (#2294) on the orchestra and Cyr (#2295) on the continuo.
Scenic effects were of great importance. They are well illustrated in:
2265.Cohen, H. Robert et al. Les gravures musicales dans “L’Illustration,” 1843–- Quebec: Université Laval, 1982. 3v. ISBN 2-7637-6833-4. ML270.4 .G7.
Engravings of set designs, costumes, portraits, and performances.
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