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Fire, sacrifice, "Iphigénie"

Identifieur interne : 000247 ( PascalFrancis/Curation ); précédent : 000246; suivant : 000248

Fire, sacrifice, "Iphigénie"

Auteurs : Amy Wygant [Royaume-Uni]

Source :

RBID : Francis:08-0034087

Mots-clés :

Abstract

Gluck's "Iphigénie en Aulide" (1774), his first opera written for the French stage, never settled on an ending. In order to analyse the historical conditions of this musical reluctance, this argument reads the opera's literary source, Jean Racine's "Iphigénie", developing a three-fold link: to the fireworks that followed the first performance of Racine's tragedy in 1674 in the garden of Versailles, to the discovery in 1774 by Joseph Priestley of oxygen and related developments in the poetics of fire, and to changes in the political culture of sacrifice and so necessarily in the ends of tragedy. Racine's cosmic storm around a sacrificial pyre that auto-ignites, the self-immolation of the monarch created by the garden festival, and this opera which now ends with a chorus of soldier-workers crowned as kings all point to music's fabled ability to predict and determine the political, a danger recognized by governments from the Greek city-state to the present. In the course of a revolution that had been precisely figured in Gluck's music, Iphigénie the victim becomes the young queen who had been Gluck's singing pupil in Vienna, Marie-Antoinette.

pA  
A01 01  1    @0 0016-1128
A03   1    @0 Fr. stud.
A05       @2 60
A06       @2 3
A08 01  1  ENG  @1 Fire, sacrifice, "Iphigénie"
A11 01  1    @1 WYGANT (Amy)
A14 01      @1 University of Glasgow @3 GBR @Z 1 aut.
A20       @1 305-319
A21       @1 2006
A23 01      @0 ENG
A43 01      @1 INIST @2 23193 @5 354000142306020020
A44       @0 0000 @1 © 2008 INIST-CNRS. All rights reserved.
A47 01  1    @0 08-0034087
A60       @1 P
A61       @0 A
A64 01  1    @0 French studies
A66 01      @0 GBR
A68 01  1  FRE  @1 Feu, sacrifice, "Iphigénie"
A99       @0 ref. et notes dissem.
C01 01    ENG  @0 Gluck's "Iphigénie en Aulide" (1774), his first opera written for the French stage, never settled on an ending. In order to analyse the historical conditions of this musical reluctance, this argument reads the opera's literary source, Jean Racine's "Iphigénie", developing a three-fold link: to the fireworks that followed the first performance of Racine's tragedy in 1674 in the garden of Versailles, to the discovery in 1774 by Joseph Priestley of oxygen and related developments in the poetics of fire, and to changes in the political culture of sacrifice and so necessarily in the ends of tragedy. Racine's cosmic storm around a sacrificial pyre that auto-ignites, the self-immolation of the monarch created by the garden festival, and this opera which now ends with a chorus of soldier-workers crowned as kings all point to music's fabled ability to predict and determine the political, a danger recognized by governments from the Greek city-state to the present. In the course of a revolution that had been precisely figured in Gluck's music, Iphigénie the victim becomes the young queen who had been Gluck's singing pupil in Vienna, Marie-Antoinette.
C02 01  I    @0 523177 @1 III
C02 02  I    @0 523
C03 01  I  FRE  @0 Feu @5 01
C03 01  I  ENG  @0 Fire @5 01
C03 02  I  FRE  @0 Sacrifice @5 02
C03 02  I  ENG  @0 Sacrifice @5 02
C03 03  I  FRE  @0 Racine (J.) @2 NF @2 FA @5 03
C03 03  I  ENG  @0 Racine (J.) @2 NF @2 FA @5 03
C03 04  I  FRE  @0 Opéra @5 04
C03 04  I  ENG  @0 Opera @5 04
C03 05  I  FRE  @0 Sources @5 05
C03 05  I  ENG  @0 Sources @5 05
C03 06  I  FRE  @0 Tragédie @5 06
C03 06  I  ENG  @0 Tragedy @5 06
C03 07  I  FRE  @0 Mythologie classique @5 07
C03 07  I  ENG  @0 Classical mythology @5 07
C03 08  I  FRE  @0 Siècle 17-18 @2 ND @5 08
C03 08  I  ENG  @0 Century 17-18 @2 ND @5 08
N21       @1 052

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Francis:08-0034087

Le document en format XML

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