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Genre lyrique espagnol né au XVIIe siècle, la zarzuela connait un nouvel essor à partir de 1849. En effet, une génération de compositeurs souhaite lui donner une dimension nationale. Il s’agit principalement de Francisco Asenjo Barbieri, Joaquín Gaztambide, Cristóbal Oudrid, Rafael Hernando, José Inzenga et, dans une certaine mesure, Emilio Arrieta. Cette thèse étudie la manière dont musiciens et librettistes ont construit ce répertoire qui, paradoxalement, s’il se veut espagnol, est en certains points inspiré de la scène lyrique française et plus particulièrement de l’opéra-comique. Le transfert s’opère à travers la dimension littéraire, musicale, humaine, mais aussi culturelle. C’est donc la question des influences, de ses modalités et de ses enjeux, qui fait l’objet d’une réflexion et qui est illustrée par des correspondances entre des oeuvres emblématiques de part et d’autre de la frontière / Zarzuela is a Spanish lyrical genre which was born in the 17th century and experienced a revival from 1849 on; Indeed, a generation of composers wished to give it a national dimension. The most important ones are Francisco Asenjo Barbieri, Joaquín Gaztambide, Cristóbal Oudrid, Rafael Hernando, José Inzenga and to a certain extent Emilio Arrieta; This dissertation analyses the way some musicians and authors constructed the repertoire which, paradoxically, even though it was supposed to be Spanish, was, in certain ways, inspired by the French lyrical stage and more particularly by comic opera. The transfer occurs through the literary, musical, human and even cultural dimensions. Consequently, what is discussed here is the issue of influences, their characteristics and challenges as the basis for a thorough analysis illustrated by the links between emblematic works on the two sides of the boarder

The significance of this opera, Le Devin du Village, lies not in the fact that it is great music, but in the fact of its historical importance. Its appearance in 1752, with its revolutionary ideas, heralds the coming of what we consider today as native French comic opera; i. e., native in the sense that it is composed by Frenchmen, although adapted from the Italian style in many respects. Another claim of uniqueness that might be made for this work is that its composer was no recognized musician, but one of the greatest pre-Revolution philosophers. His open-minded ness and eagerness to break loose the bonds of the traditional French "Chauvinism" and musical isolationism, brought forth this musical effort on his part, clothed in native atmosphere, yet embodying the spirit of Italian music. From the private library of Isaac Lloyd Hibberd, the writer was fortunate in having access to a first edition of Le Devin du Village, which has added greatly to an appreciable understanding of the music of this work.

La pratique des interprètes de Berlioz qui créèrent Benvenuto Cellini, La Damnation de Faust et Béatrice et Bénédict gagne à être mieux connue : ils observaient d’autres traditions que les nôtres, et saisir leurs usages et leur contexte artistique offre un autre regard sur les œuvres. La présente thèse examine le cadre de travail de ces artistes, c’est-à-dire leurs formations, leurs carrières, le déroulement des répétitions d’une œuvre et les corps de métier convoqués, mais aussi les écoles de jeu, de chant, et les étapes de préparation d’un rôle. Ces artistes seront aussi présentés, en particulier ceux qui jouèrent dans les scènes comiques des œuvres concernées. Les derniers chapitres, qui explorent la manière dont les œuvres du corpus furent interprétées sur les scènes de l’Opéra et du théâtre de Bade, ainsi qu’à l’Opéra-Comique et au théâtre de Weimar, mêlent l’ensemble de ces sources et croisent aspect scéniques et musicaux. / The practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements.

À la fin du XVIIIe siècle, dans la vie musicale en Russie on constate un phénomène intéressant : l’essor du genre de l’opéra-comique français. En effet, pendant le dernier quart du XVIIIe siècle, ce genre est très présent sur certaines scènes–du théâtre populaire jusqu’au théâtre impérial. Ainsi, d’après différentes sources, entre 1764 et 1800 de nombreuses œuvres de compositeurs français, notamment celles de Duni, Dalayrac, Monsigny, Dezède, Philidor et Grétry y connaissent le succès. Pour quelle raison ce nouveau genre devient-il tellement populaire en Russie à cette époque ? Quellesprémisses socio-culturelles suscitent l’intérêt du public d’un pays profondément féodal pour les idées des Lumières ; idées qui aboutissent à la représentation réaliste de sentiments forts, voire des souffrances du peuple dans le nouveau genre ?La présence constante des œuvres françaises sur les scènes de Russie prédétermine l’émergence des premiers opéras-comiques russes. Bien qu’ils n’échappent pas à l’influence de l’opera buffa italien, joué abondamment sur les scènes russes, ces premiers opéras-comiques nationaux mettent en évidence des traits spécifiquement français, empruntés par certains compositeurs russes. Sans oublier pour autant l’influence italienne, il paraît important d’étudier le rôle déterminant de l’opéra-comique français, pris comme modèle par des compositeurs tels Pachkevitch, Fomine et Sokolovsky. Il s’agitdonc de se demander : comment ces compositeurs utilisent le modèle français et l’adaptent aux conditions et à la mentalité de leur pays ? Dans cette perspective, outre l’observation des conditions historiques et socio-culturelles présidant à l’apparition du nouveau genre en Russie au XVIIIe siècle, on procèdera à une comparaison des plus remarquables des opéras-comiques russes avec leurs prédécesseurs français, aux niveaux formel, musical et poétique. / In the late 18th century there was an interesting phenomenon in the musical life in Russia : the rise of the genre of the French comic opera. Indeed, during the last quarter of the 18th century this kind of opera invaded theatrical scenes–from the popular theatre to the imperial court. Thus, according to different sources, between 1764 and 1800, approximately 100 opéras-comiques written by French composers, notably those by Duni, Grétry, Dalayrac, Monsigny, Dezède, Philidor were successfully represented there. Why did this new genre become so popular in Russia at this time? What sociocultural premises aroused the public interest of a deeply feudal country for Enlightenment ideas; ideas that led to the realistic representation of strong feelings, even sufferings of the third estate?The constant presence of French works on Russian stages predetermined the emergence of the first Russian comic operas. Although they did not escape the Italian opera buffa influence, played extensively on Russian stages, these first national comic operas highlighted specific French features, borrowed by some Russian composers. Without forgetting the Italian influence, it seems important to us to study the determining role of the French comic opera, taken as a model by composers such as Pashkevich, Fomin and Sokolovsky. So, it will be asked : how did these composers use the Frenchmodel and adapt it to the conditions and mentality of their country? In addition to the historical and socio-cultural conditions observing, who governed the new opera genre emergence in the eighteenth century Russia, we will compare the most remarkable Russian comic operas with their French predecessors at the formal, musical and poetic levels.

