Abstract and Keywords
Recent studies have considered piano-vocal arrangements and two-hand versions of opera an important part of their reception, focusing on and rightly stressing their importance for domestic consumption. This chapter considers the importance of individual published numbers used for the purposes of rehearsal. For opéra comique, this was largely unproblematic since published vocal extracts largely included all the music, with the rest recoverable from the printed libretto. The case of grand opéra was much less clear since published extracts frequently excluded recitatives that could involve some of the most taxing moments in the work. The issues are clarified by an examination of surviving volumes, with a case study based around Halévy’s La juive (1835) and Charles VI (1843), and Flotow’s L’âme en peine (1846), as rehearsed by the artist who took the roles of Eudoxie, Isabelle de Bavière, and Paola sometime in the late 1840s or early 1850s.
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