Pub Date : 2020-08-27DOI: 10.1093/oxfordhb/9780190224202.013.30
C. Newark, W. Weber
Despite increasing interest in canonic discourses in the arts, relatively little attention has been given to opera. Reasons include its close relationship with commerce and the relative fluidity of its texts. But it is also an inherently problematic sort of canon, one that evolved very differently from that of concert music: current issues include the increasing restriction of its core, even while the viable repertory is arguably broadening, and especially the fact that the most revered works are all more than a century old. The financial difficulties being experienced by opera houses around the world, even some of the most famous, seem connected to these issues. This introduction explores some of the different meanings of operatic canonicity and the associated terminology, the methods by which it is determined, and, through a survey of some of the main arguments advanced in the ensuing chapters, the historical forces that shaped it.
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Pub Date : 2020-08-27DOI: 10.1093/oxfordhb/9780190224202.013.17
Kimberly White
The individual and collective contributions and professional activities of singers had a significant effect on the programming, circulation, and status of operatic works in nineteenth-century France. In the past three decades, scholars engaged in research on performers have made significant strides in revealing, on the one hand, the collaboration of singers and their contributions to the works they performed and, on the other, the structure and dynamics of the operatic marketplace. This chapter explores the various ways in which singers influenced the shape of repertory through their individual choices, the institutional structures under which they worked, and the shifting patterns and places of performance. Indeed, nostalgia for the singers who “created” a role had an important function in the canonization process: the French expression créer un rôle (“create a role”) consciously elevated this activity and imbued it with authorial force. This chapter is paired with Hilary Poriss’s “Redefining the standard: Pauline Viardot and Gluck’s Orphée.”
歌手的个人和集体贡献以及专业活动对19世纪法国歌剧作品的编排、流通和地位产生了重大影响。在过去的三十年里，从事表演者研究的学者在揭示歌手的合作及其对其所表演作品的贡献，以及歌剧市场的结构和动态方面取得了重大进展。这一章探讨了歌手通过他们的个人选择、他们工作的制度结构以及演出模式和地点的变化影响剧目形状的各种方式。事实上，对“创造”一个角色的歌手的怀念在册封的过程中起着重要的作用:法语表达cracimer un rôle(“创造一个角色”)有意识地提升了这一活动，并赋予了它作者的力量。这一章与希拉里·波里斯(hillary Poriss)的《重新定义标准:波琳·维亚多和格拉克的奥菲拉西》(Redefining the standard)相搭配。
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