Le théâtre musical léger en Europe: de l'opérette au music-hall

Programme

Keynotes

Olivier Bara – La revue de fin d’année au XIX^e siècle : « chambre d’écho » de la culture musicale française et européenne

Michela Niccolai – Portraits de femmes « exotiques » dans le café-chantant et dans l’opérette italiens (1910-1940 environ)

Entertainment System in the European Countries: United Kingdom

William A. Everett – Sidney Jones’s «A Greek Slave» (1898): Antiquity, Gender, and Class in Late Victorian Musical Theatre

Mark Pinner – Exoticism, Farce and Melodrama: Luscombe Searelle’s «Estrella», a Comic Opera in Three Acts

Sonja Jüschke – Stanford’s «Shamus O’Brien». «A Romantic Comic Opera»?

The Genres of the théâtre musical léger

Alessandro Maras – La « revue de fin d’année », entre divertissement et avant-garde : le cas Apollinaire

Richard Sherr – The Music of the «revue de l’année 1858» at the Théâtre des Variétés: A Preliminary Evaluation

Catrina Flint de Médicis – The Voice from Without: Musical Puppets at the «Petit-Théâtre de la Marionnette» (1888-94)

Sylvain Samson – De l’affiche à l’artiste : figures, répertoire et performances musicales dans le Music-Hall

Entertainment System in the European Countries: Spain

José-Ignacio Suárez García – Spanish Parodies about Wagner’s «Lohengrin»

Clair Rowden – Parodying Opera in Paris: «Tannhäuser» on the Popular Stage, 1861

Mario Lerena – Exoticism and Censorship in Post- War Spain: «Luna de miel en El Cairo» (1943), Operetta by ‘Maestro’ Alonso and José Muñoz Román

Irene Gallego – « Du camp au patrimoine ». Les transformations d’un regard savant sur le music-hall à Barcelone

The Composers of the théâtre musical léger

Christopher Scheer – A Statutory Creation? «The Grand Duke» and Intertextuality in the Performance of the Savoy Operas

Benedict Taylor – Musical Design and Dramaturgy in Sullivan’s Comic Operas

Stephanie Schroedter – Dance in Jacques Offenbach’s «Théâtre musical léger». Between Dance Imagination, Improvisation and Choreography

Jacek Blaszkiewicz – Street Cries on the Operetta Stage: Offenbach’s «Mesdames de la Halle»

Matthieu Cailliez – L’influence de l’opéra- comique de la première moitié du XIXe siècle sur l’esthétique et la production lyrique d’Offenbach

Operetta: Reception and Assimilation

Giovanni Recupido – Aspetti e ricezione del Jazz nell’operetta italiana: «Un signore senza pace» di Dino Rulli

Valeria De Lucca – Lehar’s «Die lustige Witwe»: Italian Reception and Assimilation

Maria José Artiaga – Trindade’s Theatre as a Battleground for Local Visions of Modernity

Michael Bisswanger – «Wiener Volkstheater» and Vienna Operetta in the Time between 1860 and 1880: Interactions and Convergences Quoting the Composers Franz von Suppé and Carl Millöcker as Examples

Andrea G. Torres – From Vienna to Madrid, Touring Italy and France: The Spanish Reception of Franz von Suppé during the First Alfonsine Restoration Monarchy (1874-1910)

Twentieth-Century Operetta

Lada Duraković – L’operetta nella società socialista: l’esperienza del teatro nazionale di Pola (1949-1957)

Miriam Hasikova – Operetta as the Source of Commerce and the New Form of Art in Regional Theatre Olomouc in Interwar Period

Naomi Matsumoto – Giovanni Vittorio Rosi’s Floating World: Opera, Operetta, and the Westernization of Modern Japan

Walter Kurt Kreyszig – Schönberg’s Reception of the Operetta as Pivotal for the Expansion of the Mandate of the «Verein für Musikalische Privataufführungen»: The «Rosen aus dem Süden», Op. 388 and «Lagunen-Walzer», Op. 411 of Johann Strauss Jr. in Arrangements for Chamber Ensemble by Arnold Schönberg

Operetta: Exoticism, Antiquity and Repertoire

Geraldine Power – Exotic Spain on the Parisian Popular Stage, 1889-1912

Manolis Seiragakis et Evi Nikita – Antiquity in French and Greek Operetta

Georgia Kondyli – Les troupes d’opérette à Smyrne entre la fin du XIX^e siècle et le début du XX^e

Programme