Table Of ContentBuilding the
F
ocusing on the operas of Mozart,
Gluck, and Rameau, Building the Operatic
Museum examines the role that eighteenth-
OO pp ee rr aa tt ii cc MM uu ss ee uu mm
century works played in the opera houses
of Paris around the turn of the twentieth
century. These works, mostly neglected during the nineteenth century,
became the main exhibits in what William Gibbons calls the Operatic
Museum—a physical and conceptual space in which great masterworks
from the past and present could, like works of visual art in the Louvre,
entertain audiences while educating them in their own history and
national identity. Drawing on the fields of musicology, museum stud-
ies, art history, and literature, Gibbons explores how this “museum” BUILDING
transformed Parisian musical theater into a place of cultural memory,
dedicated to the display of French musical greatness. THE
E I G HTE E NTH-
OPERATIC
“ Gibbons’s well-written study of the productions of eighteenth-century
C E NTU RY
operas in late nineteenth-century Paris considers broad issues of
MUSEUM
edition-making, nationalist interpretation, allegorical readings, and
O P E R A I N
value judgment. An important addition to critical reflections on canon
building.” —steven huebner, McGill University
GIBBONS F I N-D E-S IÈC L E
PA R I S
WILLIAM GIBBONS is assistant professor of cover iMage: Homage to Mozart,
W I L L I A M
1917, by Raoul Dufy. © ARS, NY.
musicology at Texas Christian University.
Album / Art Resource, NY.
G I B B O N S
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Building the Operatic Museum
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Eastman Studies in Music
Ralph P. Locke, Senior Editor
Eastman School of Music
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Wayne Heisler Jr.
French Music, Culture, and National Identity, 1870–1939
Edited by Barbara L. Kelly
In Search of New Scales:
Prince Edmond de Polignac, Octatonic Explorer
Sylvia Kahan
Janácek beyond the Borders
Derek Katz
Musical Encounters at the 1889 Paris World’s Fair
Annegret Fauser
Pentatonicism from the Eighteenth Century to Debussy
Jeremy Day-O’Connell
Rethinking Hanslick: Music, Formalism, and Expression
Edited by Nicole Grimes, Siobhán Donovan, and Wolfgang Marx
Verdi’s “Il trovatore”: The Quintessential Italian Melodrama
Martin Chusid
Wagner and Venice
John W. Barker
A complete list of titles in the Eastman Studies in Music series
may be found on our website, www.urpress.com.
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Building the
Operatic Museum
Eighteenth-Century Opera in
Fin-de-Siècle Paris
William Gibbons
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Copyright © 2013 by William Gibbons
All rights reserved. Except as permitted under current legislation, no
part of this work may be photocopied, stored in a retrieval system,
published, performed in public, adapted, broadcast, transmitted,
recorded, or reproduced in any form or by any means, without the
prior permission of the copyright owner.
First published 2013
University of Rochester Press
668 Mt. Hope Avenue, Rochester, NY 14620, USA
www.urpress.com
and Boydell & Brewer Limited
PO Box 9, Woodbridge, Suffolk IP12 3DF, UK
www.boydellandbrewer.com
ISBN-13: 978-1-58046-400-0
ISSN: 1071-9989
Library of Congress Cataloging-in-Publication Data
Gibbons, William (William James), author.
Building the operatic museum : eighteenth-century opera in fin-de-siècle Paris /
William Gibbons.
pages cm. — (Eastman studies in music, ISSN 1071-9989 ; v. 99)
Includes bibliographical references and index.
ISBN 978-1-58046-400-0 (hardcover : alkaline paper) 1. Opera—France—
Paris—19th century. 2. Opera—18th century. 3. Mozart, Wolfgang Amadeus,
1756–1791—Criticism and interpretation. 4. Gluck, Christoph Willibald,
Ritter von, 1714–1787—Criticism and interpretation. 5. Rameau, Jean-Philippe,
1683–1764—Criticism and interpretation. I. Title. II. Series: Eastman studies in
music ; v. 99.
ML1727.4.G53 2013
792.50944'361—dc23
2013006028
A catalogue record for this title is available from the British Library.
This publication is printed on acid-free paper.
Printed in the United States of America.
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For my mother
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Contents
List of Illustrations ix
Acknowledgments xi
Introduction 1
1 Museums 8
Part One: Mozart
2 Restorations 23
3 (De)Translations 47
4 Transitions 60
Part Two: Gluck
5 Resurrections 83
6 Tragedies 106
7 Symbols 120
Part Three: Rameau
8 Monuments 145
9 Quarrels 163
10 Archaeologies 177
Notes 197
Bibliography 251
Index 263
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Illustrations
Examples
8.1 Excerpt from the Entrance of the Zephyrs,
Hippolyte et Aricie, act 5 159
8.2 Excerpt from the Entrance of the Zephyrs, Hippolyte et Aricie,
act 5, without d’Indy’s additions 160
Figures
1.1 “Paris: Inauguration of the Opéra, 1875” (ca. 1890–ca. 1900) 12
2.1 Paris illustré, October 29, 1887. Cover after portrait of
Gounod by Delaunay 35
2.2 Jean-Antoine Watteau, The French Comedians (1721–22) 42
3.1 Edmond Clément as Tamino 52
3.2 Lucien Fugere as Papageno 53
6.1 Pierre Puvis de Chavannes, Hope (1872) 114
7.1 Félia Litvinne as Alceste 129
7.2 Félia Litvinne as Isolde 130
7.3 Gustave Moreau, Orpheus at the Tomb of Eurydice (ca. 1891) 133
7.4 Alexandre Séon, Lamentation of Orpheus (1896) 136
7.5 Jean Delville, Orpheus (1893) 136
7.6 Marie Delna as Orphée, ca. 1896 138
10.1 Costume from Hippolyte et Aricie (1742?) 180
10.2 Jean-François Delmas as Thésée 181
10.3 Costume from Hippolyte et Aricie (1742?) 182
10.4 Designs for Castor et Pollux (1918) 192
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