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M. E. Cortizo, M. Niccolai (eds.) 576 p., 25 b/w ill. Brepols, 2021. Languages: English, Spanish, French. Hardback - This volume explores the different minor forms of musical theatre in the 18th and 19th century. This volume addresses the complex variety of stage works with sung and spoken sections, such as «vaudeville», «singspiel», «opéra-comique», «zarzuela» or «operetta» in different European countries from the eighteenth century to the beginning of the Twenties. Beyond a multifaceted perspective, twenty-one essays investigate the nature of these musical theatre forms, attending their origins, literary sources, relationships, vocality or cultural transfers, features that in some cases have made them become a mass phenomenon. The dissemination and adaptation of these genres through different national contexts, confirms the significance of the long-standing relationship between them and the contemporary dramatical and musical repertoire, revealing significant synergies, always conditioned by the market evolution. María Encina Cortizo is Professor of Musicology at the University of Oviedo (Spain), coordinating the Erasmus Research Group. Her main field of research is zarzuela and Spanish opera in the nineteenth and the early twentieth centuries. Michela Niccolai is a Lecturer at the Université Sorbonne Nouvelle in Paris and research associate at Laboratoire de Musicologie (ULB, Bruxelles) and at IHRIM (Université Lyon 2). Her research interests include the cabaret-shadow theatre and music-hall in French music production, opera staging, and music and politics in Third Republic France and in Fascist Italy. Table of Contents María Encina Cortizo Michela Niccolai Preface VAUDEVILLE and OPÉRA-COMIQUE Danielle L. Herrington Sensibilité, Self-Sacrifice, and the Sentimental: Examining Jacques-Marie Boutet de Monvel and Nicolas Dalayrac s Ideological Diversion Philippe et Georgette (1791) at the Salle Favart Bertrand Porot «Un petit récitatif sans accompagnement»: les vaudevilles à l opéra-comique, nouvelles perspectives Roberto Scoccimarro L opéra-comique come creazione collettiva: La Prisonnière (1799),Bayard à Mézières (1814), La Marquise de Brinvilliers (1831) William Osmond «En Hollandais, s il vous plaît!»: Singing and Reciting French comédie-vaudeville in Amsterdam (1830s) SINGSPIEL and Operetta Andrea Horz Johann Adam Hiller s Lottchen am Hofe: Contextualising Singspiel in French Traditions Marijana Kokanovic Markovic Lada Durakovic The Place and Significance of the Opera Kuku ka (Tatjana) in Franz Lehár s Opus Angeliki Kordellou The Contribution of Spiridon-Filiskos Samaras (1861-1917) to the Greek Operetta ZARZUELA and Vocality in Spain Luis Antonio González Marín ¿Actrices o cantantes? Aspectos de la vocalidad en el teatro musical de José de Nebra María Encina Cortizo The Spanish zarzuela in the 19th Century: French Patterns, Italian Harmonies and Theatrical Hispanic Tradition Ramón Sobrino The Emergence of the revista de actualidades and the sainete lírico: Main Patterns of the género chico in the teatro por horas in Spain (1868-1901) Andrea García Torres Discursos literarios sobre el género chico: funcionamiento, recepción y controversias ideológicas entre el contexto local e internacional Zoila Martínez Beltrán The Music of Spain (1918) by Carl Van Vechten.Focusing on Spanish Coloratura Singers Portuguese Musical Theatre Catarina Ribeiro Braga The Role of Amateur Societies in the Dissemination of Operetta and Music Theatre in Portugal in the Late Nineteenth Century David Cranmer Musical Theatre in Portugal and Brazil of the Ancien régime Questions of Genre Jana Franková From a Comedy to an opéra-comique: The Clandestine Marriage (1766) by Colman and Garrick and Its Adaptations in the 18th-Century Musical Theatre Adela Presas Zarzuela y opereta: formatos dramático-musicales en un acto en la frontera crítica del siglo xviii al xix Trevor Penoyer-Kulin Opérette, opéra-comique, and the Field of Operatic Production Fran.
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