During the reign of Tsar Alexander 11 an operetta appeared on the Russian stage and became very popular. On 9 April 1866, Offenbach's La belle Helene was performed at the Imperial Mikhailovsky Theatre.

The work aims at investigating the presence of Plato in Giacomo Leopardi’s works, in order to understand the influence of the philosopher’s dialogues on the genesis of the “Operette morali”. While maintaining the focus on the “Operette”, however, the research also explores many other areas of Leopardi’s production, in order to offer the widest and most exhaustive overview of the different sources and filters through which Leopardi became acquainted with Plato’s doctrines, even before reading his dialogues comprehensively. The first section explores the reception of Plato in Italy before Leopardi, by examining the attempts at translating his works and the various interpretations of his dialogues proposed throughout the eighteenth century up to the first decade of the nineteenth century. If placed in this context, the failure of Leopardi’s project to translate all of Plato’s dialogues, as proposed by the publisher De Romanis, can no longer be interpreted just as the result of a private matter, but also as a stage in a historical path that has never been outlined in its entirety until now. The rest of the work, articulated in other three sections, is entirely dedicated to Giacomo Leopardi’s work.Firstly, the thesis focuses on Leopardi’s earliest production, mapping the occurrences of the name “Plato”, as well as all the quotes either related to the philosopher or taken from his dialogues, in Leopardi’s “Puerilia” (1809-1810), “Dissertazioni filosofiche” (1811-1812), “Dialogo filosofico” (1812), “Storia dell’Astronomia” (1813) and, finally, in his “Saggio sopra errori popolari degli antichi” (1815). Research shows that Leopardi had been reading Ficino’s edition of Plato’s complete works (Lugduni, 1590) (which was present in the family library) since writing the first drafts of his erudite writings; therefore, Leopardi’s direct knowledge of Plato’s texts, even if partial, must be backdated compared to what has been noted so far. Furthermore, extending the research on Leopardi’s knowledge of Plato not only to his first stay in Rome but also to the following years confirms that it’s not possible to have Leopardi’s Plato coincide with Ast’s Plato: there is evidence of the fact that Leopardi knew and had read or consulted several other editions of Plato’s dialogues and that therefore his knowledge of the philosopher was quite extensive, although conditioned by different interpretative perspectives. The research then focuses on the “Zibaldone” and on the “Operette” in order to reconstruct the profile of Leopardi’s Plato, as it emerges from the “scartafaccio”, as well as the methods of re-elaboration of the dialogues found within Leopardi’s moral book. The last two chapters of the thesis are dedicated to the latter objective. Starting from an analysis of the genesis of only two operettas, the “Elogio degli uccelli “ and the “Dialogo di Plotino e di Porfirio”, the aim is to demonstrate how the “Plato function” is expressed not only through form, as critics have long believed, but also in terms of philosophical elaboration. This study ultimately proves that Plato, acting both as a model and an anti-model for the “Operette morali”, had a profound effect on the genesis of this book which, according to Leopardi’s own declaration, was intended to be “entirely philosophical and metaphysical”.

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Thesis (docteur ès lettres)--Faculté de lettres et sciences humaines de l'Université de Neuchâtel. / Includes bibliographical references (p. 297-321).

Thesis (docteur ès lettres)--Faculté de lettres et sciences humaines de l'Université de Neuchâtel. / Includes bibliographical references (p. 297-321).

Die 1778 gedruckte Operette "Die kleine Aehrenleserinn" von Johann Adam Hiller bildete bei einem Instrumentationprojekt an der Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig die Vorlage. Exemplarisch wird von den bei dem Projekt gemachten praktischen und ästhetischen Erfahrungen berichtet.

Sans limiter notre propos aux seules voix masculines aiguës, il s'agit ici de refléter l'importance historique de l'évolution de la voix de ténor dans les mutations du goût et de la vocalité lyrique en France au cours du deuxième tiers du XIXe siècle. Aborder l'opéra, l'opéra-comique et les morceaux de salon via leurs interprètes permet d'insister sur la dimension théâtrale, vocale et oratoire de ces genres. En vue de définir les caractéristiques techniques du chant français, la thèse exploite largement les jugements portés par les artistes entre eux. Ces jugements sont notamment livrés par les méthodes et les mémoires imprimées, les archives du Conservatoire et les correspondances. Pour envisager les conditions pratiques des exécutions vocales, nous avons procédé à une étude des situations, des contraintes et des attentes des chanteurs comme des auditeurs, en fonction des lieux et des répertoires abordés. Afin de mieux appréhender les qualificatifs employés par les musicographes rendant compte des prestations publiques, on a mis en relation le lexique des traités avec les premiers enregistrements sonores. La meilleure connaissance des codes de la tradition permet en outre d'envisager avec une pertinence accrue la cohérence des divers paramètres concourant à la juste interprétation scénique et musicale. La réinvention d'après les sources d'un savoir-faire répond d'ailleurs à une attente croissante des programmateurs et des interprètes pour renouveler leur approche d'un répertoire ou redécouvrir une part du romantisme français oublié (www.lesfrivolitesparisiennes.com). / Looking at opera, opéra-comique and salon music through the eyes of the first performers stresses the histrionic and vocal dimension of their art. Thus, this dissertation drives from the mutual appraisals of artists, which can be found in treaties, memoirs, archives of the Paris Conservatoire, letters, etc. The vocabulary used to describe singing in the 19th-century has been linked to 78rpm records and cylinder recordings. The relative focus on high-pitched male voices is only relevant because changes in the general taste for opera voices were mainly triggered by leading tenors during the romantic era. The impact of various locations and repertory on the audience's expectations was studied in order to define the aesthetic and social frame of vocal performance. Reinventing the practical know-how from the sources actually meets the growing expectations of both schedulers and singers who want to renew the approach of the so-called "romantic" French repertory - which currently goes widely unknown and unsung. A better understanding of tradition allows for more consistent historically informed performances (www.lesfrivolitesparisiennes.com).

Die 1778 gedruckte Operette "Die kleine Aehrenleserinn" von Johann Adam Hiller bildete bei einem Instrumentationprojekt an der Hochschule für Musik und Theater "Felix Mendelssohn Bartholdy" Leipzig die Vorlage. Exemplarisch wird von den bei dem Projekt gemachten praktischen und ästhetischen Erfahrungen berichtet.