John S Powell
Biographic Data
| ID | 3910084 |
|---|---|
| NAME | John S Powell |
| GIVEN NAMES | John S |
| FAMILY NAME | Powell |
| SIGNATURE | POWELL J S |
| AFFILIATIONS | University of Tulsa |
| VERIFIED | No |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1986 |
| LATEST PUBLICATION YEAR | 2008 |
| H-INDEX | 1 |
Le Bourgeois gentilhomme
Le Bourgeois gentilhomme
With Le Bourgeois gentilhomme (1670), Jean-Baptiste Molière and Jean- Baptiste Lully created a masterwork of musical comedy. This was the ninth collaboration of their seven-year association, and Le Bourgeois gentilhomme became by far their most popular work - one that remained among Louis XIV's favourite entertainments throughout his life. This comédie-ballet , glowing with comic inspiration, proved 'les deux grands Baptistes' (as Mme de Sévigné …
Charpentier, Marc-Antoine (opera)
The opera parodies of Florent Carton Dancourt
Unlike the opera parodies performed at the Comédie-Italienne in the 1690s and collected by Evariste Gherardi, Dancourt's Angélique et Médor and Renaud et Armide were performed during the première runs of their target operas – Lully's and Quinault's Roland and Armide , respectively. Undoubtedly prompted by Lully's opera monopoly and the draconian restrictions on music and dance that affected the musical repertory at the Comédie-Française, Dancourt…
Music and Theatre in France 1600–1680
During the course of the 17th century, the dramatic arts reached a pinnacle of development in France; but despite the volumes devoted to the literature and theatre of the ancien régime, historians have largely neglected the importance of music and dance. This study defines the musical practices of comedy, tragicomedy, tragedy, and mythological and non-mythological pastoral drama, from the arrival of the first repertory companies in Paris until th…
A Mess of Russians left us but of late’
In October 1672, a highly select audience in Moscow witnessed the court's first theatrical production, a setting of Artakserksovo deistvo (The Play of Ahasuerus) based on the biblical story of Esther. A month later, in contrast, Parisians would witness the escalating rivalry between Molière and Lully—as the former continued to capitalize on their tragédie-ballet, Psyché (with Lully's music), while the latter prepared to launch his first French op…
Musical Practices in the Theater of Molière
Pierre Beauchamps, Choreographer to Moliere's Troupe Du Roy
Journal Article PIERRE BEAUCHAMPS, CHOREOGRAPHER TO MOLIERE'S TROUPE DU ROY Get access JOHN S. POWELL JOHN S. POWELL Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 76, Issue 2, May 1995, Pages 168–186, https://doi.org/10.1093/ml/76.2.168 Published: 01 May 1995
Le Malade Imaginaire’
Journal Article ‘LE MALADE IMAGINAIRE’ Get access JOHN S. POWELL JOHN S. POWELL Faculty of Music, University of TulsaTulsa, Oklahoma 74104-3189, USA. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 73, Issue 3, August 1992, Pages 509–510, https://doi.org/10.1093/ml/73.3.509 Published: 01 August 1992
Music, Fantasy and Illusion in Molière's ‘Le Malade Imaginaire’
Journal Article MUSIC, FANTASY AND ILLUSION IN MOLIÈRE'S ‘LE MALADE IMAGINAIRE’ Get access JOHN S. POWELL JOHN S. POWELL Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 73, Issue 2, May 1992, Pages 222–243, https://doi.org/10.1093/ml/73.2.222 Published: 01 May 1992
La Sérénade pour Le Sicilien de M. -A. Charpentier et le crépuscule de la comédie-ballet
Charpentier's Music for Moliere's "Le Malade imaginaire" and Its Revisions
Music and Theatre in France 1600–1680
