A further principie I follow is to apply the terms «canon» and, even better, «canonic repertoire» rather than «classics» or «classical music», which are burdened with aesthetic implications particular to post-Romantic viewpoints. Artistic survival implies respect, a certain deference which can take many forms, not necessarily expressed in aesthetic form. They argued that as an artifact becomes anachronistic and goes out of use it nonetheless can survive in latent form within memory and then return actively at a later stage. I see this phenomenon through the concept of «survival» developed by the art historians Aby Warburg and Georges Didi-Huberman 1.
Nonetheless, resistance to that process takes place when old works remain on stage and thereby obtain a status most appropriately called «canonic». Warburg and the exorcism of impure time», i (.)ģ Almost every opera repertoire goes through cycles by which new works replace old ones. 1 Georges Didi-Huberman, «Artistic survival: Panofsky vs.Indeed, the narrative of opera repertoires in the nineteenth century fits closely into the broad narrative of French politics. Let me note however that the theater focused on a national genre kept music of the past on stage more fully than the theater linked with changing cosmopolitan taste. I do not have the space here to inquire into the political aspects of this history. But a substantial old repertoire maintained itself at the Opéra-Comique - a dozen works written between 17 chiefly by Pierre-Alexandre Monsigny, André-Ernest-Modeste Grétry, and Nicholas-Marie Dalayrac.
The repertoire in both theaters went in similar directions in general: in the late 1820s through the 1840s a large number of old works were replaced by new ones, which remained in performance for most of the century. No other country experienced such wide-ranging leadership in developing operatic canon.Ģ In this paper we will trace how canonic repertories evolved at the Opéra and the Opéra-Comique between 18. And, in its brief tenure between 18, the Théâtre-Lyrique developed an imaginative canonic repertory which remained a model after its time. A repertoire in grand opera evolved at the Académie royale de musique from 1828 which came to dominate European theaters for the rest of the century. The Opéra-Comique maintained an old repertoire throughout most of the 19 th century and a parallel canon evolved at the Théâtre-Italien. The disputes about his music and that of Jean-Philippe Rameau and Christoph Willibald Gluck laid the foundations for aesthetic discussions about opera as canon in Europe as a whole. For a hundred years the continuing performance of operas by Jean-Baptiste Lully had only limited parallels in Europe. 1 French opera was a leader in the formation of performing canons in the opera world during the eighteenth and nineteenth centuries.
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