Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 26 June 2019

Abstract and Keywords

The subject of opera audiences as a field of study emerged in the 1990s, in the wake of the “cultural turn” of the previous two decades. This essay surveys the history of the opera audience as it moved from court to urban settings in the seventeenth century; as it reflected the transition from “event” to “work” aesthetic in the eighteenth and nineteenth centuries; and as it came to represent an urban class structure as well as the interests of special groups such as women and opera queens. The chapter concludes with a case study using staged depictions of French opera audiences c.1700 in the comedy-ballet, opera, and opera-ballet of Lully, Molière, and Campra, and in the paintings of Watteau as models for an audience-centered, as opposed to a sovereign-centered, aesthetic and ideology.

Keywords: opera, audience, event aesthetic, audience-centered, Molière, Lully, Campra, comedy-ballet, opera-ballet, Watteau

Access to the complete content on Oxford Handbooks Online requires a subscription or purchase. Public users are able to search the site and view the abstracts and keywords for each book and chapter without a subscription.

Please subscribe or login to access full text content.

If you have purchased a print title that contains an access token, please see the token for information about how to register your code.

For questions on access or troubleshooting, please check our FAQs, and if you can''t find the answer there, please contact us.