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Association Française pour le Rayonnement du Théâtre du Château de Drottningholm

Musical studies Des Orages

2000 Naumann

Poetry, declamation & music

2002 Dubos

2002 Raparlier   

2001 Bacilly

Poésie, musique & mise au théâtre

2004 Muzio

Dubos Study Grant: Fourth libretto: Regnard and Campra's Carnaval de Venise 11/2006

The Programme Poetry, Declamation & Music at the Classical Age aims to examine and describe correspondences, in works written for the stage in France in the XVIIth and XVIIIth centuries, between the internal structure and meaning of a written text and its setting in music by composers. After three studies dedicated to the study of sung texts in three different tragedies corresponding to three moments of time, it was necessary to wonder about the musical translation of un-sung written text. For this last approach, an opéra-ballet by Regnard and Campra has been chosen: Le Carnaval de Venise. The study will lead to a typology of the varied and contrasted dramatic situations, to be compared to the corresponding characterisations implemented by Campra.

Project: Fourth libretto : Regnard and Campra's Carnaval de Venise

Laureate: Camille Tanguy

In the XVIIth and XVIIIth centuries, the relations between Text and Music were very different from those we nowadays ponder over. At a time when the French language was theorised in many treatises (for pronunciation, and spoken declamation to be applied to sung declamation), the Tragédie en musique developed proposing a noble, ideal and lasting notation of the language's music. Assuming that the structure of the language determined then the structure of the music - and not the opposite - the four different pieces studied in the Programme (every time in search of the terms of this induction) are looked at, for each of them, from a different point of view. 

After three studies dedicated to Tragédies, it seemed necessary to wriggle out the formal frame of it in order to explore the very different genre of the opéra-ballet. In addition to the greatest variety of this form of representation, it should also be a good way to focus more on the text which is not the one of the dialogs. A libretto is made of a good proportion of unsung text (description of the stage and actions or didascalia); this text which is not to be pronounced on stage is anyhow to be heard in the character of the music written. Thus, the musical setting of a scene can be considered as the projection of the dramatic situation on the plan of the dramatic context

The piece chosen for this approach is Le Carnaval de Venise by Regnard and Campra. Campra invented the genre of the opéra-ballet; besides its major work, L’Europe Galante, the less famous Carnaval de Venise is definitely worth putting it at the test of performance. The piece has a very interesting (in its variety) structure of Entrées and includes an Italian opera in its last part, a final curiosity which would allow (in an extreme, sophisticated approach which is aimed at but not guaranteed) the study to also define the French style through its own interpretation of Italian music.

Who was Dubos ?

Discover here Jean-Baptiste Dubos on the site of the Académie Française.