Hervé Lacombe, ed., Histoire de l'opéra français: Du Consulat aux débuts de la IIIe République (Paris: Fayard, 2020). 1,258 pp. €39.00.

Abstract

explore the genre, master appropriate pronunciation of the poetic texts, and become more confident interpreters. His advocacy of lesser-known literature and composers, as well as his blend of erudition, excitement, and technique, are sure to be emulated by emerging artists. Indeed, scholars are apt to find hints here to stimulate new research. Yet certain aspects of formatting and content attract attention. For instance, copyright notices appear for no apparent reason at the starts of all 33 chapters, plus the Introduction, as well as that normally found in the front matter. Misalignments within texts and translations make close study awkward at times. Finally, some terminological imprecisions remain without acknowledgement. Nevertheless, this volume offers such a cordial entrée to its subject for those curious about mélodies that these quibbles are, in the main, relatively minor. Perhaps the signal achievement of Le Chant Intime is its engaging illumination of a rich repertoire some still regard as inscrutable or exclusive. Yet as the genre continues to be studied more closely, it appears to represent a more important factor behind the evolution of nineteenth-century musical culture than many had thought. Indeed, close contextual study of the literature suggests themélodie served as a conduit and disseminator for the Symbolist aesthetic, which, in turn, prompted the emergence of Modernism in late-nineteenth-century France. Conceptual reconciliation might start here.