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Dance and Drama in French Baroque Opera
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    2019. List of Books Received as of 1 August 2018. Theatre Survey, Vol. 60, Issue. 1, p. 169.

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Book description

Since its inception, French opera has embraced dance, yet all too often operatic dancing is treated as mere decoration. Dance and Drama in French Baroque Opera exposes the multiple and meaningful roles that dance has played, starting from Jean-Baptiste Lully's first opera in 1672. It counters prevailing notions in operatic historiography that dance was parenthetical and presents compelling evidence that the divertissement - present in every act of every opera - is essential to understanding the work. The book considers the operas of Lully - his lighter works as well as his tragedies - and the 46-year period between the death of Lully and the arrival of Rameau, when influences from the commedia dell'arte and other theatres began to inflect French operatic practices. It explores the intersections of musical, textual, choreographic and staging practices at a complex institution - the Académie Royale de Musique - which upheld as a fundamental aesthetic principle the integration of dance into opera.


'An indispensable resource for those reconstructing this repertoire for the stage, Harris-Warrick’s book also offers much of interest to scholars in many subspecialties of early modern European history who are willing to do the work of connecting her impressive study to the world beyond the stage.'

Chantal Frankenbach Source: Notes

'Harris-Warrick, a leading scholar of the music of the French baroque, demonstrates an encyclopaedic command of the vast repertoire of the Académie Royale de Musique, drawing on the libretti and scores of well over 100 operas and related genres, including the opéra-ballet, the pastorale héroïque and the little-studied genre of ‘fragments’. … Dance and Drama in French Baroque Opera: A History constitutes a seminal contribution to the field of scholarship in French baroque opera and dance. More than a history, this is a handbook for scholars and performers alike in comprehending the complex thought and dynamic visions that informed seventeenth- and eighteenth-century French opera.'

Natasha Roule Source: Cambridge Opera Journal

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Individual scores and librettos, whether from the seventeenth and eighteenth centuries or in modern editions, are mentioned in the relevant chapters. Three important collected series were consulted.

Lully, Jean-Baptiste. Œuvres complètes. General editor Prunières, Henry. Paris: Éditions de la Revue Musicale, 1930–39. Rpt. New York: Broude Brothers, 1966. Three of the ten volumes include operas: Cadmus et Hermione, Alceste, Amadis.
Lully, Jean-Baptiste. Œuvres complètes. General editors de La Gorce, Jérôme and Schneider, Herbert. Hildesheim: Olms, 2001

  • Series i (Ballets et mascarades), vi: Ballet des Saisons, Les Amours déguisez, Ballet royal de Flore (2001)

  • Series ii (Comédies-ballets et autres divertissements), iv: Monsieur de Pourceaugnac, Le Bourgeois Gentilhomme (2006); vi: Psyché (2007)

  • Series iii (Opéras), iv: Thésée (2010); vi: Isis (2014); xiv: Armide (2003).

Recueil général des opéra représentés par l’Académie Royale de Musique depuis son établissement. 16 vols. Paris: Ballard, 1703–1746. Rpt. Geneva: Slatkine, 1971. For Quinault’s librettos, see also Norman, (ed.).



Association pour un Centre de Recherche sur les Arts du Spectacle aux 17e et 18e Siècles


Cambridge Opera Journal


Early Music


Journal of the American Musicological Society


Journal of Seventeenth-Century Music (online, open access)


Music and Letters


Proceedings of the Royal Musical Association


Revue de musicologie


Recherches sur la musique française classique


Society of Dance History Scholars

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