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Fidelio, a "true" opera?

December 13 to 15, 2018

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Banniere Colloque © Matthieu Fappani
en

Since 2008 the symposia of the Opéra Comique have surveyed opera from various perspectives by associating several research partners. The Opéra Comique is at the center of these transdisciplinary and international working sessions. From 2018 onward, there will be two lines of research: one on the operatic company, disbanded in 1971, the other on the institution’s operatic economy, which has combined its own resources and public funding since 1762.

Création de Fidelio en version française à l'Opéra Comique en 1898 - source Gallica - BNF

Composed to a libretto from a 1798 opéra comique (Léonore ou l’Amour conjugal by Bouilly and Gaveaux), Fidelio enjoyed great success at the Opéra Comique in its French version staged by Albert Carré on the inauguration of the third Salle Favart. This closing symposium of the European project “Beethoven’s Fidelio: transfers, circulations, appropriations, 1798-XXIst century” will examine the issue of Beethoven’s operatic writing, the motives of his dramaturgy and the place of Fidelio in opera as a genre. It will also question the place occupied by Beethoven’s sole opera in the programing of opera houses and in today’s musical life.

In collaboration with Université de Versailles-Saint-Quentin-en-Yvelines and Université d’Evry-Val d’Essone (Université Paris-Saclay), the EHESS, the University of Zurich and the Beethoven Haus in Bonn, with the support of the SIERA and the Franco-German University.

 

Salle Bizet
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Emplacements

16 seats are dedicated to people with reduced mobility, on reservation at the box office or by phone. Access to the lift is located 5 rue Favart
+33 1 70 23 01 44 | accessibilite@opera-comique.com

16 seats are dedicated to people with reduced mobility, on reservation at the box office or by phone. Access to the lift is located 5 rue Favart
+33 1 70 23 01 44 | accessibilite@opera-comique.com

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