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The opera parodies of Florent Carton Dancourt

Published online by Cambridge University Press:  12 July 2002

JOHN S. POWELL
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Abstract

Unlike the opera parodies performed at the Comédie-Italienne in the 1690s and collected by Evariste Gherardi, Dancourt's Angélique et Médor and Renaud et Armide were performed during the première runs of their target operas – Lully's and Quinault's Roland and Armide, respectively. Undoubtedly prompted by Lully's opera monopoly and the draconian restrictions on music and dance that affected the musical repertory at the Comédie-Française, Dancourt's parodies take a tongue-in-cheek view of the madness of opera in general, while specifically satirizing the themes, characters, and operatic situations found in Roland and Armide.

Type
Regular Articles
Information
Cambridge Opera Journal , Volume 13 , Issue 2 , July 2001 , pp. 87 - 114
Copyright
© 2001 Cambridge University Press

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Footnotes

I would like to thank Professors Buford Norman and Perry Gethner for their careful readings and thoughtful comments on this article, and Susan Harvey for providing information on eighteenth-century theories of parody from her dissertation-in-progress.