kenjari (
kenjari) wrote2025-11-08 10:51 pm
Book Review
The Cambridge Companion to Grand Opera
Edited by David Charlton
This set of essays defines grand opera as a sub-genre that flourished in France in the middle of the 19th century. These works usually had five acts, included dance, and featured a plot that involved the characters' personal lives getting swept up in big historical events. Typical grand operas include most of Meyerbeer and Auber's works, plus Rossini's William Tell. Each chapter takes on an aspect of grand opera, a specific slice of the repertoire, or grand opera's influence and legacy outside of France and on later composers.
One of the things I liked best about this book is the way the specificity of its definition of grand opera allowed it to cover a wide range of topics. I especially enjoyed the first section, which delved into how grand opera was put together and produced and the ways it interacted with the state and literature. I also enjoyed the exploration of grand opera outside of France. I would have liked a chapter or two that examined the state of grand opera in the late 20th century and how more recent operas have interacted with its legacy.
Edited by David Charlton
This set of essays defines grand opera as a sub-genre that flourished in France in the middle of the 19th century. These works usually had five acts, included dance, and featured a plot that involved the characters' personal lives getting swept up in big historical events. Typical grand operas include most of Meyerbeer and Auber's works, plus Rossini's William Tell. Each chapter takes on an aspect of grand opera, a specific slice of the repertoire, or grand opera's influence and legacy outside of France and on later composers.
One of the things I liked best about this book is the way the specificity of its definition of grand opera allowed it to cover a wide range of topics. I especially enjoyed the first section, which delved into how grand opera was put together and produced and the ways it interacted with the state and literature. I also enjoyed the exploration of grand opera outside of France. I would have liked a chapter or two that examined the state of grand opera in the late 20th century and how more recent operas have interacted with its legacy.



