In the house of disillusion: Augusta Holmès and La Montagne noire

Cambridge Opera Journal

Volumn 9, Issue 3, 1997, Pages 233-262

  Henson, Karen ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63849135650     PISSN: 09545867     EISSN: 14740621     Source Type: Journal    
DOI: 10.1017/s095458670000481x     Document Type: Article

References (30)

1. and Showalter, 'Towards a Feminist Poetics', in her edited volume, The New Feminist Criticism: Essays on Women, Literature and Theory (London, 1986), 125-43.
2. Susan McClary's Feminine Endings: Music, Gender, and Sexuality (Minneapolis, 1991) has most influenced the development of a feminist criticism that dwells mainly on the level of text and, in particular, on generic deviations within it.
3. see also Michel Poizat, The Angel's Cry: Beyond the Pleasure Principle in Opera, trans. Arthur Denner (Ithaca, 1992).
4. McClary, Feminine Endings, 114-15.
5. See especially Carolyn Heilbrun, Writing a Woman's Life (New York, 1988);
6. Estelle C. Jelinek, ed., Women's Autobiography: Essays in Criticism (Bloomington and Indianapolis, 1980);
7. Sidonie Smith, A Poetics of Women's Autobiography: Marginality and the Fictions of Self-Representation (Bloomington and Indianapolis, 1987);
8. and Marina Warner, Monuments and Maidens: The Allegory of the Female Form (New York, 1985).
9. For a similar tendency in the reception of women musicians, see Mary Ann Smart, 'The Lost Voice of Rosine Stoltz', this journal, 6 (1994), 31-50;
10. Jeanice Brooks, 'Noble et grande servante de la musique: Telling the Story of Nadia Boulanger's Conducting Career', Journal of Musicology, 14 (1996), 92-116;
11. and Annegret Fauser, 'Lili Boulanger's La Princesse Maleine: A Composer and her Heroine as Literary Icons', Journal of the Royal Musical Association, 122 (1997), 68-108.
12. Hugh Macdonald, 'Augusta Holmès', in The New Grove Dictionary of Women Composers, ed. Julie Anne Sadie and Rhian Samuel (London, 1994), 223-4, here 223.
13. Maurice Agulhon's Marianne au combat: l'imagerie et la symbolique républicaines de 1789 à 1880 (Paris, 1979)
14. The most complete worklist for Holmès is in Gérard Gefen, Augusta Holmès: l'outrancière (Paris, 1987), 251-63;
15. on the revival of French symphonic writing in this period, see Brian Hart, 'The Symphony in Theory and Practice in France, 1900-1914', Ph.D. diss. (University of Indiana, 1994),
16. and Ralph P. Locke, 'The French Symphony: David, Gounod, and Bizet to Saint-Saëns, Franck, and Their Followers', in The Nineteenth-Century French Symphony, ed. D. Kern Holoman (New York, 1997), 163-94.
17. See Pierre, Musique exécutée aux fêtes nationales de la révolution française (Paris, 1893),
18. Musique des fêtes et cérémonies de la révolution française (Paris, 1899)
19. and Tiersot, Les Fêtes et les chants de la révolution française (Paris, 1908).
20. For the revolutionary spectacle in general, see Mona Ozouf, La Fête révolutionnaire 1789-1799 (Paris, 1976).
21. See Jovan R. Bojović's introduction to his edited volume Le Monténégro dans les relations internationales (Titograd [Podgorica], 1984), 7-13.
22. a number of articles demanded Turkey's execution of the orders given by the major European powers at the Congress of Berlin (Bojović, Le Monténégro, 109-44).
23. See James Parakilas, 'The Soldier and the Exotic: Operatic Variations on a Theme of Racial Encounter', Opera Quarterly, 10/2 (1993-4), 33-56 and 10/3 (1994), 43-69.
24. At the close of both numbers the two men swear their devotion at the upper - and vulnerable - end of the tenor range. See Susan McClary, Georges Bizet: 'Carmen' (Cambridge, 1992), 97-8,
25. and Ralph P. Locke, 'Constructing the Oriental "Other": Saint-Saëns's Samson et Dalila', this journal, 3 (1991), 261-302, here 295.
26. See Karen Offen, 'Depopulation, Nationalism and Feminism in fin-de-siècle France', American Historical Review, 89 (1984), 648-76,
27. and Deborah Silverman, 'The "New Woman", Feminism and the Decorative Arts in fin-de-siècle France', in Eroticism and the Body Politic, ed. Lynn Hunt (Baltimore, 1991), 144-63.
28. See, for example, Arthur Pougin, Rameau: Essai sur sa vie et ses œuvres (Paris, 1876).
29. Le Journal des débats, 16 February 1895.
30. La Montagne was last staged on 26 April 1895.