Debussy and the Theatre

Portada
Cambridge University Press, 16 dic. 1982 - 383 páginas
Debussy and the Theatre means, in effect, 'Debussy and Pellias et Milisande', the only stage work Debussy chose and completed himself without a definite production in view. The opera both established Debussy's mature style and reputation in the forefront of contemporary composers and changed the course of operatic history. But Pelléas was also largely responsible for Debussy's `compulsive inachievement' in the theatre. Before it he delayed completing other works so that Albert Carré's production at the Opéra-Comique would be his theatre debut; and then its traumatic dress-rehearsal in April 19o2 left him reluctant to undergo another similar experience. This, coupled with his search for lyrical librettos or scenarios that could inspire the rhythm and colour that he regarded as vital ingredients in theatre music, resulted in a career littered with abandoned projects. The story of this most fascinating of love-hate relationships with the stage is told, as far as possible, in the composer's own words or from contemporary documents.
 

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Índice

Axël Rodrigue et Chimène and other early
13
Pelléas et Mélisande 18935 19012
48
the Poe operas Le diable dans le beffroi
102
La boîte à joujoux 1913
177
Nojali or Le palais du silence
186
Crimen amoris later Fêtes galantes 191215
206
INCIDENTAL MUSIC FOR THE THEATRE
217
The remaining incidental music 18991913 and the plays
237
INCOMPLETE AND UNSTARTED
257
IN PERSPECTIVE
279
Appendix Chronological catalogue of theatre works
302
Select bibliography
330
Notes
347
Index of Debussys works
372
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