The first opera by Bohuslav Martinů (from the total of 16) named Voják a tanečnice (The Soldier and the Dancer), H. 162 was created in the initial years of Martinů's stay in Paris (1926-1927), when the effort to reflect different contemporary music trends and influences can be traced in his compositions. Voják a tanečnice is an original example of absorbing such influences on the background of the three-act comic opera. Together with the librettist, Jan Löwenbach, they tried to create a "new opera buffa", which was however not understood by the contemporary reviewers. The opera was first performed in Brno in 1928. The frequency of the first performances of Martinů's stage works in the National Theatre in Brno indicates that the first performance of his first opera was not a coincidence but a part of targeted dramaturgy at the Brno stage. The opera follows both the tradition of an opera and tendencies in art of the 1920's, e. g. playing with humour in music, the epic theatre inspirations or using ancient theme. Powered by TCPDF (www.tcpdf.org)

Cette thèse porte sur la carrière musicale de Joseph Kohaut (1734–1777), l’un des derniers luthistes dans l’Europe des Lumières. Appartenant à la deuxième génération des musiciens originaires des pays de la couronne de Bohême, ce luthiste, né à Vienne et décédé à Paris, représente un cas intéressant de la migration des musiciens au XVIIIe siècle. L’étude se consacre à la présentation des origines et de la famille proche du musicien (son père Jacob Joseph Kohaut et son frère aîné Karl Kohaut), ainsi qu’à la carrière musicale du luthiste proprement dite. Le patronage aristocratique s’y révèle le moteur principal aussi pour son œuvre, y compris ses opéras comiques qui contribuèrent à la notoriété de Kohaut également en déhors de la France. Enfin, cette étude traite les œuvres des deux frères Kohaut en s’intéressant aux attributions douteuses et propose un catalogue thématique du corpus entier indexant toutes les sources connues. / This thesis focuses on the musical career of Joseph Kohaut (1734–1777), one of the last known lute players in Europe of the Enlightenment. Belonging to the second generation of the musicians originated from the Czech lands, this lutenist, born in Vienna and dead in Paris, represents an interesting case of the migration of musicians in the 18th century Europe. After having examinated the origines of the musician and his close family (his father Jacob Joseph Kohaut and his older brother Karl Kohaut), the study analyses his own musical career. The aristocratic patronage becomes apparent as an important reason for his musical production, including his comic operas that made him famous also outside France. Finally, this study addresses the compositions of both brothers Kohaut, taking interest in problematic attributions, and offers a thematic catalogue of all works registering their all known sources.

This paper examines the expansive history of literary tomboys in the century preceding Louisa May Alcott's Little Women (1868). Applying concepts from gender performativity theory, it explores earlier and previously overlooked portrayals of tomboys (or, alternatively, "hoydens" or "romps"), especially in Richard Brinsley Sheridan's A Trip to Scarborough (1777), Isaac Bickerstaffe's The Romp; A Comic Opera in Two Acts (1786), Mary Wollstonecraft's A Vindication of the Rights of Woman (1792), Jane Austen's Northanger Abbey (1817), and E.D.E.N. Southworth's The Hidden Hand (1859). Because the tomboy phenomenon emphasizes that gender roles must be learned and can be resisted, tomboy characters are implicitly making a feminist point. As such, in the gap between Austen and Southworth, texts with minor and derogatory mentions of tomboys connect tomboyism with the prevailing anti-feminism of the early nineteenth century. By examining the developmental arc of tomboyism throughout literature and culture, this essay develops a greater understanding of how tomboyism fits within different historical periods and was a fully recognizable type in Britain and America decades before Alcott's Jo March supposedly normalized it in popular culture.