"Eighteenth-century French cultural life was often characterised by quarrels, and the arrival of Viennese composer Christoph Willibald Gluck in Paris in 1774 was no exception, sparking a five-year pamphlet and press controversy which featured a rival Neapolitan composer, Niccolo Piccinni. However, as this study shows, the Gluck-Piccinni controversy was about far more than which composer was better suited to lead French operatic reform. A consideration of cultural politics in 1770s Paris shows that a range of issues were at stake: court versus urban taste as the proper judge of music, whether amateurs or specialists should have the right to speak of opera, whether the epic or the tragic mode is more suited for drama reform, and even: why should the public argue about opera at all? Mark Darlow is Senior Lecturer in French at the University of Cambridge."

A provocative exploration of intellectual exchange across four centuries of European history by the author of When the World Spoke French In this fascinating study, preeminent historian Marc Fumaroli reveals how an imagined “republic” of ideas and interchange fostered the Italian Renaissance, the Enlightenment, and the French Revolution. He follows exchanges among Petrarch, Erasmus, Descartes, Montaigne, and others from the fifteenth through the eighteenth centuries, through revolutions in culture and society. Via revealing portraits and analysis, Fumaroli traces intellectual currents engaged with the core question of how to live a moral life—and argues that these men of letters provide an example of the exchange of knowledge and ideas that is worthy of emulation in our own time. Combining scholarship, wit, and reverence, this thought†‘provoking volume represents the culmination of a lifetime of scholarship.

Lyric theater in ancien régime France was an eminently political art, tied to the demands of court spectacle. This was true not only of tragic opera (tragédie lyrique) but also its comic counterpart, opéra comique, a form tracing its roots to the seasonal trade fairs of Paris. While historians have long privileged the genre’s popular origins, opéra comique was brought under the protection of the French crown in 1762, thus consolidating a new venue where national music might be debated and defined. In The Comedians of the King, Julia Doe traces the impact of Bourbon patronage on the development of opéra comique in the turbulent prerevolutionary years. Drawing on both musical and archival evidence, the book presents the history of this understudied genre and unpacks the material structures that supported its rapid evolution at the royally sponsored Comédie-Italienne. Doe demonstrates how comic theater was exploited in, and worked against, the monarchy’s carefully cultivated public image—a negotiation that became especially fraught after the accession of the music-loving queen, Marie Antoinette. The Comedians of the King examines the aesthetic and political tensions that arose when a genre with popular foundations was folded into the Bourbon propaganda machine, and when a group of actors trained at the Parisian fairs became official representatives of the sovereign, or comédiens ordinaires du roi.