Charles François Gounod: A Research and Information Guide by Timothy Flynn

By Timothy Flynn

Charles François Gounod: A learn and data consultant is an annotated bibliography referring to either the character of fundamental assets relating to the composer and the scope and value of the secondary resources which take care of him and his compositions.

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Tales of the New Babylon: Paris 1869–1875. London: Sinclair-Stevenson, 1994. 435 p. C477. ISBN 185619163X. A fascinating and engagingly written narrative which covers the period from part of the Second Empire through the post-Commune era in Paris, this monograph examines many subcultural aspects of the society of the time with accounts of some unique and less popular accounts of history. These include the murder of the Kinck family, descriptions of life in a brothel, the affair between Rimbault and Verlaine, and contemporary accounts of the Siege of Paris.

He continues to say that this tenor aria “is of a lovely sentiment, very true and very profound;” however, he feels that the violin obligato spoils rather than enhances it. ” Likewise, he believes the entr’acte of Act V is too long for so late in the opera. At the conclusion of each entry, the editor has indicated the original source for the quote only by title. These quotes have been taken from the Memoirs; Cauchemars et passions; Mozart, Weber and Wagner; and letters from 1864. The editor does not identify these last three sources specifically, but rather points the reader to Joe Law’s “Selected Bibliography of English-Language Works on Berlioz” in this same issue of The Opera Quarterly.

1 in D major upon Bizet’s only essay in the genre, his Symphony in C. More specifically Wright points to Bizet’s “borrowing” of accompaniment patterns from Gounod’s opera Sapho, which he used in his opera Les pêcheurs de perles. 59 Since Bizet’s career was cut short by his untimely death, it is not possible to know how Gounod’s influence on his young pupil would have developed and affected future works. ” This appellation may have been appended to Massenet because of his more traditional and at times delicate musical style, but perhaps more so because of Massenet’s desire to please his public.

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