from Part I - Establishment in Paris and the Repertoire
Published online by Cambridge University Press: 18 September 2020
Why a transnational history of Carmen? Because Carmen is intrinsically born of – and about –migration and linguistic fluidity, and because Bizet’s opera has been transcended by the myth or symbol of Carmen, taken to mean many things in multiple contexts. This chapter lays the foundations for the rest of the book by highlighting the main sources – Mérimée’s novella, the opera libretto, its first stagings and scores – as well as challenging the precepts of a transnational history of opera, and attempts to weave the individual chapters together, draw out overlapping themes, challenge expected narratives, point up contradictions. In short, whether in relation to genre, singers or binary oppositions of geography, identity, morality and progress, the chapter outlines the main debates addressed and synthesises the kaleidoscopic nature of the findings of all contributors. From Spanish gypsies to French Hispanomania in music and dance, from Parisian reception to transnationalism in opera studies, from Parisian opéra-comique to international hybrid spectacle, this chapter signals the issues that are omnipresent in the performance and reception of Carmen at home and abroad.
Le Français
Le National
La Revue des deux mondes
Le Temps
Le Théâtre
L’Union
Le Français
Le National
La Revue des deux mondes
Le Temps
Le Théâtre
L’Union
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