During the course of the 17th century, the dramatic arts reached a pinnacle of development in France; but despite the volumes devoted to the literature and theatre of the ancien régime, historians have largely neglected the importance of music and dance. This study defines the musical practices of comedy, tragicomedy, tragedy, and mythological and non-mythological pastoral drama, from the arrival of the first repertory companies in Paris until th…
Charpentier's Music for Moliere's "Le Malade imaginaire" and Its Revisions
La Sérénade pour Le Sicilien de M. -A. Charpentier et le crépuscule de la comédie-ballet
Le Malade Imaginaire’
Journal Article ‘LE MALADE IMAGINAIRE’ Get access JOHN S. POWELL JOHN S. POWELL Faculty of Music, University of TulsaTulsa, Oklahoma 74104-3189, USA. Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 73, Issue 3, August 1992, Pages 509–510, https://doi.org/10.1093/ml/73.3.509 Published: 01 August 1992
Music, Fantasy and Illusion in Molière's ‘Le Malade Imaginaire’
Journal Article MUSIC, FANTASY AND ILLUSION IN MOLIÈRE'S ‘LE MALADE IMAGINAIRE’ Get access JOHN S. POWELL JOHN S. POWELL Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 73, Issue 2, May 1992, Pages 222–243, https://doi.org/10.1093/ml/73.2.222 Published: 01 May 1992
Pierre Beauchamps, Choreographer to Moliere's Troupe Du Roy
Journal Article PIERRE BEAUCHAMPS, CHOREOGRAPHER TO MOLIERE'S TROUPE DU ROY Get access JOHN S. POWELL JOHN S. POWELL Search for other works by this author on: Oxford Academic Google Scholar Music and Letters, Volume 76, Issue 2, May 1995, Pages 168–186, https://doi.org/10.1093/ml/76.2.168 Published: 01 May 1995
Musical Practices in the Theater of Molière
A Mess of Russians left us but of late’
In October 1672, a highly select audience in Moscow witnessed the court's first theatrical production, a setting of Artakserksovo deistvo (The Play of Ahasuerus) based on the biblical story of Esther. A month later, in contrast, Parisians would witness the escalating rivalry between Molière and Lully—as the former continued to capitalize on their tragédie-ballet, Psyché (with Lully's music), while the latter prepared to launch his first French op…
Music and Theatre in France 1600–1680
During the course of the 17th century, the dramatic arts reached a pinnacle of development in France; but despite the volumes devoted to the literature and theatre of the ancien régime, historians have largely neglected the importance of music and dance. This study defines the musical practices of comedy, tragicomedy, tragedy, and mythological and non-mythological pastoral drama, from the arrival of the first repertory companies in Paris until th…
The opera parodies of Florent Carton Dancourt
Unlike the opera parodies performed at the Comédie-Italienne in the 1690s and collected by Evariste Gherardi, Dancourt's Angélique et Médor and Renaud et Armide were performed during the première runs of their target operas – Lully's and Quinault's Roland and Armide , respectively. Undoubtedly prompted by Lully's opera monopoly and the draconian restrictions on music and dance that affected the musical repertory at the Comédie-Française, Dancourt…
Charpentier, Marc-Antoine (opera)
Le Bourgeois gentilhomme
With Le Bourgeois gentilhomme (1670), Jean-Baptiste Molière and Jean- Baptiste Lully created a masterwork of musical comedy. This was the ninth collaboration of their seven-year association, and Le Bourgeois gentilhomme became by far their most popular work - one that remained among Louis XIV's favourite entertainments throughout his life. This comédie-ballet , glowing with comic inspiration, proved 'les deux grands Baptistes' (as Mme de Sévigné …
Le Bourgeois gentilhomme
Art (12 works) · Art history (10 works) · Historical and Literary Analyses (9 works) · Historical and Literary Studies (9 works) · Humanities (7 works) · Literature (6 works) · Renaissance Literature and Culture (5 works) · Musical (4 works) · Opera (4 works) · Historical Studies and Socio-cultural Analysis (3 works)